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Subject: Re: Some comments on Krassimira Stoyanova in Aida
From: Paul Ferraro <[log in to unmask]>
Reply-To:Paul Ferraro <[log in to unmask]>
Date:Sat, 15 Apr 2017 17:37:38 -0400
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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]> 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
>>
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