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Subject: Re: Stemme LIVE!
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Fri, 26 Jan 2018 15:54:27 +0000
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Oops! It happens - Lorengar - "instead" should read as "unsteady".
Sorry!

On Fri, Jan 26, 2018 at 10:50 Bob Rideout <[log in to unmask]> wrote:

> Hi Max
>
> You have highlighted three of my favorite singers. One caveat about
> each, if I may -
>
> By the tiime of Sills Violetta at rhe Met in 76 thre was a wobble so
> pronounced that it simply could not pass for vibrato. It was awful
> and I closed the book on her at that point. No shame, she was a
> magnificent singer for well over a dozen years and provided some
> of my fondest memories.
>
> I don't hear Lorengar's recordings as you do. I hear a brilliant tone,
> especially at the top, and a number of her recordings, particularly
> her recitals are benchmarks for the lyric-spinto rep. What some
> hear as instead, (one friend compared her to a washing machine)
> I hear as fluidity, not unlike Leontyne Price much of the time. The
> spin at the top was remarkable.
>
> Rysanek's unsteadiness could be unbearable and her intonation even
> worse, especially as heard in the Italian rep as early as 1961, but she
> was a thrill beyond my ability to describe, both at the top of the range
> and as a creature of the stage. I miss her most of all!
>
> To their memories!
>
> Bob
>
> On Fri, Jan 26, 2018 at 10:31 Max Paley <[log in to unmask]> wrote:
>
>> I agree that Sills was much better live. Until her last singing years,
>> what sounded like a persistent tremulousness on record was something I
>> didn’t perceive at all live. The overall quality and beauty of her sound
>> needed to open out into an auditorium. Like letting wine breathe.
>>
>> Lorengar and Rysanek are two others whose voices were much more enjoyable
>> and thrilling heard first hand. In Lorengar’s case, that vibrato (some
>> called it a “wibble”) was hardly noticeable in the house. One heard a big,
>> solid voice that soared thrillingly on top. In Rysanek’s case, microphones
>> exaggerated both the unsteadiness in her lower middle voice and the extreme
>> volume disparity between her upper and lower registers.
>>
>> However with all of these, Sills, Rysanek, Lorengar, once I heard them
>> live my mind was able to add what I’d heard to what was on the recordings
>> so that I could enjoy them. With Stemme, I have the really unfortunate
>> situation in which, even having heard and loved her live on many occasions,
>> I am really hard pressed to enjoy the recordings and broadcasts.
>>
>> Max Paley
>>
>> Sent from my iPad
>>
>> > On Jan 26, 2018, at 05:49, RAYMOND GOUIN <[log in to unmask]> wrote:
>> >
>> > First and foremost in our time, Beverly Sills.  Many outside of the
>> U.S. found her competent but could not understand the adulation she
>> received.  James McCracken was another.  It was not a "beautiful" voice but
>> one built from sheer willpower.  McCracken's first solo album for London
>> tanked so badly, the label cancelled the remainder of his recording
>> contract.  What both had -- Sills in particular -- was the ability to
>> dominate the stage.  Another, not so well known, who had the ability to
>> dominate the stage was Phyllis Curtin.  I only saw her once, long after she
>> had retired and was teaching at B.U., in a student or semi-student
>> production of "A Little Night Music".  Once she came on the stage, you
>> could not take your eyes off of her.  And then there is Magda Olivero.  I
>> like her voice on recordings, but some do not.  On stage, she was something
>> else.  I remember the first time that I saw her.  It was as Tosca. Here was
>> the shock of seeing this clearly older or elderly woman
>> >  coming out on stage to greet Mario.  But within five minutes, she WAS
>> Tosca.
>> >
>> >
>> > Best from Boston.
>> >
>> > Ray Gouin
>> >
>> >
>> > ***
>> >
>> >> On January 26, 2018 at 1:33 AM janosG wrote:
>> >>
>> >>
>> >>    Perplexing and true. The opposite of many singers: far superior
>> live than in recording.
>> >>
>> >>    I think there have been others like Stemme in the past, I hear
>> voices in my mind, but cannot put names to them. Anyone?
>> >>
>> >>    On 1/25/2018 9:00 PM, Max Paley on OPERA-L :
>> >>>> Stemme is an artist who has consistently mesmerized me with her
>> >>>> interpretations as well as her singing live in everything I've seen
>> her do
>> >>>> (most recently Turandot in SF) but her art very strangely eludes any
>> form
>> >>>> of recording or transmission. The sound heard even in a good
>> sounding live
>> >>>> transmission sounds totally different and in a negative way. The
>> clear,
>> >>>> powerful, marble-like sound I hear live somehow crosses the
>> microphone as
>> >>>> unsteady and not particularly attractive and even the compelling
>> personae
>> >>>> she creates are for the live audience and not the camera.
>> >>
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