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Subject: Re: Hina Spani
From: robert levine <[log in to unmask]>
Reply-To:robert levine <[log in to unmask]>
Date:Tue, 6 Mar 2018 16:51:41 -0500
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Lovely, Roberta - thanks. I treasure the CD I have.
Bob

On Tue, Mar 6, 2018 at 4:39 PM, R PRADA <[log in to unmask]> wrote:

> 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.
>
> RP
> Sent from my iPhone
>
> >> Does anyone know what her voice was like live?
> >>
>
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