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Subject: Re: NORMA's high def presentation
From: David Kubiak <[log in to unmask]>
Reply-To:David Kubiak <[log in to unmask]>
Date:Thu, 12 Oct 2017 18:58:03 -0400
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I was lucky to hear Cossotto in her prime in many roles, including Adalgisa,
where she overwhelmed a young Suliotis even more completely than she had
Callas.  I heard Horne a lot too in the same period.  People are individual
in what they prize in a voice, but in my some 55 years of opera-going,
purely as a sound in a space, Cossotto is probably in my top three.  Yes,
she began to flat above the staff by the mid 70's, but if you heard her a
decade earlier from the top C down she poured out a kind of sound I have
never heard since.  Back in the day when audiences produced real
foot-stomping ovations, one of the longest I was ever part of was for
Cossotto after 'O don fatale'.  Her last appearance in Chicago must have
been in the late 80's or even early 90's as Ulrica.  She had been away a
long time and it was clear the audience had no idea they were hearing a
great singer at the end of her career.  I was moved to a very loud 'Brava
Fiorenza' at her call.  She seemed pleased.

David Kubiak        



On Sun, 8 Oct 2017 22:14:05 -0400, John Rahbeck <[log in to unmask]> wrote:

>I disagree with that. Horne had not acquired  her trademark sound at  that
>point and sounded more soprano like back then. What impressed me was not
>only how Horne sang it, but hers sense  Bellini-esque bel canto style.  Sorry,
>Cossotto may have been a superior Amneris to Horne, but Horne sang  circles
>around Cossotto as Adalgisa. I don't what what they ate for breakfast  back
>then, but that was the period when Pavarotti, Horne, and Sutherland sang
>their best IMO.
>John Rahbeck
>
>
>In a message dated 10/8/2017 2:45:38 P.M. Pacific Daylight Time,
>[log in to unmask] writes:
>
>For the  record, Cossotto sang rings around Horne as  Adalgisa
>
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