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Subject: Re: a final word on Leontyne Price
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Wed, 15 Mar 2017 04:57:44 +0000
Content-Type:text/plain
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Date:    Tue, 14 Mar 2017 23:02:59 +0000
From:    "Takis Pavl." <[log in to unmask]>

Back to Leontyne, for me nothing she did in Italian opera compares to her Cleopatra in the world premiere of Barber's work or her performance as Vanessa....................

What performance as Vanessa? Price sang only the first act aria, and that only on a recording ( true , magnificently).


As for Walter's surprisingly Tebaldi-free comments below, a few points:

Price sang another Verdi role, Alice Ford, onstage while doing graduate work at Juilliard.
Price sang Tosca on NBC television in 1955 with David Poleri.
Remembering San Francisco Opera adds on 6 more Toscas and 7 more Amelias-- which she actually debuted THERE, in 1965 not 1966 and sang again in 1968.
Add on another Tosca in Philadelphia- not a Met tour show, but with Gismondo , Bardelli and Flagello under F, Patané

"Once she made her debuts all over the world, she stayed in her home country."
How then did she manage to appear in Salzburg ( where she debut circa 1959) in HvK's 1977 TROVATORE? And in recital as late as 1984?  Or at Covent Garden ( where she debuted in 1958) in TROVATORE in 1970 and AIDA in 1973? Or Vienna ( where she debuted in 1952) in a 1977 TROVATORE?


20 roles onstage? I count 22:
Bess  Alice Ford Aida Leonora Leonora da Vargas
Elvira (ERNANI), Amelia, Manon Lescaut, Tosca, Butterfly, Giogietta, Liu, Mme Lidoine, Thais, TatianaPamina, Fiordiligi, Donna Anna, Donna Elvira, Cleopatra, 
Ariadne, Peasant's Daughter (DIE KLUGE)
She also took part in concert stagings of POPPEA and GIULIO CESARE with the American Opera Society in NY and Philadelphia.
Cheers - David Shengold





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Date:    Wed, 15 Mar 2017 03:28:41 +0000
From:    walter guitian <[log in to unmask]>
Subject: Re: a final word on Leontyne Price

Price sang Tosca=C2=A0first peformance was April 1962 at the Metropolitan, =
the recorded it that same year with Karajan and last was November 1963 in L=
os Angeles. and if I remember correctly there was one more Tosca in Wienn i=
n 1964. She sang Tosca very littleIn 1970 R=C3=A9gine Crespin had to sing T=
osca at the Metropolitan and in the rehearsal she told to conductor Molinar=
i -Pradelli "maestro you have to help me, I don't have the C" and Molinari-=
Pradelli answered her "if you don't have the C I can not help you". Cresoin=
 was so offended she laft the Tosca and flew to Buenos Aires where she had =
her friends. She never sang Tosca again
Crespin was scheduled for the Zubin Metha Tosca recording with Domingo , bu=
t she had to reject the project after that the recording was finally done i=
n august 1972 and and Price replaced her, So Price history with Tosca is sh=
e sang it two years on stage and made two opera recordings
Price debuted un Ballo in maschera in 1966 , she sang it at the Metropolita=
n, and in tour, she recorded it the same year 1966 with Leinsdorf and Bergo=
nzi and sang it in 1967/68 at the Metropolitan, and last performance at La =
Scala in 1968 (her Scala farewell performance ) and she dropped the role
She saved her voice by doing more concerts and recitals. Price never really=
 changed repertoire. She may have dropped a couple roles, but she always sa=
ng the same things throughout her whole career. A=C3=ADda is the role she s=
ang more often ,It hard to say how many Aida because archives get lost over=
 the years, but I'd say around 80 performances.
She sang very little opera, . Once she made her debuts all over the world, =
she stayed in her home country. If she sang over 100 Aidas, I would be shoc=
ked. She simply did not sing a large amount of opera. In her 25 years at th=
e Met, she only sang the role 40 times and that is her favorite opera house=
. She gave a total of 208 performances at the Metropolitan (including in to=
ur) She recorded a gigantic amount of repertoire. She just didn't take all =
of it to the stage.
Price sang 20 roles on stage. Exactly. She did not sing many different role=
s. She stuck with what she knew and what she liked. On the stage, she sang =
only five Verdi roles. Aida, La Forza, Il Trovatore, Un Ballo, Ernani.
But she once the 1970's and 1980's happened, she  sang less opera.Her days =
of focusing on fully staged opera were over after the 1960's



She  did not like to sing Butterfly so she let Arroyo have the engagements.
Price was not a large voice. it wasn't pushed or supported by a big body. F=
or a small woman, she had a big voice. But for an opera singer, she was a l=
yric soprano

 Price sang at La Scala from 1960 to 1968 She sang Aida, Madama Butterfly, =
Donna Anna, Verdi Requiem, Amelia at La Scala. She appeared in seasons 1959=
-1960, 1960-1961, 1962-1963, 1963-1964, 1966-1967, 1967-1968. With her fina=
l role there as Amelia in May 1968

Fanciulla del west '61 She lost her voice in the middle Act 2 and had to sp=
eak the rest of the opera.After that experience she was so embarrassed she =
hid in Rome for three months. Then did the role in Dallas and never touched=
 it again. Except to record Minnie's aria in 1972
 She quit the Met for two years because she wanted Bing to leave. She sang =
one opera and then sang at his Gala and that was it. She appreciated him as=
 a man, but really did not like working for him.She made no appearances in =
1970 or 1971

Price  was pretty bad in the 1976 Aida production with Horne
 Manon Lescaut In San Francisco in 1974 and In New York in 1975. Ariadne in=
 San Francisco in 1977 and recorded in 1977 and in New York in 1979. She wa=
nted to sing more Strauss, but only sang Ariadne. She regretted this.

 Domingo recording Otello  in 1978 She was originally announced as Desdemon=
a. Placido fired her. He said that vocally, she was expired and old and he =
didn't want his Otello to be with her. And for her to be replaced with the =
awful Scotto. That is bad. So bad.

She sang Ariadne auf Naxos at the MET in 1979. She got sick and so she sang=
, but it wasn't her best. She said the next year, she wanted to sing Der Ro=
senkavalier and then retire. The Metropolitan told her she could not sing t=
he Marschallin, so she did her three Verdi Heroines and ended up doing stag=
ed opera much longer than she originally wanted to.


Walter


   

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