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Subject: Re: Leontyne Price online?
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Thu, 13 Jul 2017 14:43:08 -0700
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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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