LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: "Caballe Sight-Reads Again"
From: daaaac <[log in to unmask]>
Reply-To:daaaac <[log in to unmask]>
Date:Sun, 14 Oct 2018 20:11:38 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (61 lines)


My former voice teacher, Wayne Conner, was a big fan of Caballe and attended the Carnegie Hall Gemma di Vergy with OONY.  After waiting in the autograph/greeting line, he brought up the subject of the late arrival of the orchestral parts.  She said she was especially concerned as the string parts “had all of my bowings.”

Donad III

> On Oct 14, 2018, at 7:07 PM, Max D. Winter <[log in to unmask]> wrote:
> 
> Max Paley wrote:
> 
> "But Caballé herself was a last minute substitute (for I don’t remember who) as Santuzza 
> on the Muti “Cavalleria” which I’m told she sight read."
> 
> As someone else observed, Caballe was a superb musician and could learn a role almost 
> overnight - which is not to say that she could do that and sing the role with any dramatic 
> depth or meaning.  A common complaint against Caballe in the early 70s, when it seemed 
> like she was putting out another recording just about every month, was that many of her 
> commercial recordings were beautifully sung but lacking in depth and dramatic 
> engagement.  That was my own reaction to many of her recordings during this period.  I 
> remember one review of her "Giovanna d'Arco" (I think it was in American Record Guide - 
> remember that wonderful publication?) noting that Caballe had actually sung the role 
> before, "so this is not another case of 'Caballe Sight-Reads Again'."
> 
> I think Caballe was one of those artists who needed the spark from a live audience to really 
> give of her best.  As many have commented, her Norma from Aix-en-Provence (with the 
> Mistral blowing full tilt) is one of the greatest performances of that role on disc, dramatically 
> engaged and sung with incredible beauty.  But her studio Norma, by contrast, is a very 
> bland affair.  (Cossotto is good, but Caballe, Domingo and Raimondi sound like they are 
> sleepwalking through much of their parts.)  It is significant, to me, that many of her 
> greatest recordings - the Carnegie Hall "Lucrezia Borgia," "Parisina" and "Gemma di Vergy," 
> the San Francisco "Turandot" (which I think is spectacular), the Dallas "Nozze di Figaro," 
> and the Aix "Norma," are live performances (all in excellent sound).  Exceptions to this 
> among her studio recordings are her recordings of "Cosi fan tutte" for Philips with Janet 
> Baker and Colin Davis, her superb "Salome" on RCA under Leinsdorf, and her EMI Aida 
> under Muti.  (Although that last has a very obvious splice just before the pianissimo high C 
> in "O patria mia" - I don't understand how that was passed for release.) 
> 
> MDW
> 
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager