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Subject: Re: Caballe's commercial recorded legacy; zarzuela arias
From: Russ Geschke <[log in to unmask]>
Reply-To:Russ Geschke <[log in to unmask]>
Date:Wed, 10 Oct 2018 22:18:04 -0500
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You are so right, have said everything, as to the El Carro del Sol "Cancion 
veneciana"; it is entrancing.  Of Caballe's noncommercial recordings, I love 
the La Donna del Lago with Bonisolli (April 1970), available on both lp and 
CD.

----- Original Message ----- 
From: "Sterling ." <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, October 10, 2018 9:46 PM
Subject: Re: Caballe's commercial recorded legacy; zarzuela arias


> This has been over-looked:
> One of her most exquisite recordings has, to my uncertain knowledge, never 
> been re-issued on CD.  “Ravishing” is not too strong a word to describe 
> her traversal of Zarzuela arias with Eugenio Marco conducting the 
> Orquestra Sinfonica de Barcelona.  Recorded in April and May 1974 by 
> Discos Columbia S.A., a selection of arias from those sessions was issued 
> in 1976 in this country on the “London” LP label as OS 26435, which thank 
> Heaven I still own.  I continue to pray for a re-issue of the complete 
> set.  Preferably SACD or Blu-ray…
> One cut alone, “Canción veneciana” by Serrano, is worth the whole album. 
> The “floating pianissimi” are much in evidence, as well as her strong 
> sense of structure, so that her liberal, perfectly placed, rubato does not 
> distort the line.  The build to the climax is… oh well, climactic…  So 
> gorgeous, the first time I heard it I just “fell apart”.  I think it’s 
> right up there with her “Verdi Rarities” usw.
> What a beautiful Human Being; she is sorely missed.
>
> Sterling Fuller-Lewis
> Please visit my secure web site at
> https://www.pathway2opera.com
>
>
> -----Original Message-----
> From: Discussion of opera and related issues <[log in to unmask]> 
> On Behalf Of Donald Levine
> Sent: Wednesday, October 10, 2018 10:58 AM
> To: [log in to unmask]
> Subject: Re: Caballe's commercial recorded legacy; Anna Bolena; Giovanna 
> Seymour
>
> I am very much in agreement with Max concerning Caballe.  At first, I was
> very turned off by the glottal cluck.   I felt it was a technical problem
> or personal interpretive choice - I was never quite sure.  It took years 
> for that to stop bothering me and over the years, it did become less and 
> less of an issue.  In concert, she could be exquisite and then there was 
> that personality that flowed from the stage into the audience.  Her 
> concerts like her compatriot De Los Angeles were enchanting.
>
> As for the recordings, the three original recitals,minus the coups de
> glotte had much that was so beautiful.    I was bowled over by the Salome.
> Close behind are the Traviata and her glorious Fiordiligi for Davis.  The 
> one recordiing that I never warmed up to was the Gioconda.  I never really 
> like her use of chest voice on that.  It was a hollow, ugly sound totally 
> out of synch with the rest of the voice.  It was almost like a whine.  It 
> just never appealed to me the way she did it and the way it came out.
>
> The piano of course was her great trick.  I found it a somewhat 
> disembodied sound, akin to Gencer's but with a bit more body behind it. 
> It was not the same as Milanov's.  Milanov seemed to be able to carry the 
> full weight of the voice into the piano.
>
> She was a great singer.  Not perfect.  The voice beautiful as it was, was 
> not perfect but she could be an imaginative and there was a fine musical 
> mind behind everything she did - even when the carried things to excess.
> She did it her way and most of us loved it and loved her for it.  Her last 
> recital appearances were like Bergonzi's, an intensely personal event.
>
> One more recording that I loved was her duet recital with Giuseppe Di 
> Stefano.  He was clearly having problems but her singing in the Pearl 
> Fishers duet and the big scena from Francesca da Rimini, especially the 
> Francesca, were haunting.
>
> Donald
>
> On Tue, Oct 9, 2018 at 3:56 PM Max Paley 
> <[log in to unmask]<mailto:[log in to unmask]>> wrote:
>
>> Do any of you remember how, when her first major recordings appeared
>> (the RCA aria recital and complete “Lucrezia Borgia”) how perturbed
>> and perplexed the critics were about her “glottal clunk”? Enough that
>> she felt she had to justify in a few interviews the “coup de glotte”
>> that had been part of her training and where and when she did and
>> didn’t use it. Nobody even talks about it anymore.
>>
>> I didn’t always find her voice beautiful. The luminous pianissimo were
>> always spectacularly gorgeous but sometimes I found the actual sound
>> of the voice somewhat reedy, and even in her prime, forte high notes
>> could be hard and even squally. But she had musical magic: she spun
>> those sounds into graceful, arched phrases of incredible delicacy and 
>> length.
>>
>> As Turandot and as Tosca, I heard her pump out some high Cs that could
>> go toe to toe with Nilsson.
>>
>> The record that completely dazzled me when it first came out was that
>> RCA LP “Rossini Rarities.” At the time, I wasn’t even that big on
>> Rossini (yet) but I was mesmerized by the exquisite singing and music 
>> making.
>>
>> Like Les, I was also surprised and delighted by her Salome. Delicacy,
>> sensuousness, youth but lying in wait were power and volume of immense
>> proportion.
>>
>> I was never quite settled on her recorded Aida. Some stunning effects,
>> also some pushing. But, exquisite as they were, those spun sugar
>> pianissimi never quite sounded like Verdi to me, particularly
>> contrasted with a real Verdian like her colleague on the recording, 
>> Cossotto.
>>
>> Perhaps my favorite recording of hers: her dazzling Fiordiligi for
>> Colin Davis.
>>
>> Max Paley
>>
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