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Subject: Re: Late Leontyne Price
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Mon, 13 Mar 2017 19:26:52 +0000
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I was at an Aida with Price, Bergonzi and Bumbry and Price was making some strange vocal sounds, that were noticed by others too.  One person thought she was acting more like an African American Slave than an Egyptian Princess. As one African American Woman said " she doesn't sound very good, but sure seems to be having a good time". I think she may have been bored with the role by that time. Whatever, I always adord her.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Don <[log in to unmask]>
Sent: Monday, March 13, 2017 3:09 PM
To: [log in to unmask]
Subject: Re: [OPERA-L] Late Leontyne Price

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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