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Subject: Fw: singers who should have had big international careers - but didnt (3)
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Tue, 3 Oct 2017 14:32:20 +0000
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Oralia Dominguez also shines as Arnalta in the studio Leppardization of POPPEA from Glyndebourne, and de Sabata's Verdi REQUIEM w/Schwarzkopf, and Karajan's Erda ( which she also sang at Salzburg).

She created Tippett's Mme. Sosotris at the ROH

Dominguez was a regular at Dallas Opera and sang a season ( Quickly, Marina, Azucena, 1956) at San Francisco, sang Quickly (1968) in Chicago and-- replacing Grace Hoffmann-- an Eboli in Philadelphia in 1965 in a cast under Guadagno that must have been fun to hear:


Filippo II Nicolai Ghiaurov
Don Carlo Franco Corelli
Rodrigo Louis Quilico
Elisabetta di Valois [international artist!] Raina Kabaivanska 
La principessa d’Eboli Oralia Domínguez Grace Hoffman
Il grande inquisitore Nicola Ghiuselev
Anyone on the list hear that one?
She did appear in New York, with the Philharmonic ( there's an excellent "Urlicht" in a Mahler 2nd with Bernstein).
Best - David Shengold

      From: Vesna Danilovic <[log in to unmask]>
 To: David Shengold <[log in to unmask]>; "[log in to unmask]" <[log in to unmask]> 
Cc: Roberta PRADA <[log in to unmask]>
 Sent: Tuesday, October 3, 2017 8:53 AM
 Subject: Re: singers who should have had big international careers - but didnt (3)
  
On Tue, Oct 3, 2017 at 12:17 AM, David Shengold <[log in to unmask]> wrote:
Which, I'd answer Roberta, Luigi Alva also definitely had, between La Scala, the Met, Salzburg, Covent Garden Glyndebourne, Vienna  (1957-1982!) etc etc and his many recording and/or films: Mozart, Rossini, Donizetti Verdi, Handel...

For Oralia Dominguez, besides her native Mexico City, Grove lists her engagements at La Scala, Covent Garden, Paris Opera, Vienna State Opera, Glyndebourne (a regular Quickly for a few years there), Naples, and elsewhere.
I was surprised but also glad to see that she apparently had a prominent international career, because her impressive singing and rich mezzo/alto sound on a few, mostly live, recordings I've heard (from her riveting Amneris--that intensely blazing Judgment Scene!-- to a sensitive La Cieca; also wonderful as Dalila and Preziosilla) show how much she was unjustly underrecorded in studio. As much as I love the studio SAMSON ET DALILA with Gorr, Vickers, and Blanc, I prefer the live concert performance with the same male leads but with Dominguez's Dalila for the sensuality of her interpretation (which doesn't quite work with an otherwise exceptional Gorr) and even more outstanding Vickers' Samson.
Thanks for mentioning her, Roberta.
Vesna

   

   

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