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Subject: Re: Robert Tuggle tribute - Dorothy Kirsten and Mario Del Monaco film
From: "Mitchell, Katalin" <[log in to unmask]>
Reply-To:Mitchell, Katalin
Date:Tue, 3 Jan 2017 21:01:30 +0000
Content-Type:text/plain
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Also thanks for this, found the duet, and it is beautiful (though I always 
find that del Monaco bellows, and his gorgeous voice has no shading…WHO 
will attack me first on this one?) but it is strange that there is a whole 
segment missing, the lines that follow “rinnegata e felice….” - Here 
Pinkerton should follow with "Viene la Sera…." instead he plows directly 
into “intanto tu non mi hai detto che m’ami..” Weird! 
 
On 1/3/17, 3:47 PM, "Discussion of opera and related issues on behalf of 
John Irving" <[log in to unmask] on behalf of 
[log in to unmask]> wrote: 
 
 
>Regarding Dorothy Kirsten, she did sing Traviata many times at the Met 
>and sang Thais in other venues.  In the film "The Great Caruso" she also 
>sang "O patria..." as well as Lucia in the sextet.  I think she could 
>have diversified extensively if she had wanted to do so (Bing offered her 
>other roles, but she wasn't interested), but I personally think she was 
>satisfied doing other usual repertoire.  Agree too, she was under rated. 
> 
> John 
> 
>Sent from my iPad 
> 
>> On Jan 3, 2017, at 2:05 PM, Les Mitnick <[log in to unmask]> wrote: 
>>  
>> Mr. Van den Buick: 
>> Many thanks for sharing this. While I intend to return to it, I did 
>>take the time to watch the Kirsten/del Monaco Butterfly excerpt. I was 
>>blown away for several reasons. First of all, one doesn't associate del 
>>Monaco with Pinkerton. Nor do I think he would have ever undertaken the 
>>role during his big career because the role itself is rather small in 
>>terms of sheer singing time. Still, I'm assuming that this clip was from 
>>an early 1950s performance (have no idea of the venue). Of course we all 
>>know that del Monaco had a huge voice, and that he frequently came off 
>>singing too loudly. But not here. Besides being a damn good looking 
>>dude, he somehow (for me, anyway) is a great and effective Pinkerton. 
>>His voice certain is far weightier than we are used to hearing, but he 
>>uses it with great restraint, and has the grace and class of allowing 
>>Kirsten take the final top note by herself while he harmonizes on the 
>>lower alternative note. I much prefer this than the usual practice of 
>>having both tenor and soprano bawling out that top C (or is it a B?) 
>>together, which provides no contrast at all. Had del Monaco opted to 
>>take that note with Kirsten, he would surely have completely covered her 
>>and drowned her out. I only wish that Del Monaco had chosen to sing like 
>>this when he made his renowned and famous complete recordings with 
>>Renata Tebaldi (especially their joint recordings of Tosca and Manon 
>>Lescaut).  
>> Kirsten remains for me an enigma. She certainly had a lovely voice, was 
>>a beautiful woman, and was a valued member of the Met for ever so many 
>>years. Why she allowed herself to ossify so long in the Puccini operas 
>>(eventually to the exclusion of everything else) amazes me. She could 
>>have done roles like Desdemona, Alice Ford, Thais, Manon, Nedda, etc. in 
>>addition to roles she had sung when she first came to the Met 
>>(Margaurite), or even Violetta (not sure whether she ever sang Violetta 
>>at the Met). Was it Bing who was determined to keep her in the "second 
>>tier"? I believe that she also sang Blanche in Poulenc's "Dialogues" in 
>>San Francisco (and appeared there with regularity). I know that Albanese 
>>had a "lock" on certain roles at the Met that Kirsten could have done 
>>beautifully (am not even going to bring the titanic Tebaldi into this!). 
>> Kirsten's commercial recorded legacy is also very scant. Was it because 
>>she was an American at the time? I'm beginning to think that were she 
>>singing today, Kirsten would be appreciated far more than she is. She 
>>was a fine singer and I think opera kind of missed out by being deprived 
>>of her artistry. I think that Eleanor Steber was another soprano who 
>>suffered in this respect. I mean, of course, that Tebaldi couldn't be 
>>everywhere. I'm leaving Callas out of this because her stage repertoire 
>>was far removed from both Tebaldi, Kirsten, and Albanese. 
>> Many Thanks!  
>>  
>> ----- Original Message ----- 
>>  
>> From: "Rudi Van den Bulck" <[log in to unmask]> 
>> To: "OPERA-L" <[log in to unmask]> 
>> Sent: Tuesday, January 3, 2017 10:27:04 AM 
>> Subject: Robert Tuggle tribute - Dorothy Kirsten and Mario Del Monaco 
>>film  
>>  
>> Our January issue is dedicated to the memory of ROBERT TUGGLE; the 
>>legendary  
>> director of the Metropolitan archives who died a year ago on 21st 
>>January.  
>> To his tribute we uploaded some rare radio b’casts featuring Robert 
>>Tuggle  
>> talking about Claudia Muzio and Lauritz Melchior. We also uploaded his 
>> conversations with Martin Sokol on Tuggle’s book ‘The golden age of 
>>opera’  
>> which was published in 1983. They both talk about “Mishkin” singers and 
>>the  
>> Metropolitan. Here's a direct link : 
>>  
>> https://www.youtube.com/channel/UCK9xJUJVdTbMpJx1J9V1jUQ 
>>  
>> Andrzej HIOLSKI was once the most famous post-war Polish baritone. He’s 
>> honoured with a 4 CD set by Polskie Nagrania which we reviewed. We also 
>> uploaded a rare sample of his voice; an excerpt from a multi-lingual 
>> (Italian-Hebrew) 1962 Aida performance from Tel Aviv. 
>> A rare video (1957!!) has been unearthed with the duet from Butterfly 
>>with  
>> Dorothy KIRSTEN and Mario DEL MONACO. watch it before it will be 
>>deleted by  
>> the copyright gestapo. 
>> For those interested please visit the homepage of www.operanostalgia.be 
>>  
>> RvdB  
>>  
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