LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


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


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

Subject: Re: Some comments on Krassimira Stoyanova in Aida
From: David Kubiak <[log in to unmask]>
Reply-To:David Kubiak <[log in to unmask]>
Date:Mon, 17 Apr 2017 14:23:40 -0400

text/plain (29 lines)

I turned on the broadcast at 'Ritorna vincitor', and was impressed by the
'ampiezza' of Stoyanova's voice, as well as her willingness to employ a
strong chest register. I also noticed some untraditional vocal underlay I
wonder where she found.  As the opera went on, however, I began to think
that the voice was rather too 'ampia'.  Her problems with 'O patria mia'
stemmed, I think, from her inability to modulate volume with any ease, and I
must side with those who thought the gasp for breath before the C was not
acceptable.  In the following duet she sang unremittingly loud; I didn't
hear the Tomb Scene, but wonder how she coped with those high piano notes
that were so extraordinarily beautiful early in Tebaldi's career. (In her
short prime I'll give Millo the piano singing, but the big stuff was never
quite big enough.) From what I heard Stoyanova has an impressive but
unwieldy instrument.  For me Radvanovsky a few seasons ago in Chicago was

David Kubiak 

OPERA-L on Facebook:
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:

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



CataList Email List Search Powered by the LISTSERV Email List Manager