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Subject: Re: a final word on Leontyne Price
From: walter guitian <[log in to unmask]>
Reply-To:walter guitian <[log in to unmask]>
Date:Tue, 14 Mar 2017 21:15:29 +0000
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Though I never heard Price in live: She was not a Verdian  soprano not dramatic voice at all. They say she sounded big, but even Freni had a big voice and Caballe ,no one were dramatic singers. But Price darkened all her career her middle voice. Her bottom is a horror without focus, and the top disappears, straight. Three completely different voices. That is what I hear after recordings. Not to mention her totally unmusical manners .  By my opinion hearing her on youtube a Gilda aria with E''' she was a natural, big voiced coloratura. Again: This is my opinion.It would have been interesting to listen to her middle opened, not covered, I think it would have fitted her top much better. I always felt her a "made" voice, not a natural singing.Singers who sing Aidas is long sessions, sing the role for decades are (suprisingly) not Verdian voices, usually big voiced liricos, like , Price , Tucci, or the best one among them Chiara. In Hungarian Staatsoper Ilona Tokody was a nominated Aida, who was a tipical big voiced lirico puro, not even spinto.Real, drammatic Aidas, sang the role not so often, I have three Ghena Dimitrova "live" Aidas , one from Spain 1982, other from Paris 1984 and another one from La Scala 1985  and she has bitter accidents with the C in "O patria mia" in the three performances,  I share with you her 1984 Paris performance with bad vibrato on the top so it was technical fault and very short C that she misses the note on 1:31:34
Dimitrova Bartolini Obraztsova Fondary - Aida 1984

  
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Dimitrova Bartolini Obraztsova Fondary - Aida 1984
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Walter

      De: Donald Levine <[log in to unmask]>
 Para: [log in to unmask] 
 Enviado: Martes, 14 de marzo, 2017 13:57:41
 Asunto: Re: a final word on Leontyne Price
   
I will waste another posting - I forgot Elisabeth Rethberg - 20 years as
Aida at the Met.  She started in 1922 and ended as Aida in 1942.  I'll bet
if I checked it, Lucine Amara might have some sort of a record also, if
only because Lucine sang soo long and kept her voice in fighting shape for
so long.  None of this of course has anything to do with Price's glorious
reign as Aida.

Donald

On Tue, Mar 14, 2017 at 9:53 AM, Donald Levine <[log in to unmask]> wrote:

> Zinka Milanov sang her first Aida's in 1928 in Zagreb and 1929 in
> Dresden.  Her first at the Met was Feb. 2, 1938 and her last in 1958 at
> with the Met at the Fox Theatre in Atlanta on May 1, 1958.  This was
> probably her last Aida ever.  But thats a 30 year career total over all, 20
> years at the Met.  That is probably a Met record.  She also sang it in
> three languages - Serbo-Croatian, German and Italian.  I am sure she is not
> the only one, but Price's 27 year career as an Aida is spectacular and few
> have matched it, few have exceeded it.
>
> My favorite Price recording - other than the Blue Recital?  The Butterfly
> she recorded with Tucker.  Exquisite.  Price/Tucker and Tebaldi/Bergonzi
> killed it for me.  It has never been sung as exquisitely since.  (The
> Steber/Tucker is not chopped liver either).  As for Price's other
> recordings, the Salzburg Trovatore with Price, Simionato, Corelli,
> Bastianini & Herbie Von K is stunningly amazing.  (LOL - don't kill me for
> that hyperbole)
>
> Donald
>
> On Tue, Mar 14, 2017 at 12:06 AM, Les Mitnick <[log in to unmask]>
> wrote:
>
>> Overlooking her extraordinarily long singing career before the public,
>> and having seen her live in only a few operas, but lots of concerts and
>> recitals, and being the owner of most of her recordings, It's my feeling
>> that
>> it's pretty hard to find any real fault with most of her work.  The voice
>> was
>> without peer in her time, and if she made a few miscalculations in
>> repertoire choices (Thais in Chicago and Fanciulla in New York), she more
>> than compensated for it in the operas she chose to undertake.  The
>> miraculous preservation of her voice is amply demonstrated in her final
>> Aida (and performance) at the Met in January 1985 at the age of 58, by
>> which time she had been singing the role since she first performed it in
>> Vancouver in 1958.  I know of no soprano who could shoulder Aida over
>> the course of such  a long career.  And I'd like to know of a soprano
>> TODAY
>> who could sing Aida as well as Price still could  when she hung up her
>> opera shoes in 1985.  I just watched the DVD (I have the performance in
>> great sound and picture) and the audience response to "O Patria Mia" (and
>> her reaction to it) is still something for the opera history books.
>>      My essential Price treasury:  her Madame Lidione Scene in
>> "Carmelites"
>> as presented in French on her Prima Donna III recording, her "Rondine"
>> aria on her "blue album", the Awakening Scene from Strauss' "The
>> Egyptian Helen", Marietta's Lied from "Die Tote Shtadt", her "Como
>> Scoglio" from "Cosi Fan Tutte", Donna Anna's "Non mi dir" (from Salzburg
>> in 1960 with Schwarzkopf's Elvira, and "Du Bist Der Lenz" from Die
>> Walkure.
>>      She was fluent in sung English, French, and German, and she sang in
>> all of those languages.  She had and preserved a magnificent vocal
>> instrument.  Of course, a certain hoarseness and a bit of fog crept into
>> the
>> lower register in the 1970s, but when one looks at the overall track
>> record
>> and the "complete package", it's pretty hard to find serious fault with
>> one
>> of the smartest sopranos in opera history, who managed her career with a
>> shrewdness and panache that was second to none.  I doubt whether we will
>> encounter her like again.  What a life!  What a career!
>>
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>
>

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