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Subject: Re: Guitan's comments on Victoria de los Angeles
From: walter guitian <[log in to unmask]>
Reply-To:walter guitian <[log in to unmask]>
Date:Mon, 5 Dec 2016 19:02:35 +0000
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Ponti: I have talked about voice technical things in my last post, and about what Rodolfo Celletti said about De Los Angeles, you have idea who was Rodolfo Celletti ? Probably for you it's the same  what Rodolfo Celletti says  than Rideout or Les Mitnick posts .Some of the things I said are a lie? De Los Angeles is limited in volume: is a lie ? , limited in dynamics: is a lie ? , limited in legato : is a lie ?, the top is strident and fixed: a lie ?  There are all certain things .You beleive one has no ears or one write because is stupid ?
Who brought Tebaldi to the topic De Los Angeles ?  It seems that the obsession with Tebaldi is yours and of the inept Mitnick,  who  few days ago wrote hogwash about Tebaldi saying she cracks the C in her '65 Chicago Mefistofele, and there is the recording and there is no crack in any of the high notes (apart there is no C in the score of Margherita), or Rideout  who can write whatever he wants  that "He was there", in that performance of Tebaldi '64 Boheme return and she was very bad, she was dreadful, etc, and that she was singing badly or compromised in everything she sang, etc and you have  the right to say all this while there are the discs,  opera recordings and recital albums from those years middle sixties and late sixties, like her '67 Gioconda recording with Horne , or the '65 Solti's Don Carlo, the '68 La Wally  or the '69 Wagner album arias  that show examples of wonderful technical singing,  and curiously since you got the name of Tebaldi in a De Los Angeles topic,  I can get the name of Callas and De Los Angeles  in middle or late sixties, that there is no document of good singing of them in those years (though Callas had stopped her career much earlier, in the middle sixties she sang a bit  and the recorded documents are very sad , and De Los Angeles not as sad  but in much worse shape  than Tebaldi from the same years)
Also I was called "idiot" and other insults  from some posters, answering my former message  where I spoke with education and about voice of technical things
You brought to this conversation Callas and Tebaldi (in  De Los Angeles topic) and of the three sopranos , the one who sang less technically is just Victoria De Los Angeles, for all the things I explained in my former post,  but you also have to write hogwash  about Tebaldi  saying she is not the technician that Callas and De Los Angeles are. All this is cretin hogwash
Walter





      De: tom ponti <[log in to unmask]>
 Para: [log in to unmask] 
 Enviado: Lunes, 5 de diciembre, 2016 12:46:15
 Asunto: Re: Guitan's comments on Victoria de los Angeles
   
It always fascinated me that Callas, Tebaldi and Victoria all developed upper voice problems by the late fifties. These wonderful singers were great in different ways. Callas had a less than beautiful voice, but her voice was large with an interesting sound and she was a great vocal technician. Tebaldi was blessed with a large beautiful voice, but was not nearly the vocal technician that Maria or even Victoria were. Victoria had the smallest voice of these three, but her lyric voice had a beautiful rich sound. I have read that when Victoria was studying at the conservatory, her instructors were split as to whether she had a lyric or spinto voice, which may be the reason she may have sung roles basically to heavy for her natural vocal size.  As on critic said, many years ago, Butterfly may have been a bit to heavy for her voice, but what a shame not to have heard it.  Walter is a Tebaldi fanatic, which is his right, but his statements about some other great singers is embarrassing.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Les Mitnick <[log in to unmask]>
Sent: Monday, December 05, 2016 9:52 AM
To: [log in to unmask]
Subject: [OPERA-L] Guitan's comments on Victoria de los Angeles

I was shocked and astonished at the observations made by Walter Guitan
regarding Victoria de los Angeles, one of the greatest vocal artists of the
last century.  To my ear, her voice was truly beautiful and one "kissed by
the Spanish sunshine".  She bonded beautifully with French Opera, and she
forged a great bond with certain Italian roles.
    While it is true that by the end of the 1950s, the uppermost notes had
receded, the voice and artistry remained in a class by themselves.  She sang
in German, French, Italian, and of course Spanish.  It is as a recitalist
that she is best remembered and cherished -- and I saw her in many live ones
that will forever remain green in my memory,  A de los Angeles recital was
always a special treat.  She's left an incredible legacy in sound on EMI
    Why does Mr. Guitan write such vicious things about such a great
artist?  I've never encountered any professional critic speak of de los
Angeles this way.  He has built his own personal shrine to Tebaldi, and
refuses to acknowledge that there were many arts far superior to Tebaldi,
especially in the world of art songs and lieder, melodies, and Spanish song
literature from the Renaissance to Nin, Granados, Valaverde, Toldra, and de
Falla.
      The vocal problems Mr Guitan emphasizes are, to me anyway, amounts to
nothing less than sour grapes.  What a pity that his tunnel vision prevents
him from enjoying a plethora of artists.
      Would also like to put in a good word for the sublime Gerard Souzay,
another enormous gem of the song rectal format.
      Surely I am surprised that no one else has brought this up.  de los
Angeles brought much joy in her career, and to have Mr. Guitan so viciously
diss it is to disrespect a supreme vocal artist.  She gave so much, and how
I lovv




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