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Subject: Re: When to retire
From: Ombrarecds <[log in to unmask]>
Reply-To:Ombrarecds <[log in to unmask]>
Date:Tue, 28 Nov 2017 08:50:15 -0600
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I must whole heartedly agree about Mariella Dévia. She is among the finest voices I have ever heard. Her Bolena, Lucia, Lucretia Borgia are gold standards. Looking at some of her YouTube performances from her later career is a lesson in belcanto.
A perfect example of an artist who stayed too long at the fair is Renato Bruson. There is a Lucia he did with Devia from Italy that is truly painful. He has a wobble so big and off key it hurts. 

Patrick Byrne

Sent from my iPhone

> On Nov 28, 2017, at 7:50 AM, Vesna Danilovic <[log in to unmask]> wrote:
> 
> As I was about to type my comment, Bob's post came up and it's in the same
> spirit as mine, with one small difference. I absolutely acknowledge that
> the box office matters, but I also think that, as artists, they should be
> able to hear themselves and let their ego pass the sound of ovations. They
> should be able to recognize that applauses and ovations are mostly the
> residuals from their past glory. For the sake of their own artistic
> integrity, they should know when to retire.
> 
> A case in point: Ferruccio Furlanetto
> His voice dried out, it's wobbly and coarse, lost most of its heft forcing
> him to bark and push, it shows age in a very unpleasant way. Yes, there are
> some clever stylistic finesses he brings to the singing, but the negatives
> far outweigh the positives. Someone else can hear it differently, which is
> fine, but that's how I hear him and it doesn't seem I am the only one.
> Instead of supporting his younger colleagues as a vocal coach or simply
> enjoying his retirement, he is still extremely busy on the main opera
> stages of the world (Met, ROH, La Scala, Vienna) in some of the most
> coveted roles for basso voices such as Boris Godunov or Phillip II (in
> which I heard him live a couple of years ago and he wasn't even close to
> his former self). Or, if he doesn't want to leave the stage, there are more
> appropriate roles for the voice he has now.
> 
> Is it always related to biological age? Not at all. A reverse case in
> point: Mariella Devia. She is his same age (68-69) and almost consistently
> superb. Unfortunately she's currently singing mostly at regional opera
> houses in Italy but, thanks to Youtube videos, one can hear a voice that is
> still in its prime and easily eclipsing many of her much younger colleagues
> some of whom get their HD exposures more for their stardom and looks than
> for the level of artistry deserving such exposure.
> 
> Best, Vesna
> 
>> On Tue, Nov 28, 2017 at 7:55 AM, Bob Rideout <[log in to unmask]> wrote:
>> 
>> Hello everybody.
>> 
>> This subject is a slippery slope and it has no objective answer.
>> 
>> I am very glad that I saw Licia Albanese, Zinka Milanov, Paul
>> Schoffler, Ramon Vinay and many others who were past their
>> absolute best but were still able to convey the essence of that
>> which had brought them celebrity. They were quite wonderful,
>> in fact. Zinka's "Gioconda" was superb in 1961, and Licia's
>> "Violetta" was the most emotionally effective I've ever seen,
>> even as late as 1960. Yes, I needed patience to get through
>> Act 1 but what followed was worth the wait.
>> 
>> I have always believed that the box office will determine the shalf
>> life of singers, and that as long as there are people who are willing
>> to pay for "biographies" there will be a place for them. I imagine
>> that there are many thousands of people who are happy that they
>> had the opportunuty to see Luciano Pavarotti, even at the end.
>> Their choice, and why not!
>> 
>> Dorothy Kirsten really has no place in this conversation. She was
>> an enormously competent singer whose abilities remained intact
>> until that final curtain. The most remarkable thing about her was
>> the jaw dropping consistency of her vocalism.
>> 
>> Bob
>> 
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