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Subject: Fwd: [OPERA-L] Caballe's commercial recorded legacy; Anna Bolena; Giovanna Seymour
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Mon, 8 Oct 2018 14:14:15 -0700
Content-Type:text/plain
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Sent from my iPhone

Begin forwarded message:

> From: Maxwell Paley <[log in to unmask]>
> Date: October 8, 2018 at 14:00:22 PDT
> To: tom ponti <[log in to unmask]>
> Subject: Re: [OPERA-L] Caballe's commercial recorded legacy; Anna Bolena; Giovanna Seymour
> 
> I don’t know for sure.
> 
> They had a big row over the tempo for “Tu, che le vanita” but I don’t know what else. They argued and he agreed to accommodate. Then in the playbacks she realized he had kept it the way he wanted.
> 
> Her priceless comment: “He bamboozled me!”
> 
> I don’t know what set him off so definitively. 
> 
> Other great conductors loved her. Muti, Colin Davis in particular.
> 
> Karajan loved her voice but they only ended up doing the Verdi Requiem together. He wanted her as Anna for a planned “Don Giovanni” film and soundtrack. Apparently she was delighted to get the contract but less delighted when she saw that it stipulated that she lose 30 lb. 
> 
> Don’t know if she signed but the project never happened.
> 
> Max Paley
> 
> Sent from my iPhone
> 
>> On Oct 8, 2018, at 12:13, tom ponti <[log in to unmask]> wrote:
>> 
>> Do you know why Giuliani would not work with Caballe again, perhaps for tardiness or not showing up for recording sessions?
>> 
>> 
>> From: Discussion of opera and related issues <[log in to unmask]> on behalf of Maxwell Paley <[log in to unmask]>
>> Sent: Monday, October 8, 2018 2:09 PM
>> To: [log in to unmask]
>> Subject: Re: [OPERA-L] Caballe's commercial recorded legacy; Anna Bolena; Giovanna Seymour
>>  
>> Caballé was contracted to record “Il Trovatore” for EMI with Giulini conducting, sometime not too long after the Giulini “Don Carlo.” 
>> 
>> Giulini himself brought it to a halt by refusing to ever work with her again after the “Don Carlo.”
>> 
>> Why they didn’t record her with a different conductor, I don’t know.
>> 
>> Max Paley
>> 
>> Sent from my iPhone
>> 
>> > On Oct 8, 2018, at 10:29, Daniel Layne <[log in to unmask]> wrote:
>> > 
>> > While I am certainly glad for all the recordings she left behind, Caballé's recorded legacy had 
>> > plenty of gaps. I wish she had recorded il Trovatore, for example, as I think it was one of her 
>> > great roles. But, she was recording a lot for RCA, but they also had Leontyne Price around the 
>> > same time. 
>> > I also wished the would have commercially recorded one or all three of Donizetti's "Queen 
>> > trilogy" operas.
>> > Also, I would have loved  a La Forza del Destino from her.
>> > As for Adriana Lecouvreur, I had heard back in the 1980's that she had begun recording 
>> > sessions for a complete studio version of the opera for Philips Records, with Fiorenza Cossotto 
>> > and Jose Carreras, but at some point the recording was shelved and not completed.
>> > One of my favorite recordings of hers the is studio recording of Madama Butterfly.
>> > I don't recall for which label it was recorded, but at some point it was distributed by 
>> > London/Decca. I assume it is long out of print now.
>> > In the mid-1980's London/Decca announced they were going to record a La Fanciulla del West 
>> > with Caballé and Pavarotti, but that never happened.
>> > 
>> > 
>> > Dan
>> > 
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