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Subject: Re: Clara Petrella/Leontyne Price remasterings
From: James Bodge <[log in to unmask]>
Reply-To:James Bodge <[log in to unmask]>
Date:Tue, 22 Nov 2016 17:20:59 -0500

text/plain (47 lines)

The story I heard was that the orchestra noted how well things were 
going for RCA and everyone else, so the union asked for more money for 
the third and last year of the contract - or else.    RCA  balked at 
first and then gave in and paid the extra money - which the union 
thought would be the gift that kept on giving.Wrong. RCA closed the 
studio and went to London. NO money at all for the Rome musicians.

Jim Bodge

On 11/21/2016 10:52 PM, Maxwell Paley wrote:
> Want to add my "atta boy" to Les' comment.  The greatest thing is when someone's posting leads to a new discovery.
> Petrella is a wonderfully slutty Nedda on the Decca mono studio recording with Del Monaco.
> Takis, the remastered Leinsdorf "Aida" sounds better on the remaster (I downloaded it and other Price operas in the 96/24 version from HDTracks) than I've heard it before on LP or CD, but the sound is still surprisingly mediocre for its date (1970, I think) and the production talent involved.  The Mehta "Trovatore" sounded good on UK or German LP but picked up serious distortion when first digitized.  This now sounds considerably better than previous CD releases.
> I know some internal record industry scuttlebut but maybe someone else has the answer to a mystery.  In the early 60's, RCA spent a fortune building their "Italiana" studios out towards Fumicino.  Leinsdorf, who had been tearing out what little hair he had left at the Rome Opera Orchestra, and other RCA musical preparation staff also spent a fortune auditioning and setting up a recording orchestra from the finest players in the area.  Even Solti was impressed when he recorded "Rigoletto" and "Falstaff.".
> But they only used the setup for a few years.  The Mehta "Trovatore" and Leinsdorf "Aida" were done in the Walthamstow suburb of London (a potentially great but very tricky recording venue).
> After 1970, the only "Italiana" project I can think of was the Gavazzeni "Boccanegra."
> Why?
> Max Paley

James Bodge

You only need two things: WD-40 and Duct Tape.  If something moves and 
it shouldn't, use the Duct Tape.  If it won't move and it should, use 
the WD-40.

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