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Subject: Re: Seconda Donna - Angela Meade
From: daaaac <[log in to unmask]>
Reply-To:daaaac <[log in to unmask]>
Date:Mon, 11 Dec 2017 20:26:13 -0500
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A friend who heard Flagstad in the house said it was as if she was sitting next to you.

Donald

> On Dec 11, 2017, at 8:22 PM, Stephen Charitan <[log in to unmask]> wrote:
> 
> Flagstad is an absolute marvel - the voice consistent, recognizable, and
> completely settled from her earliest acoustic recordings to her very last
> stereo discs from Decca.  As you say there was contraction at the top but
> more than compensating glories as the center of the voice dropped.  When I
> hear her (and Sutherland) I have a tangible of sense of the voice floating
> on the breath.  Ironically Sutherland, that peerless technician, did
> develop a wobble or beat, but Flagstad was rock solid to the very end.
> 
> On Mon, Dec 11, 2017 at 5:11 PM, Maxwell Paley <[log in to unmask]> wrote:
> 
>> You know, I’ve wondered about this and whether it’s technique or something
>> else physical/genetic or both. Flagstad’s upper range contracted in her
>> 60s, but hervoice stayed rock solid and firm for as long as she sang. Even
>> Nilsson had her wobbly nights once she was in her 60s.
>> 
>> One difference, which might or might not have anything to do with it, was
>> the sheer ease and effortlessness with which Flagstad sang, which might
>> also apply to Melba. Never any sense of “pressure” - just the sound flowing
>> out as easy as speaking. Someone I knew who heard her live often talked
>> about the instrumental ease and purity of her sound, “like a giant violin.”
>> 
>> Max Paley
>> 
>> Sent from my iPhone
>> 
>>> On Dec 11, 2017, at 11:58, Stephen Charitan <[log in to unmask]>
>> wrote:
>>> 
>>> David,
>>> 
>>> 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.
>>> 
>>> Steve
>>> 
>>> 
>>> 
>>>> 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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