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Subject: Re: Noteworthy Opera/Vocal Reissues
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Sat, 29 Apr 2017 14:19:47 -0400
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A coupla things.

Milanov retired when the Old Met shut its doors in 1966.
Donald, if she had retired eight yeas earlier, not to mention
ten, I would never have seen her and I would never have
known just how good she could be, even as late as the mid
sixties, when she could still thrill with her remarkable sense
of repose, and piani whose equal I have never heard.

Yes, it was a mixed bag, but the great moments were about
as great as this stuff ever gets -
Maddalena di Coigny the night after Warren died
The fourth act of Otello
All of Gioconda as late as 1961
and La Mamma Morta the night of her Met farewell was worth
the price of admission, whatever you spent.

Late Santuzzas and Toscas were horrifying, but I have a sense
that they were not that much different from her prime - the
Tosca recording is a mess, and Forza was a mistake after
the mid fifties. But, I think most singers would be very happy
to have sounded as fresh as she at the age of 55, and then some

I nevrr got Tebaldi's message, but she never needed me. She
was the most loved singer I ever saw. I accept that you had to
be there for Del Monaco, but I never was, and what I know
from recordings is not what I want to hear very often

Like you, I'm enjoying the Hollander broadcast a lot so far!

Bob

On Saturday, April 29, 2017, Donald Levine <[log in to unmask]> wrote:

