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: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Mon, 17 Apr 2017 11:47:59 -0700
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (60 lines)


Let us also remember Krassimira Stoyanova is no spring chicken.  She is 55
years old, well beyond the sell date for most Aida's. Except for Price who
was still able to do some remarkable things (and others not so remarkable)
with Aida at a late date, most Aida's, even the truly great ones like
Milanov, Rethberg and Tebaldi were finished with the role rather early.
Milanov the exception sang it until about 52, but Tebaldi in her late 30's
and Rethberg when she retired at 48.  Two superb Aida's who continued with
the role and rather well kind of late in the day were of course Anna
Tomowa-Sintow and Julia Varady, for me the two great Verdi soprano's after
Price.  Honorary mention must also go to Sharon Sweet, at her best
formidable indeed.

Donald

On Mon, Apr 17, 2017 at 11:23 AM, David Kubiak <[log in to unmask]> wrote:

> 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
> better.
>
> David Kubiak
>
> **********************************************
> 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