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: Re: Some comments on Krassimira Stoyanova in Aida
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Sun, 16 Apr 2017 00:43:30 -0500
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (135 lines)


With all due respect to the highly esteemed Mr. Rideout (I generally agree with him), I found Stoyanova's Aida to be quite distinguished.  I very much like the way she uses her very generous and full lower chest register, and she made some wonderful effects there throughout the afternoon.  "O Patria Mia"?  I've heard FAR worse renditions by some legendary sopranos.  I don't consider it to be such an "infamia" to take a slight breath/pause before that infamous top C.  The note itself was secure, sustained, and fine (in my opinion).  Frankly, I think that Krassimira Stoyanova is a great soprano.  I loved her broadcast Nedda, Donna Anna, as well as some of her other outings as well.  It's become a major voice, and it was a pleasure to hear it in Aida.  I found Urmana to be a very compelling Amneris.  I found Massi's Radames to be far better than other recent Met tenors on recent broadcasts.  All in all, a well sung Aida all the way around.
> On April 15, 2017 at 4:46 PM Vesna Danilovic <[log in to unmask]> wrote:
> 
> 
> Quickly to correct my inadvertent typo (still having Stoyanova's "Ritorna
> vincitor" in my thoughts :-)). I obviously meant "Celeste Aida" for
> Radames. Having not heard this solo, I'm glad to read Paul F.'s positive
> reactions about Massi's Radames.
> 
> Apropos Jonas K., the lack of squillo is what bothers me about his Italian
> repertoire. That Italianate brilliance is just not there in his voice,
> though he is a stylist par excellence.
> 
> Best, Vesna
> 
> On Sat, Apr 15, 2017 at 5:37 PM, Paul Ferraro <[log in to unmask]> wrote:
> 
> > Although she did engage in some rather idiosyncratic phrasing, I thought
> > Stoyanova's the very best Aida I heard since the great April Millo's
> > ownership of the role.
> >
> > I rather enjoyed Massi's Italian spinto singing, but thought he could use
> > somewhat more squillo - I think his voice would lend itself well to Alvaro
> > & Otello, certainly moreso than Jonas K.
> >
> > Urmana was quite ordinary, as was Gagnidze; but really, Morris needs to
> > pack it in already.
> >
> >
> > DonPaolo
> >
> > On 4/15/2017 5:28 PM, Vesna Danilovic wrote:
> >
> > Hi Bob and list,
> >
> > I didn't know that today's broadcast started 30 min. earlier and missed a
> > good part of Act I. I did manage to hear Stoyanova's "Ritorna vincitor" and
> > I don't think you would have been disappointed. She sang it with the pathos
> > and sensitivity of a great Aida, superb phrasing, and her top was
> > beautiful. I also found her chest voice impressive. That said, I had the
> > same reaction to her "O patria mia" as you did and assume that she tired by
> > then though, as you said, she sang wonderfully afterwards.
> >
> > Sorry to say that I had difficulty listening to Urmana's shrill and wobbly
> > voice. Didn't hear Massi's "Ritorna vincitor" but his Radames didn't strike
> > me as anything distinctive, occasionally sounded labored to my ears, though
> > certainly an improvement over a couple of previous disappointments in this
> > role.
> >
> > I enjoyed the intermission spotlight on Roberta Alexander's career.
> >
> > Best, Vesna
> >
> > On Sat, Apr 15, 2017 at 4:42 PM, Bob Rideout <[log in to unmask]> <[log in to unmask]> wrote:
> >
> >
> > from the Met today, as heard on WQXR.
> >
> > She is among my favorite singers from this generation, and I
> > very much looked forward to this performance, though I
> > planned to, and in fact did, hear only Acts 3 and 4.
> >
> > "O patria mia" was extremely disappointing, from choppy
> > phrasing, to alternations of sharp and flat singing, to failed
> > attempts at sustaining the long line. The top C was ok, but
> > far from ideal. It was all kind of a mess, and I was really surprisd
> >
> > Once past that formidable failure, she sang magnificently,
> > encompassing both the dramatic demands of the Amonasro duet
> > and the lyricism of the Radames duet. She defined her dilemma and
> > its music nearly perfectly and the Tomb Scene was a model of
> > control and repose.
> >
> > As I reflect on the great aria, so poorly executed, I can only conclude
> > that it was a giant case of nerves, because the rest was at a level
> > almost never heard these days and not too often matched in days of
> > yore. The phrasing, usually her strength, was really unfortunate.
> >
> > I'm sorry now that I couldn't hear the first two acts, if only out of
> > curiosity. Hoping to read some other comments
> >
> > 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 [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 [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
> --------------------------------------------------------------------------

**********************************************
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