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Subject: Re: Stemme LIVE!
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Fri, 26 Jan 2018 16:03:41 +0000
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Though Sills may have sounded better live, I always liked her sound on most of her recording. On her Strauss-Mozart album, IMO, one hears one of the most beautiful sounding voices ever recorded. I do agree that Lorengar and Rysenak sounded much better live than on recordings. Though I always liked Julie Andrews on recordings, I was much surprised at how much more beautiful her voice sounded live, when I saw her in Camelot. I do think that most great and beautiful voices sound better live than on recordings.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Max Paley <[log in to unmask]>
Sent: Friday, January 26, 2018 10:31 AM
To: [log in to unmask]
Subject: Re: [OPERA-L] Stemme LIVE!

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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