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Subject: Hina Spani
From: R PRADA <[log in to unmask]>
Reply-To:R PRADA <[log in to unmask]>
Date:Tue, 6 Mar 2018 16:39:39 -0500

text/plain (43 lines)

I can only tell you that she was celebrated at Teatro Colon as a goddess! People spoke of her in hushed tones.
She started her career at 15 with a Juliet. She said that her teacher allowed her voice to grow naturally, and she never sang beyond her comfort zone.
She was a consummate musician and stylist. I only heard her sing in lessons, and one year the Alberto Williams Conservatory gave her a birthday party and she sang Maestro Williams’ vidalita.  By that time she sang only very lightly because her cardiologist would not let her sing full voice. Musical to her core, intelligent, perceptive, with a great sense of humor.

She was picked to sing the mass he wrote at Puccini’s funeral. She was one of his favorites.

From the recordings, she had it all!

From her flyer, which hangs in my living room: she studied in BA, France and Italy. She made her debut at La Scala under Maestro Marinuzzi, and appeared many time there under Toscanini.
In addition to her work in opera she was also a magnificent interpreter of lied and oratorio, in works starting with Bach all the way up to the moderns.

She was chosen by Falla, Nin, Pizzetti, Bloch, Catelnuovo-Tedesco, Respighi, etc to be the first interpreter of chamber works and works for the stage.

In the reviews she is described as having a beautiful voice with a long extension and exquisite musicianship, schooling and extraordinary abilities as an interpreter of depth and style.

She sang many operas, and as was the custom, she sometimes sang in Italia, some Wagner. She sang a Monteverdi.

Enzo Valenti Ferro writes that her career began at Teatro Colon in 1915 and lasted for 25 years. She began as a lyric and gradually darkened and strengthened into a spinto. She was introduced to chamber music by Maestro Moratti, her teacher in Italy.

She sang with Caruso as Nedda in that first year, Micaela, Ines in L’Africana, and she sang in a wide variety of roles. By 1929 she sang the title role in Turandot. She also did Ottavia in L’incoronazione Di Poppea. So she was capable of alternating light roles with a seasoning of the heavies, including Lady Macbeth.

So she did love chamber music but she had an extensive, distinguished career in opera.

For me she was more that a teacher, she was family.

Sent from my iPhone

>> Does anyone know what her voice was like live?

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