> Personally, I'd like to see the Karajan/Tebaldi/Bergonzi Aida and the
> Karajan Tebaldi/DelMonaco Otello included.  The Serafin/Tebaldi/Bergonzi
> Butterfly and the Gavazzeni/Tebaldi/Del Monaco Fanciulla.  Its funny how
> singers who were greatly celebrated in their day fall in the memories of
> succeeding generations.  It almost seems if Tebaldi & Del Monaco are
> footnotes these days, likewise Milanov.  Could all of their colleagues and
> critics have been wrong?  I've met some of Milanov's colleagues who didn't
> get along with her but I never met one who did not speak glowingly of her
> vocal abilities.  To read critical writings these days both professional
> and fan, you'd think she was an ordinary singer.  And, I am not blind, deaf
> or dumb, personally I think she sang too long.  There was just too much
> mileage in the heavy roles on the voice and she probably should have quit
> 8-10 years before she did.  Likewise Tebaldi was adored by many of her
> colleagues, including Nilsson and Rysanek.  Where they wrong?  As for the
> Tebaldi/Del Monaco/Karajan recordings, they are sonic miracles.  Anything
> Karajan was involved with got the royal treatment.
>
> I'm listening to the Dutchman.  The overture gave me goosebumps.  I think
> they made the right decision with Nezet-Sequin.  A friend of mine who is
> retired from the 1st violin section of the Met orchestra things likewise.
> He said the key is whether with each revival he finds new things as Levine
> did over the decades.  Personally, I think the Met will be in good hands.
> Bravo Maestro...listening to the end of the first act now, so far, I'm a
> happy camper:)  😁
>
> On Sat, Apr 29, 2017 at 10:47 AM, Maxwell Paley <[log in to unmask]
> <javascript:;>> wrote:
>
> > More Blu-Ray Audio reissues announced recently, mostly shipping in June:
> >
> > Strauss: Elektra (Solti/NIlsson, Collier, Resnick)
> > Strauss: Salome (Solti/Nilsson, Wächter, Stolze)
> > Beethoven: Fidelio (Bernstinein/Janowitz, Kollo, Sotin)
> > Wagner; Tristan und Isolde (Böhm/Nilsson, Windgassen)
> > Verdi: La Traviata (C. Kleiber/Cotrubas, Domingo, Milnes)
> >
> > These are all the audio only studio recordings (well, except for the
> > “Tristan”) that have been available on Decca and DGG.
> >
> > The only one I’m not rushing to order is the “Traviata” as the DGG
> > surround sound SACD I have sounds very satisfying.
> >
> > Max Paley
> >
> >
> >
> > > On Apr 25, 2017, at 9:24 PM, ls111553 . <[log in to unmask]
> <javascript:;>> wrote:
> > >
> > > I will dust off my SOTA for some A-B testing as soon as the Walküre
> SACD
> > arrives from Japan. I also have the Solti Act III London blueback (I used
> > to browse for hours at the Princeton Record Exchange, long before eBay),
> > which I find to have been very nicely remastered as part of the Decca
> > Legends series, but of course, it would be a treat to have it on SACD or
> > Blu-ray. I'll take a mature Flagstad over ten teenaged Deborah Voigts any
> > time!
> > >
> > > Your listing of coming attractions is very exciting, specially the
> > Beecham - VDLA Carmen and the Kna Parsifal.
> > >
> > > If I had any pull with Universal, I would suggest a Blu-ray set of the
> > complete Ataúlfo Argenta stereo recordings, not just the España
> (available
> > on SACD from both Universal and AP), but also the excellent material
> > recorded by Decca in Madrid, not released on CD outside Spain (pretty
> > decent remasterings, by the way). This includes the Concierto de Aranjuez
> > with Narciso Yepes, the complete Goyescas and Master Peter's Puppet Show,
> > among others. Not too likely, but one can dream!
> > >
> > >
> > > On Tue, Apr 25, 2017 at 10:08 PM Maxwell Paley <[log in to unmask]
> <javascript:;> <mailto:
> > [log in to unmask] <javascript:;>>> wrote:
> > >
> > > > On Apr 25, 2017, at 8:38 AM, ls111553 . <[log in to unmask]
> <javascript:;> <mailto:
> > [log in to unmask] <javascript:;>>> wrote:
> > > >
> > > >
> > > > By the way, a very promising new release from Universal Records Japan
> > is
> > > > the Knapperstbusch - Flagstad Act I of Die Walküre. This is an
> eternal
> > > > favorite of mine, as it pretty much got me interested in the Ring,
> > many,
> > > > many moons ago. My London "blue back" LP, bought second hand in the
> > 1980s,
> > > > was joined by the Decca Classic Sound CD remastering in the early
> > 1990s.
> > > > This edition has always seemed OK to me, but I could not resist
> > pulling the
> > > > trigger on the pricey ($57) Universal single-layer SACD. Maybe this
> > will be
> > > > released domestically as a hybrid SACD by Analogue Productions, but
> > > > Universal SACDs are published in very limited releases and I did not
> > want
> > > > to risk missing this very special recording in what I hope will be
> its
> > best
> > > > sounding version.
> > > >
> > >
> > >
> > > The “Walküre” Act 1 on SACD sounds quite fine, but somehow doesn’t have
> > the sheer impact of the LP. That one, with the sheer forcefulness of gut
> > hitting string on that opening, is still very powerful. I know some
> people
> > found Flagstad’s Sieglinde in her early 60’s too matronly, but I think
> > she’s wonderful - the voice flooding the speakers. She also, bless her
> > soul, manages to keep the words on the right order in her “Der Männer
> > Sippe” narrative “O fänd ich ihn heut und hier den Freund” not being
> afraid
> > of the the “eee” sound on the high A, as she also maintains it exclaiming
> > him to be “Siegmund” on that same note, rather than that all too
> frequently
> > heard “Saagmund.”
> > >
> > > I do hope they’ll also issue Act 3 under Solti, although my LPs still
> > sound mighty find on that too.
> > >
> > > I wouldn’t hold my breath for Analog Productions to release any opera.
> > >
> > > Other new issues coming out on SACD but not yet released include, from
> > Warner in Japan, the Giulini “Don Giovanni,” Beecham “Carmen” and
> Klemperer
> > “Magic Flute.” Also, Universal in Japan is releasing the Knappertsbusch
> > stereo (1962) Bayreuth “Parsifal” on SACD.
> > >
> > > Max Paley
> > >
> > >
> > >
> >
> >
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