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Subject: Re: Rondine, Moffo and
From: Maria Louise Augusta Helleberg <[log in to unmask]>
Reply-To:Maria Louise Augusta Helleberg <[log in to unmask]>
Date:Tue, 11 Jul 2017 22:07:06 +0200
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Moffo recorded superbly - even in the 70s she managed to sing Fiora. But
her Thaïs is so much a lost opportunity. The voice is gone, but ond could
try and sell her as a sexy vamp...

Maria Helleberg

2017-07-11 20:34 GMT+02:00 tom ponti <[log in to unmask]>:

> A few year ago I read the review of Moffo's debut in Traviata in the Met
> Annals. What surprised me was that the reviewer compared her Violetta to
> Victoia d La's that same year. To his ears, Victoria was vocally superior.
> I only saw Moffo a few times at the Met and was somewhat disappointed by
> the sound of her voice, live. There seemed to be a sort of cloud over her
> sound, except when she sang forte in the upper register. She sounded great
> on the final note of the Gilda-Duke duet, with Bergonzi. There was another
> Rigoletto performance when, all of a sudden, Gianna D'Angelo's voice went
> off track and never recovered. Bergonzi was the Duke that night too. I was
> not at that performance, but read about it in a newspaper review.
>
>
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]>
> on behalf of Bob Rideout <[log in to unmask]>
> Sent: Tuesday, July 11, 2017 1:39 PM
> To: [log in to unmask]
> Subject: [OPERA-L] Rondine, Moffo and
>
> I like all of the performances of Rondine that I know -
> Moffo, Barioni - The Alagnas ( when they were) and
> Te Kanawa, Domingo. The women are uniformly fine and the
> men are all at least ok, though I find Domingo  more ok than
> the others. The opera has been well served in the studio!
>
> Max, Anna Moffo was a sensation in the mid to late fifties,
> and her Mozart and other EMI recordings were thought
> by most to be revelations. Her early RCA Butterfly with Valletti
> is stiff recorded competition for an opera that has had a huge
> number of excellent studio performancs.
>
> I saw her Violetta during her debut season at the Met, and in the
> immediate years that followed, Marguerite in Faust, Manon
> and Lucia, all of which were fine but, excepting Lucia, delivered less
> than expected. The heroines in Hoffman were a disappointment
> and the New Met's new production of Traviata was no better
> than ordinary. By the time of the infamous Lucia broadcast of 69
> it was over, and neither her voice or her reputation ever recovered.
> No one knows for sure why it happened, but it was stunning. If
> the 66 Traviata was ordinary, by 1969 her delivery was anythig but.
>
> Promise unfulfilled is an understatement!
>
> Bob
>
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