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Subject: Re: Final observations about Turandot
From: Tom Frey <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sat, 11 Nov 2017 14:46:58 -0500
Content-Type:text/plain
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I believe the main factor that Turandot was rather rare in the past is the difficulty of the title role vocally. It's not like Mimi, Butterfly or Tosca which many sopranos can handle, but needs a real powerhouse to pull off. The live performances I attended had forgettable attempts. I do recall a Galvany outing that truly shook the house. Nilsson quality Turandots do not come often.
----- Original Message -----
From: Bob Rideout <[log in to unmask]>
To: [log in to unmask]
Sent: Sat, 11 Nov 2017 14:23:29 -0500 (EST)
Subject: Re: Final observations about Turandot

Les

Not quite! The Gina Cigna Azzali bio is called "Principessa Turandot" in
honor
of the fact that she sang the role way, way more than 100 times, not only
throughout
Italy but in Buenos Aires, Rio, Sao Paolo, Lisbon, Madrid and Budapest, at
least.
Bianca Scacciati, as well, was famous as Turandot for a number of years.

One of the most famous pre WWII opera recordings is Turandot with Cigna,
Olivero and Merli. It had wide distribution at the time of its release and
was
pretty much always in circulation in a number of subsequent incarnations.

It is true that Turandot languished in the Anglo-Geman opera firmament, not
unlike Fanciulla, but like the earlier Puccini opera, it was produced in
Italy and much of the
Latin World with persistent regularity. The rest of the World caught up
with both
operas in the fifties, and the rest is history.

Bob

On Sat, Nov 11, 2017 at 13:54 Les Mitnick <[log in to unmask]> wrote:

> I find it interesting that "Turandot" was looked upon as a "Puccini
> exotica" in the period of the 1930s and 1940s.  It was performed only very
> occasionally in Europe and the UK and it was covered in the earlier
> editions of "The Victor Book of Operas". Opera lovers knew about it, but I
> don't think they really heard it.  Birgit Nilsson herself said that when
> the opera was proposed to her in 1954 in Stockholm, she openly admitted
> that she never heard a note of it.  Like the South Pole, everyone knew it
> was there, but very few ventured there. Then all of a sudden, in the 1950s,
> came recordings from London/Decca (Borkh, Tebaldi, del Monaco), EMI
> (Callas, Schwarzkopf, Fernandi), and finally the first Nilsson recording
> with Nilsson, Tebaldi, Bjoerling, and Tozzi ---- and the opera was launched
> into a popularity it never knew before.  And of course that famous Met
> revival with Nilsson and Corelli didn't hurt it either.  From that time on,
> "Turandot" became a staple of the standard repertoire and it has remained
> there.  Nilsson herself said that it was Wagner that made her reputation,
> but it was Turandot that "made my fortune".  It should have because her
> voice was ideal for it.  She must have sung it over and over all over the
> world.  It was HER opera and no one else came even close.
>      Whether one likes the opera or not, it's certainly here to stay and
> it's not going anywhere.  Who would have predicted this in the 1940s?
>
> > On November 11, 2017 at 10:41 AM donald kane <[log in to unmask]> wrote:
> >
> >
> > Be careful what you wish for; the other topic might be about
> > Milanov or Tebaldi.
> >
> > I think it's useful to know where each contributor stands on a
> > controversial topic.  TURANDOT is one of the peaks in operatic
> > history, and will be discussed as long as it maintains a place in
> > the repertoire.
> >
> > dtmk
> >
> > On Fri, Nov 10, 2017 at 8:48 PM, semiramide1945 . <[log in to unmask]>
> wrote:
> >
> > > You know haven't we done this Turandot thing to death. Maybe time for
> > > another subject?
> > >
> > > On Fri, Nov 10, 2017 at 2:56 PM, Tom Frey <[log in to unmask]>
> wrote:
> > >
> > > > agreed
> > > >
> > > > ----- Original Message -----
> > > > From: R PRADA <[log in to unmask]>
> > > > To: [log in to unmask]
> > > > Sent: Fri, 10 Nov 2017 14:50:34 -0500 (EST)
> > > > Subject: Turandot
> > > >
> > > > I have seen this opera many times, and it does not float my boat, for
> > > some
> > > > reason. I simply can’t get emotionally involved, and although I like
> some
> > > > of the music, I would be happy if popular culture moved on from the
> tenor
> > > > aria, and while they are on it, please get over O Mio Babbino Caro as
> > > well
> > > >
> > > > Truly I am a Mozart, Handel, Rossini, Bellini, Donizetti, Verdi, and
> > > > Offenbach enthusiast. Most of these composers have held my attention
> > > since
> > > > childhood.  I also love lieder, chanson, canzone, e tutu quant,
> starting
> > > > with old Italian. Puccini is only intermittently interesting to me
> > > anyway.
> > > > >
> > > > > So what I am saying it that it’s a very personal matter.
> > > >
> > > > Happy Fall Day
> > > > Best
> > > > RP
> > > >
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