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Subject: Re: Bjorling-Bergonzi, et al
From: daaaac <[log in to unmask]>
Reply-To:daaaac <[log in to unmask]>
Date:Thu, 25 May 2017 14:26:05 -0400
Content-Type:text/plain
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My former voice teacher, Wayne Conner, sang Remendado to Corelli’s Don José.  He really couldn’t hear him very well onstage.

Donald

> On May 25, 2017, at 12:41 PM, Les Mitnick <[log in to unmask]> wrote:
> 
> Mr. Affron:
> 
>        I find your observations very interesting.  My age prohibited me from ever experiencing Bjoerling, Albanese, Milanov live in the opera house, though I own tons of their commercial recordings and broadcasts from the Met.  I never experienced Tebaldi in the theater until the middle 1960s, which was pretty late in her career, but I can say without reservation that indeed the Tebaldi voice was pretty large when she put her voice into fifth gear.  
> 
>       I did have the opportunity in Chicago to super in a Nilsson Fidelio, as well as a Nilsson Turandot about ten years later.  I also heard her live (from the orchestra section of both the Opera House as well as Symphony Center.   When I appeared as a super in Fidelio and Turandot, I felt my ears vibrate and buzz when Nilsson was in full cry.  The sheer size of her voice was such that I was dumbfounded.  Her Gotterdammerung Brunnhilde was a marathon, and the final part of the Immolation Scene she cut through the orchestra like a giant laser.  As far as the Aida to which you allude, I'm not so sure that I'd use this opera as an accurate measuring stick to evaluate Nilsson's vocal power. I never felt this particular role was really appropriate for her voice. or more accurately, did it show her strengths to especially good advantage.   
> 
>      Of course you mention some mighty huge voiced singers in your post.  How lucky for you to have experienced them live!
> 
> 
>                                                                                                                                       Les/Chicago
> 
>                                                                                                                                                                                                                                                                                                                                                                                                     j                                                                                                                                                                                                                                                                                                                                                                     
> 
>> 
>>    On May 25, 2017 at 9:23 AM Charles Affron <[log in to unmask]> wrote:
>> 
>>    The first time I heard Bjorling live was in the Dec. 1950 "Faust" matinee
>>    with Siepi and Kirsten. I was sitting close to the proscenium in the Dress
>>    Circle. Bjorling sounded undernourished. But in the Albanese "Manon
>>    Lescaut" matinee and in his last Met performance as Turiddu, he was
>>    thrilling, the sound not large and enveloping but certainly with a visceral
>>    impact. His voice was focused like a laser and if you were seated on the
>>    side you couldn't hear the full resonance. Nilsson was similar. I supered
>>    in an "Aida" in Boston. During the Triumphal scene she threw all that sound
>>    out into the auditorium but was nearly inaudible on the stage. Rita Gorr,
>>    the Amneris, on the other hand, was stupendous.
>> 
>>    Bergonzi made an impact no matter where I was sitting. Del Monaco did not.
>>    Milanov and Arroyo had enormous top registers; Milanov was also very strong
>>    throughout the range.
>> 
>>    The biggest voices I experienced live were Farrell's and Tebaldi's. Farrell
>>    made sport of Bernstein and the NY Phil is "bleeding chunks" of "Tristan."
>>    In the Act III concertato of "Otello," the Met chorus, orchestra, and array
>>    of principals were accompaniment to Tebadi's phrases. As for the final aria
>>    of "Butterfly," a friend of mine was in the lobby of the old Met and heard
>>    it. You can imagine what it was like in the auditorium.
>> 
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