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Subject: Re: Rondine, Moffo and
From: Ombrarecds <[log in to unmask]>
Reply-To:Ombrarecds <[log in to unmask]>
Date:Tue, 11 Jul 2017 15:11:33 -0500
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Look up the performance on YouTube with Inva Mula. Gorgeous all around.

Patrick Byrne

Sent from my iPhone

> On Jul 11, 2017, at 3:07 PM, Maria Louise Augusta Helleberg <[log in to unmask]> wrote:
> 
> 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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