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Subject: Re: Late Leontyne Price
From: Don <[log in to unmask]>
Reply-To:Don <[log in to unmask]>
Date:Mon, 13 Mar 2017 13:09:01 -0600
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I have noticed what I thought was an African/American style in her later
singing although I noticed it in the Antony and Cleopatra for the first
time.  Perhaps because it was in English that her southern accent was so
noticeable to me.  I remember a TV broadcast of a session with her coach on
the role where they tried to get that "southern" thing out of her
Shakespearean text.
dond

On Mon, Mar 13, 2017 at 12:39 PM, Maxwell Paley <[log in to unmask]> wrote:

> Full respect to the singer who led me down the primrose path into opera.
>
> Those late career releases from high notes (not always) were strange. I
> don't think I've ever heard another singer do that. No scoop on the attack
> and the note itself would be spectacular but then this strange dying
> airplane sound.
>
> I first noticed it in a 1977 SF Ariadne. The last two things I saw her do
> in the 80's were a magnificent Mme. Lidoine and Aida. Didn't notice this
> downward swoop in either but she certainly did set off a Roman candle with
> her "Amen" in the Poulenc.
>
> Max Paley
>
> Sent from my iPhone
>
> On Mar 13, 2017, at 11:27, M. Williams <[log in to unmask]> wrote:
>
> >> ... 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.
> >
> > By 1982 Price certainly had nothing to prove to anyone. She probably sang
> > for her own enjoyment first and may have thought, "Those who love me
> love me
> > and those who don't don't."
> >
> >>
> >> 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.
> >
> > Where did you read that?
> >
> > Regards,
> > Martin Williams
> >
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It's amazing how useful it can be.

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