LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Stemme LIVE!
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Fri, 26 Jan 2018 10:15:31 -0700
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (201 lines)


I am in agreement with all of you.  Sills had a glint and beauty to her
tone.  The later unsteadiness never bothered me.  I was blown away by the
other aspects of her voice and art.   She took whatever God gave her, and
it was not inconsiderable, and made something wondrous out of it.  In her
case, the whole was much greater than the sum of the parts.

For me, Lorengar and Rysanek could do no wrong.  It was so much in love
with their voices and art that when each died, it took over a year for me
to sit and listen to their recordings without bawling.  Unlike my friend
Bob, I never heard the pitch vagueries of Leonie or the occasional
unsteadiness in the middle, or better, I choose to ignore them.  As for
Lorengar, she soared with a sheen, ease and spin that was also the domain
of the great Leontyne.  And, don't even ask me about how Rysanek's voice
soared on top and bounced around the Met auditorium.

There are singers who are phonogenic and those who are not.  There are also
great singers who do well under the microphone, but are so much better in
person.  Tebaldi and Crespin had huge voices that the microphone just had
problems with when it got high and loud.  What sounded so harsh on
recordings disappeared for the most part in the house.  Milanov was another
one who I suspect sounded much better live then on recordings - although to
be honest, every recording after 1952 caught her entering the downward
slope.  I only heard her at the very end of her career, but my mother who
heard her within two weeks of her debut in 1937 always said she always
sounded better live and when the top became hardened and more difficult, it
was still better live.  MDM is probably another example.  He is trashed
regularly by those who never heard him but everyone I've ever met who
experienced him live in his price were in awe of the voice - other singers
especially.

Then, there are the singers who sound so magnificent and beautiful on
recordings who are something else again in the theatre....

Donald



On Fri, Jan 26, 2018 at 9:03 AM, tom ponti <[log in to unmask]> wrote:

> 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.
> >>
> >>    **********************************************
> >>    OPERA-L on Facebook:
> >>    http://www.facebook.com/groups/25703098721/<hr style="height: 0;
> border: 0; border-top: 1px solid #aaa; margin: 8px 0;">To UNSUBSCRIBE, send
> a message to [log in to unmask] mailto:[log in to unmask] .org
> >>    containing only the words: SIGNOFF OPERA-L
> >>    ---------------------------------------------
> >>    To stay subscribed but TURN OFF mail, send a message to
> >>    [log in to unmask] mailto:[log in to unmask] .org
> containing only the words: SET OPERA-L NOMAIL
> >>    ---------------------------------------------
> >>    Modify your settings: http://listserv.bccls.org/
> archives/opera-l.html<hr style="height: 0; border: 0; border-top: 1px
> solid #aaa; margin: 8px 0;">
> >>
> >
> > **********************************************
> > OPERA-L on Facebook:
> > http://www.facebook.com/groups/25703098721/
> > ------------------------------------------------------------
> --------------
> > To UNSUBSCRIBE, send a message to [log in to unmask]
> > containing only the words:  SIGNOFF OPERA-L
> > ------------------------------------------------------------
> --------------
> > To stay subscribed but TURN OFF mail, send a message to
> > [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> > ------------------------------------------------------------
> --------------
> > Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> > ------------------------------------------------------------
> --------------
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager