LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Enduring soprano voices
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Wed, 15 Mar 2017 15:51:15 +0000
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (564 lines)


May I suggest Helen Donath, Elisabeth Gruemmer, Soile Isokoski and Eidé Norena?
Best- David Shengold


.............................

Tom Ponti wrote:
 Probably the most consistent great sopranos past 45 were: Sutherland, Caballe, Freni, Devia, Edita Gruberova, Kirsten, Nilsson, and dare I say, Amara? No doubt there were others, but I can't think of any right now.






      From: OPERA-L automatic digest system <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Wednesday, March 15, 2017 11:19 AM
 Subject: OPERA-L Digest - 15 Mar 2017 - Special issue (#2017-269)
  
There are 6 messages totalling 521 lines in this issue.

Topics in this special issue:

  1. Opera as awakening
  2. Leontyne Price - Fanciulla del West (4)
  3. Pretentious Quotes

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

----------------------------------------------------------------------

Date:    Wed, 15 Mar 2017 09:14:01 -0400
From:    R PRADA <[log in to unmask]>
Subject: Opera as awakening

I am sure there are many stories of kids awakening to opera as presented on S=
aturday afternoon radio broadcasts.

By the time I was five I was listening every week with the housekeeper as sh=
e ironed. Opera for me was thrilling. I remember Aida as exciting and grand.=
 I marched around the kitchen pretending to play a trombone during the trium=
phal march.

I don't think opera has ever taken on an intellectual cast for me. It is a f=
ire in the belly. Yes, I know lots about it. I like some more than others. T=
hat is personal and based on attraction. My taste has changed some over the y=
ears. That is pure affinity.

RP



Sent from my iPhone

> On Mar 15, 2017, at 8:56 AM, OPERA-L automatic digest system <LISTSERV@LIS=
TSERV.BCCLS.ORG> wrote:
>=20
> For lots of people, opera in general *is* boring

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

------------------------------

Date:    Wed, 15 Mar 2017 06:40:06 -0700
From:    Max Paley <[log in to unmask]>
Subject: Re: Leontyne Price - Fanciulla del West

=46rom how Price talked about the "Fanciulla" experience later, it's clear t=
hat the experience of having her voice, as you put it, "give out completely"=
 absolutely terrified her. Someone with less grit would have probably cancel=
led all future performances of the opera and everything else, but she was a p=
ro.

She talked about how she retreated to Rome as soon as she could to rest and t=
hink. She was ecstatic to find herself able to "scream my lungs out" before l=
ong, but she also clearly applied deep thought toward how she would manage h=
er voice and career moving forward.=20

=46rom that point on, she seemed to do what she felt was right for her and d=
idn't care so much what anyone else thought. Later on, she advised young sin=
gers on the importance of bring able to tune out "the noise."

She once said that her least favorite of her own recordings was the first "Fo=
rza" (the Schippers set with Tucker) because she felt she was "not in voice"=
 for those sessions. She wasn't happy with several of her "Cosi fan tutte" l=
ive performances but she was quite proud of the recording.

One of my favorite recordings of hers is the Handel "Care selve" that opened=
 Vol. 2 of her "Prima Donna" series. It's absolutely clean, pure, silver sou=
nd.

Max Paley

Sent from my iPad

> On Mar 15, 2017, at 05:56, Bob Rideout <[log in to unmask]> wrote:
>=20
> Walter
>=20
> This is actually what happened -
>=20
> She sang the role on Opening Night of the Met 1961
> season.
>=20
> I attended the second performance. which was interrupted
> for over an hour, when her voice gave out completely in the
> middle of act two. Dorothy Kirsten, who reportedly had
> retired for the night, was called at home and arrived as
> quickly as she could to sing the third act, wonderfully, I might
> add. Price gave no hint of distress in act one. She sounded just
> fine!  The date was 10/31/61.
>=20
> Walter, barely a month later, on 12/4, she sang a complete
> performance at the Met,
>=20
> During the Spring 1962 tour she sang the opera at both
> Cleveland and Dallas.
>=20
> Walter, words matter!
>=20
> Bob
>=20
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------=

> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------=

> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL=

> --------------------------------------------------------------------------=

> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------=

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

------------------------------

Date:    Wed, 15 Mar 2017 10:02:18 -0400
From:    Buoso Donati <[log in to unmask]>
Subject: Re: Leontyne Price - Fanciulla del West

In Dorothy Kirsten's autobiography, she recalls a meeting with with Bing =
to
discuss the coming season and which roles she would be singing.

Kirsten had been giving Bing a bit of a hard time, turning down roles he
offered that she wasn't interested in doing, for various reasons.

