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Subject: Re: Stemme LIVE!
From: janosG <[log in to unmask]>
Reply-To:janosG <[log in to unmask]>
Date:Fri, 26 Jan 2018 09:13:54 -0800

text/plain (47 lines)

Thanks, Ray, you're spot on with Bubbles.

I had unfortunately little experience with Curtain, and my only live encounter of Olivero was at the SFO Poulenc near the end of her career (although many years before her death at age 104) -

On 1/26/2018 5:49 AM, RAYMOND GOUIN 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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