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Subject: Re: Happy Birthday, my Zinka (1906)
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Wed, 17 May 2017 14:09:42 -0700
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The first Milanov I heard was the first track on her "Milanov Sings" 1953 LP, the "Son giunta! ... Madre pietosa vergine." I was 15, just learning about opera, and I thought she sounded like Nilsson covered in velvet.

Callas and Serafin are electrifying in that same passage. The rhythmic force and forward drive are incomparable.

Walter Legge was very concerned about what he felt was the first serious appearance of a wobble during those "Forza" sessions. He unkindly told Callas that he feared they would have to include a bottle of seasickness pills in the box set.

I find Milanov more uneven on the complete RCA "Aida." The "numi pieta," "o patria mia," "la, tra le foreste vergine" and Tomb Scene are exquisite. Some rough going in between. But this is one where the better equipment and better source you have (like the original plum label RCA LPs 
or open reel release or the most recent Sony remastering), the better she sounds: the more you hear the resonance and soaring quality and the less you notice squalliness.

Max Paley

Sent from my iPhone

> On May 17, 2017, at 12:11, Max D. Winter <[log in to unmask]> wrote:
> 
> Those are some of the loveliest sounds ever to issue from a soprano's throat.  
> 
> But if you want to hear a rendition of that aria that lays bare Leonora's emotional anguish and 
> tears your heart out, listen to Callas on her complete "Forza" recording.  She doesn't have 
> Milanov's vocal lushness.  But the dramatic truth is profound.  (Just listen to "In mezzo a 
> tanto, a tanto duol!")
> 
> https://www.youtube.com/watch?v=WClMRAlRYk4  
> 
> Two kinds of beauty.  I would not want to be without either.  But if I want the drama, I will go 
> with Callas, vocal warts and all. 
> 
> MDW 
> 
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