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Subject: The good old days and singers
From: R PRADA <[log in to unmask]>
Reply-To:R PRADA <[log in to unmask]>
Date:Fri, 26 May 2017 00:29:07 -0400

text/plain (37 lines)

Sutherland told a friend that Clara Butt once covered up two military bands on a field. I believe it was "Land of Hope and Glory". But I could be wrong. Sutherland stood close to her on stage at Coventry Garden to observe how she breathed and learned a lot from her.

Once an old timer told me that voice Caruso and of Melchior were so enormous that when you heard them sing it felt as if you were being pasted to your seat by blowback. He said nobody singing now has that kind of power.

Caruso was born in an age when body builders showed their strength by breaking chains around their chests by the sheer force of their expansion. I believe Caruso to have had that kind of power. Did he use it for singing? I have no idea.

I never heard anything like that, but Nilsson sounded like a laser beam. I stood next to her as she sang on several occasions and the voice was totally projected so that very little of it sounded if you were next to her. But in the theater it was intense. I was in several Strauss operas with her while I was in school.

In Electra at Teatro Colon, Mastilovich sounded uncomfortably loud as I stood behind her and above by about four feet. It was a big, aggressive sound and it sounded raucous to me. I was in the audience for several performances and it was just as loud.


Sent from my iPhone

> On May 26, 2017, at 12:00 AM, OPERA-L automatic digest system <[log in to unmask]> wrote:
> In his book ''The American Opera Singer,'' the critic Peter G. Davis
> recounts a story of Ms. Farrell's first performances with the powerhouse
> tenor Franco Corelli in ''La Forza del Destino'' in Philadelphia. After one
> duet, Mr. Corelli raced offstage shouting in Italian: ''Who is this woman?
> She has made me deaf!

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