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Subject: Re: Seconda Donna - Angela Meade
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Mon, 11 Dec 2017 14:58:59 -0500

text/plain (87 lines)


If you listen to 60 something Adelina Patti her aging voice might have had
a number of flaws (breath control primarily) but one thing she does not do
is wobble.  There are times (Serenata, La Calesera, Ah non credea....) when
she sounds younger than springtime.  Likewise Melba, Plancon, Sembrich,
Schumann Heink, Bori, Flagstad...What seems to be most prized today is a
Big Sound in a Big Hall  the fact that "Technique" can help achieve this
seems to be lost somewhere in the 19th century.


On Mon, Dec 11, 2017 at 12:15 PM, David Kubiak <[log in to unmask]> wrote:

> I missed this message when it was first posted but want to say how much I
> agree with the sentiments expressed.  Professional tolerance for wobbling
> voices is close to driving me out of the opera house. Even as great a diva
> as Callas admitted in late interviews that she had developed a wobble and
> that it was a technical fault she was trying to improve on.  Today it is
> apparently taken for granted that a teacher will launch a student with
> woefully inadequate vocal technique.
> Further on the diminishing importance of singing in opera, it amuses me no
> end to hear on the Met broadcasts the completely inane things singers say
> about the dramatic meaning of their parts, because these are the only kind
> of questions they are ever asked.  Can you imagine what sort of reply
> Corelli would have given if asked about the psychological motivation the
> director had given him for his Don Carlo?
> David Kubiak
> On Fri, 8 Dec 2017 17:48:55 -0500, Stephen Charitan <[log in to unmask]>
> wrote:
> >I just listened to excerpts of Meade's "Norma" on the MET's website and
> >they confirm what I've heard live  in house (Ernani, Trovatore...)  - she
> >is at best a  "cover" artist or one who should only perform after the
> first
> >cast at "reduced" prices.  A vibrato ridden voice of non descript
> >character, reasonable agility, a faux trill, and a "dead on arrival" stage
> >presence.  So sad that she will wobble and waddle through one of my
> "desert
> >island" operas - Semiramide.  At one point Joyce di Donato was
> >also to grace this important MET revival - on the evidence of her Munich
> >outing it would have been a triumph.  Instead we have La Seconda in
> >Rossinian HD and La Rossiniana herself -Di Donato - in the wispy Massenet
> >confection - Cendrillion.
> >
> >Go Figure...
> >
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