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Subject: Re: Leontyne Price online?
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Fri, 14 Jul 2017 01:08:48 -0500
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Indeed a nonsense and stupid remark.  Could Mr. Handleman's consistent bashing of Madame Price have something to do with the fact that it was she who inherited most of the Verdi roles were relinquished to her from Madame Milanov?   While Milanov certainly sang those Verdi roles beautifully (well, most of the time, anyway) and was able to sing them for a pretty long time, the Verdi soprano credentials of Price were equally impressive.  Price was THE Aida of her generation, and the fact that Aida served as her farewell role at the Met (of which I have a splendid DVD) at the age of  58 is nothing short of amazing.  I'd give Price the plum for Aida, but would give Milanov the plum for Forza del Destino.  To my ears, Aida could have been written for Price, while Donna Leonora could have been written for Milanov.  I confess that I love Milanov's Verdi singing (when she was at her absolute best), but I also feel that Leontyne Price was her true successor in the big Verdi roles. 

       I consider Price to have been a spinto as well.   

> 
>     On July 13, 2017 at 5:24 PM tom ponti <[log in to unmask]> wrote:
> 
>     I will never understand Handelman's seeming hatred for Leontyne Price. Overall, I doubt Anyone ever sang the role of Aida better than she did. IMHO, few came close. To say that she sang many of her roles like her rendition of Melancholy Baby, is just plain stupid, or worse. Tebaldi and Callas dropped the role in their mid thirties, for obvious reasons. Few other's beside Milanov and Price sang Aida into their late forties or early fifties, as far as I know. By the way, I love Leontyne's rendition of Melancholy Baby, and the rest of that album. Another point, Price has often said that she considered herself an lyric soprano. To my ears, having seen her often live, she was a lyric spinto
> 
>     ________________________________
>     From: Discussion of opera and related issues <[log in to unmask]> on behalf of Maxwell Paley <[log in to unmask]>
>     Sent: Thursday, July 13, 2017 5:43 PM
>     To: [log in to unmask]
>     Subject: Re: [OPERA-L] Leontyne Price online?
> 
>     There have been several major conductors who share your view. Karajan, Muti and Pappano wanted primarily suppleness, fluidity and fine dynamic shadings. Karajan and Pappano specifically spoke out against having "cannons" in the role. I think that was also what Harnoncourt was after on his recording but I don't think he got it.
> 
>     Lirico-spintos like Price knew how to effectively perform the role without pushing or forcing and allowing resonance to do its job. On the Harnoncourt recording, Gallardo-Domas sounded stressed throughout, negating the values of bringing a more lyrical voice to the role.
> 
>     Max Paley
> 
>     Sent from my iPhone
> 
>         > > 
> >         On Jul 13, 2017, at 14:10, Ghozel <[log in to unmask]> wrote:
> > 
> >         Like clockwork....
> > 
> >         I hate dramatics as Aida. They blare through the role lacking any sense of the vulnerability it requires.
> > 
> >         Price was a spinto. And Aida is a spinto role. And yes, Price was God.
> > 
> >         Date: Thu, 13 Jul 2017 00:00:27 -0400
> >         From: Charles Handelman <[log in to unmask]>
> >         Subject: Re: Leontyne Price online?
> > 
> >         Price was NOT a dramatic soprano......She is fabulous in O Patria Mia...e=
> >         ven
> >         at the farewell..and debut D'amor sull'ali..
> >         but she sings a lot like her "Melancholy Baby." Camp !!!!
> > 
> >         She is NOT GOD...neither is Zinka.....
> > 
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