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Subject: Re: Late Leontyne Price
From: Henson Keys <[log in to unmask]>
Reply-To:Henson Keys <[log in to unmask]>
Date:Mon, 13 Mar 2017 13:36:56 -0500
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I was in the house for that *Requiem* and later that same year for her
concert with Horne and Levine.  She was in radiant voice on both evenings.
I remember being amazed at her 1982 voice being so pure and unfussy.
Henson

On Mon, Mar 13, 2017 at 1:28 PM, daaaac <[log in to unmask]> wrote:

> Hers was a voice of great generosity throughout her career and no matter
> what direction it went.  I remember her singing the Rorem  Alleluia and
> sliding up to a perfectly pitched high E natural.  I also remember her
> release of the final note in Di tale amor as she walked offstage, sliding
> up into the stratosphere.  This also happened in in Pace in Forza.  In
> complete performances, the arias were perfection; the rest of the opera
> less so.
>
> > On Mar 13, 2017, at 2:16 PM, John Rahbeck <[log in to unmask]> wrote:
> >
> > I think nit picking and second guessing the motives behind every  scoop a
> > great singer does in their decline does a diservice unless you  also
> bring up
> > what she did well and that a total picture ensues. I guess  I have gotten
> > tired of people focusing on only the negative, and I  see  the enevitable
> > "race " issue emerging. She was a great singer who had  to piss in a
> dixie cup
> > because she wasn't allowed to use whites only bathrooms,  and had to say
> in
> > raunchy hotels over state lines where people of color weren't  allowed to
> > stay at certain hotels in certain states, when she performed so  if she
> was a
> > little sensitive, doesn't that deserve  measure of mercy as  well, and
> while
> > it is true that some singers of color over used the race card, I  think
> we
> > have to keep some perspective. Recent political events have indicated
> that
> > racism still abounds.
> > John Rahbeck
> >
> >
> > In a message dated 3/13/2017 10:52:00 A.M. Pacific Daylight Time,
> > [log in to unmask] writes:
> >
> > I was  listening yesterday to a Sirius Met. Verdi 'Requiem' from 1982
> with
> > Price  as the soprano, and was trying to analyze what we think of as her
> > late
> > style.  The whoop/swoop is the thing most cited, but there was  also a
> > virtual shriek when releasing notes, weirdly exaggerated emphases,  and a
> > raucous almost parlando use of chest voice.  What struck me is  that when
> > important singers who are aging either do or don't do things they  used
> to,
> > it is because of some kind of technical deterioration.  But I  had the
> sense
> > that all these things were conscious stylistic choices for  her and by no
> > means necessary.  In the really tough places like that  endless floated
> note
> > in the 'Sed signifer sanctus' she was impeccable, and  she produced a
> > magnificent C in the 'Libera me', only to compromise it by a  wild swoop
> > downward that would have embarrassed even Zinka.
> >
> > I have  read that during the civil rights movement she came to feel her
> > singing was  too European and began doing things that she thought more
> > authentically  African-American, but this seems far-fetched to me.  Any
> > thoughts?
> >
> > David  Kubiak
> >
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