LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: OLIVERO (Formerly, Vocal longevity, Late Flagstad recordings)
From: Ombrarecds <[log in to unmask]>
Reply-To:Ombrarecds <[log in to unmask]>
Date:Sun, 4 Dec 2016 07:41:24 -0600
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (117 lines)


I was lucky to witness Olivero's Medea both in Dallas and Kansas City. It was the production that had been designed for Callas.
It was the most unusual voice I have ever heard. Every phrase seemed to be created with a different technique, but the effect was an electrifying whole.
The Kansas City performance exists in splendid sound.

Patrick Byrne

Sent from my iPhone

On Dec 4, 2016, at 12:19 AM, RAYMOND GOUIN <[log in to unmask]> wrote:

> Les -
> 
> 
> I agree with you fully as to the basic nature of Olivero's voice and that the miracle is what she could do with it. 
> 
> 
> The first time that I saw/heard Olivero was when she opened the new Boston Opera House in Tosca. She was in her sixties.  "Mario ... Mario ... Mario" and this visibly and plainly older woman walked out on stage.  Within five minutes. she WAS Tosca, and that was all that mattered.
> 
> 
> Move ahead decades later, when my home and all that I had built around me over a forty year span -- my collections, all of my writings and my physical work -- were destroyed by fire, leaving me shattered and no longer existing intellectually, it was Magda's voice and Magda's voice alone that gave me comfort and kept me alive during those darkest days of my life, for which I will be forever grateful to her.  The alternate plan had been to get into my car and crash through the barriers on the Tobin/Mystic Bridge to end the pain.
> 
> 
> Best
> 
> Ray
> 
> 
> ***
> 
>> 
>>    On December 4, 2016 at 12:08 AM Les Mitnick <[log in to unmask]> wrote:
>> 
>>    Idia:
>>    I wouldn't say so. Magda Olivero's greatness came from a totally different root than Flagstad. Olivero was great, GREAT artist, but she never had more than a good and serviceable voice (my opinion only). Olivero's genius was firmly grounded in the art of great interpretation. She was also a great actress. She was to verismo opera what Callas and Sutherland were to bel canto. However, Olivero had Callas' ability to phrase, shade, and color phrases and musical lines. She lacked Callas' extensive vocal range, and certainly the sheer size of the Callas repertoire, but they were very, very similar in the methods they employed to achieve their artistic goals. Olivero was of course fortunate to have been able to still deliver a performance well beyond the age when Callas could. As artists, they had a lot in common, but Olivero was stylistically limited to the early verismo period of the 1890s to the 1920s. She lacked a florid technique, which Callas had in abundance, and of co
> urse she never sang Rossini, Bellini, or Donizetti --------- and probably little if any Verdi. Her composers were Puccini, Cilea, Mascagni, and the "verista" composers.
>>    Callas' life's work was finished by the time she reached the age of forty. She lived a little over a decade after that. Olivero, however, was on the scene in Italy for many years, starting in the 1930s, then retired for a while, then returned, retired again, and then returned yet again. In her late sixties (around the time she finally sang a couple of guest performances at the Met, her voice was a mere shadow of the merely serviceable voice she had in her prime. In made little difference. Her profound artistry and her ability to create her verismo heroines never left her. Callas (in her prime) had a much better voice than Olivero (again my opinion), but Olivero had a highly unique individual color that enabled her to make some stunning effects in the theater. A certain comparison with Tebaldi is possible here. Olivero's repertoire was very similar to Tebaldi's, except that Tebaldi had a far, FAR superior voice. Tebaldi, however, couldn't begin to interpret or respond to
>  the text like Olivero could. Nor could Tebaldi create the sheer magic that Olivero was able to weave by her sheer nature. Tebaldi had a luscious and opulent instrument, but her interpretations were very generic and generalized. Olivero had the histrionic and interpretative skills of the legendary Anna Magnani, and used her voice as the paint brush with which she created her verismo heroines, which is why I consider Olivero and Callas to have been much closer aligned in their respective arts than Tebaldi. I think that one could also put Lotte Lehmann in the same line of artists.
>>    Tebaldi (in her absolute prime) was the singular greatest voice of all the above mentioned, which does not make Callas or Olivero chopped liver by any means. Flagstad's gifts were completely hers by nature. She was not a great actress, but was certainly a formidable interpreter of Wagner. It was Flagstad's VOICE that defined her, and it was a gift that was long lasting. Olivero's gifts were also long lasting, but it was FAR more than her voice that made her the great artist she was. Callas kind of comes in at the middle. It was, of course, the operas she sang, but more the WAY she sang rather than the way she sounded.
>>    I hope I haven't screwed this all up. I think that most here will understand what I mean.
>> 
>>    Les
>> 
>>    ----- Original Message -----
>> 
>>    From: "Idia Legray" <[log in to unmask]>
>>    To: "OPERA-L" <[log in to unmask]>
>>    Sent: Saturday, December 3, 2016 9:46:42 PM
>>    Subject: Re: Vocal longevity (Re: Late Flagstad recordings)
>> 
>>    Can you say Magda Olivero?
>> 
>>    **********************************************
>>    OPERA-L on Facebook:
>> 
>>    http://www.facebook.com/groups/25703098721/
>> 
>>    --------------------------------------------------------------------------
>>    To UNSUBSCRIBE, send a message to [log in to unmask]
>> 
>>    containing only the words: SIGNOFF OPERA-L
>> 
>>    --------------------------------------------------------------------------
>>    To stay subscribed but TURN OFF mail, send a message to
>> 
>>    [log in to unmask] containing only the words: SET OPERA-L NOMAIL
>> 
>>    --------------------------------------------------------------------------
>> 
>>    Modify your settings: http://listserv.bccls.org/archives/opera-l.html
>> 
>>    --------------------------------------------------------------------------
>> 
>>    **********************************************
>>    OPERA-L on Facebook:
>> 
>>    http://www.facebook.com/groups/25703098721/
>> 
>>    --------------------------------------------------------------------------
>>    To UNSUBSCRIBE, send a message to [log in to unmask]
>> 
>>    containing only the words: SIGNOFF OPERA-L
>> 
>>    --------------------------------------------------------------------------
>>    To stay subscribed but TURN OFF mail, send a message to
>> 
>>    [log in to unmask] containing only the words: SET OPERA-L NOMAIL
>> 
>>    --------------------------------------------------------------------------
>> 
>>    Modify your settings: http://listserv.bccls.org/archives/opera-l.html
>> 
>>    --------------------------------------------------------------------------
> 
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager