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Subject: Re: Stemme LIVE!
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Fri, 26 Jan 2018 16:48:20 -0500
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The voice I have the most trouble with on recordings, and which I remember
as very
much better heard from an altitudinous seat in Carnegie Hall, for a concert
performance
of IL PIRATA, at a date which is usually referred to as late in her career,
was that of Maria
Callas;  I think most of her records were made with a variety of electronic
manipulation
that distorted her voice's natural beauty.  Perhaps that explains why her
"pirated" stuff
was so much in demand

dtmk.

On Fri, Jan 26, 2018 at 12:15 PM, Donald Levine <[log in to unmask]> wrote:

> 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.
> > >>
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