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Subject: Re: Hina Spani
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Wed, 7 Mar 2018 20:14:31 +0000
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Interestingly enough, last night I listened to the last act di Luna-Leonora duet from the Mexico City Trovatore, with Callas and Warren. Both were exciting and in top vocal form. The early fifties certainly were exciting in Mexico and South America with these young great singers: Callas, Tebaldi, Warren, Del Monact etc. in their vocal prime and giving it their all.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Maxwell Paley <[log in to unmask]>
Sent: Wednesday, March 7, 2018 2:37 PM
To: [log in to unmask]
Subject: Re: [OPERA-L] Hina Spani

Yes, he did but she’d already learned the role and what he added were refinements.

According to John Ardoin in “The Callas Legacy”:

"The most interesting of the 1950 Mexico City performances has an equally interesting footnote. When Callas was engaged for this first Leonora of her career, she went to her mentor, conductor Tullio Serafin, for help on the role.  To her surprise, he refused, saying that he had no intention of laying the groundwork for another conductor’s performances. Thus, Callas was left on her own to prepare one of the most exacting roles in the Verdian canon.”

Of course, the particular turn of phrase Roberta was talking about could be one of the refinements Serafin added when a year later in Naples. Equally, it’s possible that, being left on her own, Callas (after hearing Serafin’s enthusiasm for Spani) turned to Spani’s recording.

Max Paley

> On Mar 7, 2018, at 9:19 AM, Russ Geschke <[log in to unmask]> wrote:
>
> But Serafin did conduct Callas in Il Trovatore performances at Naples' Teatro San Carlo in January 1951 (a recording of the performance on 27 January 1951 is available on CD).  So Ms. Prada's hypothesis is grounded on fact.
>
> ----- Original Message ----- From: "Maxwell Paley" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Tuesday, March 06, 2018 5:09 PM
> Subject: Re: Hina Spani
>
>
> Interesting about Callas and Spani in “Trovatore” but unlikely that it passed through Serafin. Since he wasn’t conducting her first performances, Serafin refused to coach Callas on the role, leaving her on her own to learn it. If she was clued in to Spani. she might well have listened to those recordings.
>
> Max Paley
>
> Sent from my iPhone
>
>> On Mar 6, 2018, at 15:05, R PRADA <[log in to unmask]> wrote:
>>
>> Here’s something you may not know. She was allowed to go into the library of the Vatican and that is where she found the scores of the old Italian arias that she recorded with chamber orchestra. Among the Se Florindo e fedele. And I don’t know how much attention you paid to her recording of Amarilli, mia bella.  It is absolutely wonderful. He phrasing, and her breaths, the way she creates the line is absolutely fantastic. I see that in one of the reviews I read, her pianist was Castelnuovo-Tedesco, so they must have been on good terms. And of course she sang for Ernst Bloch. Very interesting time sin Italy.
>>
>> And I am pretty sure I told you that once for the hell of it I listened to every version of the Trovatore arias I could find, and I cam to the conclusion that Callas listened to her, because only two people of all of them had that phrasing. But here is another thought - since Spani sang with Serafin, he may have coached Callas and Spani both.
>>
>>
>> I did talk to Marston about doing Spani’s recordings, and he just said there were so many and he couldn’t do them all. True enough. He did say he would soon be getting around to Jean Baptiste Faure, a person whose voice I would very much like to hear.
>>
>> RP
>>
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