During the discussion (I'm paraphrasing here) Bing informed her that he h=
ad
nothing to offer her for the coming season "what with Miss Price and all"=
.

 

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

------------------------------

Date:    Wed, 15 Mar 2017 10:51:27 -0400
From:    donald kane <[log in to unmask]>
Subject: Re: Pretentious Quotes

It has been clear for quite some time now, that "GCR" gets satisfaction
out of digging up provocative statements about opera from a variety of
sources, and posting them to see what happens.  What's wrong with that?
Can't we just get used to it, the way we have to get used to a tsunami of
conflicting data on when, where, and how a celebrated diva sang what, as,
currently in the case of Leontyne Price,  around whom the waters have still
not receded?  Nothing new about any of it.

As a matter of fact, the belittling of opera's stature as a form, in
relation
to the art of music in its entirety, is understandable, and depending on
the musical historians being quoted, more than justified as food for
thought.
What I do question is the purpose of offering quotations under the name
"anonymous".  Who wants to agree or disagree with him?

dtmk

On Tue, Mar 14, 2017 at 11:54 PM, Jon Goldberg <[log in to unmask]> wrote:

> Boy how you do seem to be (*seem* to be???) obsessed with some fabricated
> "class
> system" of operas and with "serious study" of opera. So many of your
> quote-pulling posts
> seem to echo these concepts. One would think by now you'd want to talk
> about something
> else, lol.
>
> That said - in the world at large (i.e. not in our little opera-obsessed
> bubble), there is most
> likely no such thing as "middlebrow" opera. For lots of people, opera in
> general *is* boring,
> partially because it's seen as being so pretentiously highbrow. We know
> that perception is
> wrong, but still that perception exists. (And the same goes for
> perceptions about classical
> music in general, of course.)
>
> Ironically, I think it's only the most self-important, self-proclaimed
> "highbrow" opera fans
> who rate popular operas as "boringly middlebrow." Personally, I find those
> kind of so-called
> opera fans boringly faux-highbrow, and really don't want to have anything
> to do with them.
>
> I like a good mix of the standards AND the more obscure, adventurous rep,
> as I assume
> most all of us do (save you and Mr. Grossman, lol). I see no problem in
> that. I think Mr.
> Grossman should be permanently locked in a padded cell with some of that
> typical
> Hollywood fodder (whatever that means) and some really boring Aida Boheme
> and
> Carmen. I think that would be proper Mikado-like punishment. ;-)
>
>
> On Tue, 14 Mar 2017 22:55:54 -0400, Genevieve Castle Room
> <[log in to unmask]> wrote:
>
> >>1) Most works in the standard (i.e., boringly middlebrow) operatic
> >repertoire do not warrant serious study and deserve to be seen no more
> than
> >typical Hollywood fodder.
> >
> >(Andrew Grossman)
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

------------------------------

Date:    Wed, 15 Mar 2017 15:08:15 +0000
From:    William Fiorelli <[log in to unmask]>
Subject: Re: Leontyne Price - Fanciulla del West

Bing had envisioned Price singing heavier roles- even Abigaille in NABUCCO.=
=C2=A0 Bing also asked Tucci if she would consider singing FANCIULLA. She w=
isely turned him down.BILL


      From: Max Paley <[log in to unmask]>
 To: [log in to unmask]
 Sent: Wednesday, March 15, 2017 9:40 AM
 Subject: Re: Leontyne Price - Fanciulla del West
  =20
From how Price talked about the "Fanciulla" experience later, it's clear th=
at the experience of having her voice, as you put it, "give out completely"=
 absolutely terrified her. Someone with less grit would have probably cance=
lled all future performances of the opera and everything else, but she was =
a pro.

She talked about how she retreated to Rome as soon as she could to rest and=
 think. She was ecstatic to find herself able to "scream my lungs out" befo=
re long, but she also clearly applied deep thought toward how she would man=
age her voice and career moving forward.=20

From that point on, she seemed to do what she felt was right for her and di=
dn't care so much what anyone else thought. Later on, she advised young sin=
gers on the importance of bring able to tune out "the noise."

She once said that her least favorite of her own recordings was the first "=
Forza" (the Schippers set with Tucker) because she felt she was "not in voi=
ce" for those sessions. She wasn't happy with several of her "Cosi fan tutt=
e" live performances but she was quite proud of the recording.

One of my favorite recordings of hers is the Handel "Care selve" that opene=
d Vol. 2 of her "Prima Donna" series. It's absolutely clean, pure, silver s=
ound.

Max Paley

Sent from my iPad

> On Mar 15, 2017, at 05:56, Bob Rideout <[log in to unmask]> wrote:
>=20
> Walter
>=20
> This is actually what happened -
>=20
> She sang the role on Opening Night of the Met 1961
> season.
>=20
> I attended the second performance. which was interrupted
> for over an hour, when her voice gave out completely in the
> middle of act two. Dorothy Kirsten, who reportedly had
> retired for the night, was called at home and arrived as
> quickly as she could to sing the third act, wonderfully, I might
> add. Price gave no hint of distress in act one. She sounded just
> fine!=C2=A0 The date was 10/31/61.
>=20
> Walter, barely a month later, on 12/4, she sang a complete
> performance at the Met,
>=20
> During the Spring 1962 tour she sang the opera at both
> Cleveland and Dallas.
>=20
> Walter, words matter!
>=20
> Bob
>=20
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> -------------------------------------------------------------------------=
-
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:=C2=A0 SIGNOFF OPERA-L
> -------------------------------------------------------------------------=
-
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:=C2=A0 SET OPERA-L =
NOMAIL
> -------------------------------------------------------------------------=
-
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> -------------------------------------------------------------------------=
-
**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:=C2=A0 SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:=C2=A0 SET OPERA-L NO=
MAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

  =20

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

------------------------------

Date:    Wed, 15 Mar 2017 15:18:44 +0000
From:    tom ponti <[log in to unmask]>
Subject: Re: Leontyne Price - Fanciulla del West

Last night, on You Tube, I heard several performances of Pace Pace Mio Dio =
by Price in the early-mid eighties. Not as good as in her prime, but still =
wonderful and better than most singing the role then. It seems that most gr=
eat sopranos, past 45 have vocal difficulties and off nights. Certainly Cal=
las, Tebaldi, Victoria dLa, Price and Milanov did. Probably the most consis=
tent great sopranos past 45 were: Sutherland, Caballe, Freni, Devia, Edita =
Gruberova, Kirsten, Nilsson, and dare I say, Amara? No doubt there were oth=
ers, but I can't think of any right now.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> o=
n behalf of Max Paley <[log in to unmask]>
Sent: Wednesday, March 15, 2017 9:40 AM
To: [log in to unmask]
Subject: Re: [OPERA-L] Leontyne Price - Fanciulla del West

From how Price talked about the "Fanciulla" experience later, it's clear th=
at the experience of having her voice, as you put it, "give out completely"=
 absolutely terrified her. Someone with less grit would have probably cance=
lled all future performances of the opera and everything else, but she was =
a pro.

She talked about how she retreated to Rome as soon as she could to rest and=
 think. She was ecstatic to find herself able to "scream my lungs out" befo=
re long, but she also clearly applied deep thought toward how she would man=
age her voice and career moving forward.

From that point on, she seemed to do what she felt was right for her and di=
dn't care so much what anyone else thought. Later on, she advised young sin=
gers on the importance of bring able to tune out "the noise."

She once said that her least favorite of her own recordings was the first "=
Forza" (the Schippers set with Tucker) because she felt she was "not in voi=
ce" for those sessions. She wasn't happy with several of her "Cosi fan tutt=
e" live performances but she was quite proud of the recording.

One of my favorite recordings of hers is the Handel "Care selve" that opene=
d Vol. 2 of her "Prima Donna" series. It's absolutely clean, pure, silver s=
ound.

Max Paley

Sent from my iPad

> On Mar 15, 2017, at 05:56, Bob Rideout <[log in to unmask]> wrote:
>
> Walter
>
> This is actually what happened -
>
> She sang the role on Opening Night of the Met 1961
> season.
>
> I attended the second performance. which was interrupted
> for over an hour, when her voice gave out completely in the
> middle of act two. Dorothy Kirsten, who reportedly had
> retired for the night, was called at home and arrived as
> quickly as she could to sing the third act, wonderfully, I might
> add. Price gave no hint of distress in act one. She sounded just
> fine!  The date was 10/31/61.
>
> Walter, barely a month later, on 12/4, she sang a complete
> performance at the Met,
>
> During the Spring 1962 tour she sang the opera at both
> Cleveland and Dallas.
>
> Walter, words matter!
>
> Bob
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> -------------------------------------------------------------------------=
-
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> -------------------------------------------------------------------------=
-
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAI=
L
> -------------------------------------------------------------------------=
-
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> -------------------------------------------------------------------------=
-
**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

------------------------------

End of OPERA-L Digest - 15 Mar 2017 - Special issue (#2017-269)
***************************************************************


   

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager