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Subject: Re: Brava Anita La Rach!
From: Max Paley <[log in to unmask]>
Reply-To:Max Paley <[log in to unmask]>
Date:Sun, 4 Feb 2018 18:02:53 -0800
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I saw her as Carmen several years ago in San Francisco; she was a replacement (don’t remember for whom), quite heavy but still confident and sensual, in a very rough girl way, on stage. Then I saw her just about exactly a year ago as Azucena in London. Much slimmed down.

The slimming down applied vocally too. When I saw her as Carmen it was very mezzo sumptuous, almost heavy but she seemed very limited on top. When I saw her later she was balancing the voice much more toward the lighter and soprano side, saving her volume and chest tones for the big moments. Obviously some expert coaching in between.

One major result was that, whereas an A-flat seemed like a really high note for her in Carmen, as Azucena she was easily popping out B-flats and even a terrific high C in the duet with Manrico.

Riveting stage persona both times.

Max Paley

Sent from my iPad

> On Feb 4, 2018, at 14:54, tom ponti <[log in to unmask]> wrote:
> 
> Whenever I have seen Anita on TV, she seemed more of a soprano than mezzo, though she had enough mid lower voice to sing mezzo roles. Recently, on You Tube, I saw her sing arias for Samson et Dalia, which she did very well. I think that Eboli would be a great role for her. But then, I did not hear her Azucena or have heard her live.
> 
> 
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]> on behalf of Scott Grunow <[log in to unmask]>
> Sent: Sunday, February 4, 2018 5:32 PM
> To: [log in to unmask]
> Subject: [OPERA-L] Brava Anita La Rach!
> 
> The broadcast: What a treat for a mezzomaniac like myself.
> 
> 
> And regarding her open chest voice during the broadcast yesterday, Cloe Elmo, eat your heart out!
> 
> 
> She is a true mezzo, not s mezzo wanna be who would probably have been a soprano in yesteryear.
> 
> 
> I noticed she kept the middle colorful and flexible. She is not a powerhouse like Zajick or Stignani, but when the top isn't tight, I could sense the power up there.
> 
> 
> Overall, the make up of the voice reminded me of Miriam Pirazzini: broad and chesty when needed below, tightening at the top.
> 
> 
> 
> I like the lower middle, often a danger spot for mezzos of her make up. I would love to hear  her do Dalila.
> 
> 
> But most of all, she is an intelligent, sensitive singer who sings on the words. Stride la vampa was haunting, the latter part of the duet with Manrico alternately frightening and tender, and the scene with the Count, though I thought at times it needed a bit more Barbieri-like oomph, exciting, because she sang with an awareness of rhythm and the words.
> 
> 
> Yes, she is a Verdian mezzo, though I do think Eboli would be high for her (well, it is, and it is really a soprano falcon role).
> 
> 
> Brava, Anita!
> 
> 
> Mezzomaniac
> 
> 
> 
> 
> 
> 
> 
> 
> 
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