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Subject: Re: Tosca in general
From: William Fiorelli <[log in to unmask]>
Reply-To:William Fiorelli <[log in to unmask]>
Date:Mon, 19 Jun 2017 20:13:23 +0000
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I remember visiting my friend's grandmother who was an opera fan- it was a Saturday afternoon. The broadcast was TOSCA with Bumbry. We put the radio on and listened to ACT 2. As soon as Bumbry began the "Vissi D'Arte" Grandma exclaimed" " That's enough for me."  LOL
BILL


      From: Maxwell Paley <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Monday, June 19, 2017 3:31 PM
 Subject: Re: Tosca in general
   
Tebaldi's C on that particular passage was almost always spectacular, even later on. It's funny because she spoke in an interview about being terrified by it: "Come saltare nel vuoto, non si sa cosa succede." (Like jumping into a hole - you don't know what's going to happen). But it usually came out great, maybe because there was no time to get nervous about it, in contrast to Aida's "O patria mia" C that allows lots of time for tension buildup.

Rysanek also spoke in an interview about much preferring high Cs that are attacked in sudden leaps "like Tosca's" rather than the kind approached stepwise "like Aida's" of the kind that "Leontyne Price likes."

Some time ago I heard Georgine Lukacz make a terrible mess of the Act 2 Cs but then pop out a beautiful note in Act 3. Dorothy Kirsten once said that she thought it was almost impossible to fail on that Act 3 C because (differing with Tebaldi on this) "Puccini builds it so beautifully."

Max Paley



Sent from my iPhone

> On Jun 19, 2017, at 11:35, David Kubiak <[log in to unmask]> wrote:
> 
> Worth saying that in her prime Tebaldi's C on the 'lama' was beyond
> spectacular.  There is a 1953 (her golden year) 'Tosca' with Bergonzi on
> YouTube that proves the point.
> 
> David Kubiak
> 
> 
> On Sun, 18 Jun 2017 17:54:56 -0400, Jon Goldberg <[log in to unmask]> wrote:
> 
> 
>> We, of course, all agree on the iconic "lama" C in Act 3, which is
> certainly one of the great 
>> exposed high C's of all times. Also, the dramatic nature of that whole
> phrase is 
>> unforgettable, where that high C leads to the C two octaves below on "cor"
> - it's just a 
>> simple arpeggio passage downward, but oh, so chilling. Especially when the
> soprano mixes 
>> some gutsy chest voice into the "cor."
> 
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