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Subject: Re: Dal Monte as Butterfly
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Thu, 29 Dec 2016 22:03:28 +0000
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Interestingly, the other night on You Tub I was listening to Rosana Carteri in various arias. Then all of a sudden the first act Butterfly duet popped up with Victoria and Jussi, in which she is ravishing, both vocally and dramatically. I am also very fond of the Scotto- Bergonzi rendition, as well as Price-Tucker. As always, whenever I listen to Victoria after an extended absense in opera or song, I fall in love Again. Can't help it!


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Bob Rideout <[log in to unmask]>
Sent: Thursday, December 29, 2016 4:45 PM
To: [log in to unmask]
Subject: Re: [OPERA-L] Dal Monte as Butterfly

Toti dal Monte sang Cio Cio San in at least 30 revivals, and without
an exact count, around 100 times, maybe more, including most of
Italy's important theaters and others outside Italy.

I consider her recording the most affecting of all, excepting Scotto with
Bergonzi,  and when I hear the tird act, I can never decide which
is the more heartbreaking. Leontyne Price has the most gleaming voice in
the role, but she can't hold a candle to the other two in expressing the
emotions of the role. You are not alone in disliking Toti, and I am not
alone
in thinking her close to defining in the role.

She was a remarkable singer. "Flammen perdonami, non pianger piu"
is, perhaps, the most emotionally gripping phrase I have ever heard.

To her memory!

Bob

On Thursday, December 29, 2016, Wadeworks <[log in to unmask]> wrote:

> The discussions of Moffo and having a voice one size too small for
> Butterfly,
> at least in 1957, reminded me of the whole "baby doll" approach to
> Butterfly as represented by the casting of Toti dal Monte as Butterfly in
> the
> commercial recording with Gigli.  That to me is just a voice 5 times too
> small for the part and an approach that is almost insulting to the
> character.  Yes I understand the age of the character at the time of her
> marriage, but the part just calls for more heft regardless, certainly not
> appropriate to a 1920-30s Italian soubrette.  Could she actually make it
> thru a complete performance on stage or was it just a "role du disque"?
> While I wouldn't want to hear a Caniglia performance (don't need a sledge
> hammer), there must have been somebody more in the lyrico-spinto area
> who could have handled it better.  Always was curious about that.
>
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