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Subject: Re: 2nd cast Norma
From: Vesna Danilovic <[log in to unmask]>
Reply-To:Vesna Danilovic <[log in to unmask]>
Date:Sat, 16 Dec 2017 21:08:40 -0500
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Meade seems to have one of those voices to which people respond
differently, no matter how good or bad of a day/night she has. I’m afraid I
am among those who hear an occasional but nonetheless intrusive wobble and
register breaks, and will leave it at that...

Calleja has been having issues with his top but otherwise I thought his
Pollione was nicely vocalized and handsomely projected.

This season we’ve had two wonderful Adalgisas, quite different in color and
interpretative style, but both vocally attractive. I have a slight
preference for the warmth of Barton’s voice but then I absolutely adore
just about everything I hear from this super-talented mezzo.

Incidentally, last weekend I did listen to the recorded broadcast of
Barton's LA FAVORITE with Camarena in Madrid that Paolo mentions. Her
Leonor was the best I’ve ever heard, eclipsing (by a large margin) all the
past interpreters, including Cossotto. It was a concert performance but she
brought the house down. If you can find this broadcast, absolutely don’t
miss it. She was fabulous.

Best, Vesna

On Sat, Dec 16, 2017 at 8:07 PM, Henson Keys <[log in to unmask]> wrote:

> Agreed.  Meade sounded better to me than ever before.
> Henson
>
> On Sat, Dec 16, 2017 at 5:42 PM, Paul Ferraro <[log in to unmask]>
> wrote:
>
> > Maybe it's my equipment, but I heard no vibrato from Meade & considered
> > this performance among her very best, albeit her Norma is on a lighter,
> > lyric scale than others.  Barton definitely ready to graduate into the
> > great Verdi mezzo roles & I'd give anything to hear her in La Favorita,
> > with Javier Camarena. Now, if only there were a great Italian baritone
> for
> > Alfonso....
> >
> > Calleja improved to a tolerably decent level as the afternoon wore on
> > after an embarrassing goatlike bleat in the first act aria.  I guess he
> > never dared considered the high note at the end of the cabaletta.
> Thought
> > the bass sounded a lot like a younger Furlanetto - good for him (ducking
> > after the rather rough treatment FF received here recently).
> >
> > Happy Politically Correct Season a Tutti!
> >
> > Paolo
> >
> >
> > On 12/16/2017 4:17 PM, Stephen Charitan wrote:
> >
> >> Sorry Idia, I just can't agree.  Meade sounds like a voice in extremis -
> >> sad for such a young artist.  The massive vibrato turns everything into
> >> one
> >> large trill and high notes are lunged at then quickly dropped - aside
> from
> >> a sweet spot in the middle the voice seems thin and attenuated.  I can't
> >> imagine she's going to be able to get through this role much longer.
> >> Hopefully she will sing "Semiramide" a la Colbran (lower keys) rather
> than
> >> a la Sutherland.  Audience response seems very tepid - if I paid top
> >> dollar
> >> for this I would be thinking - Oh well - Win some / lose some...
> >>
> >> On Sat, Dec 16, 2017 at 2:47 PM, Idia Legray <[log in to unmask]>
> >> wrote:
> >>
> >> How neat it is to belong to an opera forum where there are so many
> >>> formidable posters that I cannot begin to match them.
> >>> And in some ways, believe it or not, I end up a winner, because I am so
> >>> enthralled with this Norma with Meade (a singer whose voice doesn't
> >>> normally warm me with her "cool" temperament) that I am pleasantly
> >>> surprised because she certainly sounds gorgeous to me over the
> airwaves,
> >>> with a lack of any heard wobbles as reported previously on this
> website.
> >>> The three principals (Meade/Calleja and Barton) are wonderful together
> >>> and the first act ending with the trio was superbly done.
> >>>
> >>> Back to more delicious highs...
> >>>
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