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Subject: Re: Rondine, Moffo and
From: Greg Keesler <[log in to unmask]>
Reply-To:Greg Keesler <[log in to unmask]>
Date:Tue, 11 Jul 2017 23:56:31 +0000
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The Montemezzi opera was recorded in May 1976 (maybe June) in London..  I don't have the THAIS but I thought it was recorded in 1974, around the same time as the French Arias album.  The JUIVE highlights were done in 1973.
I thought Moffo had made tremendous strides in repairing her voice.  It's true there is still some unsteadiness and crooning in the middle register.  I've also heard a 1976 Berlin recital where she even includes the ERNANI aria and it's good.  Then there was a concert of Russian arias, along with the ADRIANA LECOUVREUR arias, in New York in May, 1977 under Andre Kostelanetz.  I thought that was very good.  But it all fell apart again by the time of her 1979 Carnegie Hall recital.
Can it really be true that she sang over 800 Violettas throughout her career?
Greg K.

      From: Les Mitnick <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Tuesday, July 11, 2017 7:38 PM
 Subject: Re: [OPERA-L] Rondine, Moffo and
   
What amazes ME is the Moffo recorded the "Tre Re" almost a year after that THAIS, or so I've read.
> On July 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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