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Subject: Fwd: Tosca and high Cs
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Tue, 20 Jun 2017 12:31:16 -0400
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A couple of things

I misspoke earlier. I did not see Leonie as Turandot, which is the role
I most wish I had seen.

When I saw the Lady Macbeth, I was aware of not only the low note
problem, but of problematic vocalsm in general. I saw the revival with
Colzani, her last at the Met and she was in the depths of a vocal crisis
that led her to abandon all Verdi at the Met a year or so later. That
was a very bad time in her career, but like the phoenix.....

I cannot begin to answer your Bolena/Macbeth question. Why Macbeth
works with some mezzos and Bolena has never been attempted (as far as
I know) is beond my ability to define. BTW, Michael is correct; Irene Dalis
was a superb Lady Macbeth.

Bob

On Tue, 20 Jun 2017 11:55:10 -0400, Geoffrey Riggs <[log in to unmask]
<javascript:;>> wrote:

>On Tue, 20 Jun 2017 06:25:32 -0400, Bob Rideout <[log in to unmask]
<javascript:;>> wrote:
>
>>Geoffrey
>>
>>I doubt that, outside of Turandot, any of the operas you name have
>>5 top Cs. She sang lots of other roles with high Cs or higher, including,
>>Ballo with at least four, Aegyptische Helen, Dalibor and Nabucco.
>>
>>I saw her in every opera you mentioned and in all I mentioned
>>except Helen. I was at the second performace of Medea in Vienna
>>and thought she was totally out of her element. Too low!
>
>====================
>
>(G.R.) That raises a question that's intriguing: While I only heard, and
enjoyed, her Lady
>Macbeth on recording, you saw it in person. In person, were you sometimes
aware in the
>house of a low problem as pronounced as the Medea seemed to you?  (Of
course, Lady
>Macbeth has occasionally been given to mezzos, and Gorr did do excerpts of
Medee for
>Angel.)
>
>I'm reminded of a curious pattern here that emerged recently with respect
to Lady
Macbeth
>and Anna Bolena.  Netrebko was candid enough to say in print that Bolena
had made her
>uncomfortable, primarily because of "all those low notes!" Now I saw both
her Bolena and
her
>Lady in person, and it seemed very much the case to me that she was less
comfortable in
>Bolena. In fact, the Lady actually worked pretty well for her. So I've
been waiting for
someone
>to ask her what is ostensibly a possibly surprising question: "Is Bolena,
despite its
>performance history, actually slightly lower lying in general than the
Lady?!" So far as I
know,
>no diva has actually addressed that question in print or over the air.
>
>Cheers,
>
>Geoffrey Riggs
>
>http://www.operacast.com
>
>===============================
>>
>>In any case, this is all an illustration of how rare are soprano
>>roles with 5 or more top Cs, or higher. They are very few!
>>
>>Bob
>>
>>
>>On Mon, 19 Jun 2017 23:09:03 -0400, Geoffrey Riggs <[log in to unmask]
<javascript:;>> wrote:
>>
>>>On Mon, 19 Jun 2017 10:54:44 -0400, Bob Rideout <[log in to unmask]
<javascript:;>> wrote:
>>>
>>>>By the way, it was mentioned that Tosca has "just" five high Cs.
>>>>Very few other lyrico/spinto roles have as many.
>>>>
>>>>I took a look at Leonie's repertoire, she of the legendary top
>>>>register.
>>>>
>>>>The following roles have no high Cs (or higher) -
>>>>
>>>>Elsa, Elisabeth, Sieglinde, Kundry, Senta, Walkuere Brunnhilde ;-),
>>>>Elizabetta di Valois, Desdemona, the Forza Leonora, Salome,
>>>>Chrysothemis, Ariadne, Marschallin and Fidelio. (I won't swear
>>>>to Kundry, but I think that's right). I could be missing a few, but
>>>>that isn't the point.
>>>>
>>>>Of her other oft performed roles, only the Kaiserin, as far as I know,
>>>>has as many, and Turandot may, but there aren't many.
>>>
>>>===========
>>>
>>>[G.R.]  Oh, Turandot certainly does (the riddle scene).  The only other
ones
>>>I can think of are Aida (a Leonie Aida survives, from San Francisco, I
>>>believe?) and, of course, Lady Macbeth, where she generally had a big
success.
>>>
>>>Medea (or Medee), which she also did (in the Italian version), has one
>>>optional high C at the close of Act II.  But in the only document I've
heard
>>>of her assumption of this role (from the early '70s), she opts for the
>>>(slightly) lower ending instead.  Curious, since she is in glowing voice
on
>>>this occasion (I've always thought the very early '70s is her finest
period).
>>>
>>>Cheers,
>>>
>>>Geoffrey
>>>
>>>==============
>>>
>>>>
>>>>Five is a lot by any measure!
>>>>
>>>>Bob
>>>>
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