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Subject: Caballe; dal Monte; Aidas
From: Scott Grunow <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Fri, 30 Dec 2016 14:15:01 -0500

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Caballe's top as the years progressed took on a metallic quality, often accompanied by a beat, especially after the late seventies. Singing Turandot did not help matters.

I also heard she smoked. Then there were the multiple health problems ... 

Regarding Fanny Persiani, I thought she was a higher, lighter voice than Pasta, one that extended to a high F. I could be wrong ... 

I agree with Bob Rideout about dal Monte. I also think she was better in the more lyric repertoire than as a "pure" coloratura. One can hear this in the inimitable Flammen perdonami and her Selva opaca: Her Lucia in Italy was more noted for its lyrical pathos than its coloratura splendor. I remember one of the Rasponi ladies saying her Lucia was no bird singing, but a character who could make you cry. Something like that ... 

Callas sang many Aidas early on because in Italy it was considered part of the dramatic soprano repertoire. I think we have become accustomed to a more lyrical approach because of the lack of Italian dramatic sopranos, but then, Act 3 and Act 4 require so much lyrical control and a high float which heavier voices can find difficult. Milanov, interestingly enough, even though she was a dramatic soprano, did best in these parts of the role.  

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