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Subject: Re: my favorite attribute of Montserrat Caballe
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Tue, 9 Oct 2018 16:35:15 -0500
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Tom:

     Your "supreme four" are pretty damn supreme" .  If I had compiled such a "supreme" list, I'd have certainly included those four ---------- and would have probably added Marilyn Horne and Jon Vickers, each for different reasons.  Vickers for being almost a theatrical miracle not unlike Callas, and Horne for giving the term, "mezzo soprano", an entirely new type of identity.

      

> On October 9, 2018 at 3:08 PM tom ponti <[log in to unmask]> wrote:
> 
>     Of all the sopranos I saw live or heard on live recordings the vocal miracles, 1950 - 80 would be: Callas, Sutherland, Nilsson and Caballe. Each had their own special greatness and certain faults. There were, many other great singers of that era but none I saw or heard on live recordings had the supreme great qualities of these four. Price, Milanov and Tebaldi had incredibly beautiful voices, but not the versatility or consistency of my supreme four. 
> 
> 
> 
>     ---------------------------------------------
>     From: Discussion of opera and related issues <[log in to unmask]> on behalf of Les Mitnick <[log in to unmask]>
>     Sent: Tuesday, October 9, 2018 3:42 PM
>     To: [log in to unmask]
>     Subject: [OPERA-L] my favorite attribute of Montserrat Caballe
>      
>     I was "onboard" (and already in my early twenties) when Caballe made and released her
>     first RCA recordings.  On records, I was duly impressed by her Traviata and Lucrezia Borga,
>     as well as by her Rossini, Donizettti, and Rossini Rarities recordings.  While her bel canto
>     technique was not on the Olympian level of Callas or Sutherland, she nevertheless was
>     worthy to be ranked in their company, at least from a vocal standpoint. 
>          What truly blew me away was her 1969 RCA Victor recording of Salome.  The fact that
>     she actually had this role in her repertoire was positively shocking.  On records, I found her
>     Salome incredibly beautiful, and sometimes even riveting (some of her plunges into the low
>     register while singing German consonants thrilled me to no end).  Her piano singing was
>     also exquisite (while her forte top notes were rock solid without a hint of the metallic sound
>     that later crept in).  Then I heard her Marshallin in a pirate recording of "Rosenkavalier". 
>     Then came "Arabella" and "Ariadne Auf Naxos" along with Norma, Elena in "Vespri", Aida,
>     and later some French titles.   By 1977 she took on Turandot in San Francisco and by 1980
>     performed Semiramide with Marilyn Horne. 
>           In this respect, she was kind of a Placido Domingo among sopranos.  She did not totally
>     conquer these roles to a lot of critic's satisfaction, but she took them on anyway, and
>     managed to deliver a performance.  Then came Isolde and Seglinde.  Her Isolde is on
>     YouTube and it's got some gorgeous moments, as well as some very exciting ones in Act I. 
>           That she had a voice that could encompass all of these roles in addition to many others
>     make me wonder how she accomplished so much.
>            To my ears, her Salome and her Norma were her greatest and most diverse creations
>     and she's certainly a soprano whose legacy in opera history is guaranteed as well as
>     warranted.
> 
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