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Subject: Re: Bjorling-Bergonzi, et al
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Fri, 26 May 2017 11:48:58 +0000
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For some reason the few times I saw Farrell, I did not find her voice to be as big or loud as Nilsson, Tebaldi or Crespin.  Farrell was Gioconda in the first opera I ever attended at the Met. I also saw her once or twice in Wagner excerpts with Bernstein and the NY Philharmonic. Her Gioconda was very disappointing as she made Gioconda seem like a secondary role. I also found her recordings and TV appearances less than interesting. As for Bergonzi, his voice was not naturally as loud as Del Monaco, Domingo, Corelli or a few others, but it was large enough and due to his great technique, he was able to sing lyric and most of the heavier Italian roles as well or better than his larger voiced contemporaries throughout his career. In an interview I heard him say that he could hold a note longer than most, so that if another singer tried to out sing him, he would hold the note longer than they could. I remember that in the final of Norma, his voice soared above Sutherland's and the chorus.  He was wise enough to pick his spots to sound loud.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Bob Rideout <[log in to unmask]>
Sent: Friday, May 26, 2017 7:09 AM
To: [log in to unmask]
Subject: Re: [OPERA-L] Bjorling-Bergonzi, et al

Hi Mura

I think you may be recalling Jim Lamb, an extraordinarily
generous man, whose great pleasure was sharing his wealth
of recorded material.

Speaking of Eileen Farrell, it was a huge voice, especially
just above the staff, around G and Ab. The very top was
less resonant, not unlike Helen Traubel, but more dependable.

Bob

On Thursday, May 25, 2017, Mura Kievman <[log in to unmask]> wrote:

> At 10:28 PM 5/25/2017, Kenneth Bleeth wrote:
>
>> A well-known anecdote about Eileen Farrell:
>>
>> 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!''
>>
>
>
> You remind me of the time when I was playing a Farrell rendition that had
> been provided to us by -- oh, how can I forget this wonderful man's
> name??!!  Bob Rideout will tell me ...
>
> Anyway, my Danish soprano friend was staying with us and my computer was
> in the guest room.  She came rushing over, saying "WHO IS THAT WOMAN?"
>
> It sounds like that was a common reaction ...
>
> Mura
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