I sent this to my friend Leonardo for his new book....
Mio caro, Before i mention Zinka, my friend James jorden will be featuring Virginia Zeani..24 Hrs. a day on his "Gran Teatro Della Cieca' Internet Radio show..i provided the material..and will let you and her know when it starts and how to get to the station.
I never plan ahead on my posts..i let it FLOW...if you feel you want more info..or whatever....just tell me.i could go on forever about Zinka,whom I saw live 87 and a half times 9the half being the Verdi Requiem, where she fainted (mercifully) in the middle..so here is what I am feeling..and do whatever you want....edit..etc.......i will do my best:
When one is young and begins to listen to opera, certain singers attract them in a special way,and often these voices leave an indelible impression for life. Such was the case of Zinka Milanov, heard by me for the first time on the 1951 RCA Trovatore,and I recall absolutely wearing out the "D'Amor sull'ali" section of the LP (remember them??),not able to believe that a human voice could achieve that level of beauty. However, the RCA "Orthophonic Sound' technique diid not tell me the entire story, owing to their kind of "echo effect," and so when I first heard Zinka, live in the 1953 Forza,I absolutely could not believe my ears, for the richness and the silver and the beauty of that voice in the live theatre were even more incredible than the recording. That was the season of the Normas, and although she had difficulty with the fioratura and the top C's, I still feel that the "later Zinka' as compared to the 1940's Zinka was absolutely sensational,despite the erratic top C. If one listens only to the "In mia man" section of act four, the nobility of the line, the sheer power and magnificence of this great voice emerge like perhaps only a Rosa Ponselle might have. For my "golden Milanov moments" I will also add the double pianissimo attack on "Ora soave" in act two Chenier duet, the amazing Ernani trio,where she uses that luscious "mixed chest" voice and sails up to the top,often using the "Milanov swell." I also will point out the line in Act Four Andrea Chenier, "Abbracciami,baciami, AMOOOOORE" which might have been the all-time most amazing top A that anyone could imagine..it shook me out of my seat (or standing room spot.) Even at the very last Chenier,at Zinka's Met farewell in 1966,and then the duet with Richard Tucker at the closing night of the old Met,the voice was so bright and youthful, and up to B natural it was still secure. I even have a Milanov vocal lesson from 1985,in which she illustrates some sections of Forza with the Guardiano, and she still could sing the high pianissimo on "mi toglierГ" in the duet as if she was 39.(She was then 79). God bless this great lady whose every phrase "I can play in my head forever." She meant more to me as an artist than anyone I ever heard. Zinka adorata, ah come t'amo!"
I know you did not want me to write the TALMUD...but how i could I write less......Love CH
Mitchell Kaufman 6 March 2005 04:08:29 [ permanent link ]
Charlie2 <Placido21@aol.com> wrote:
Such was the case of Zinka Milanov, heard by me for the first time on the> 1951 RCA Trovatore
Actually it was '52.
However, the RCA "Orthophonic Sound' technique diid not tell me the entire> story, owing to their kind of "echo effect,"
The "Orthophonic Sound" nomenclature was virtually meaningless. The tapes merely had echo applied to them before the records were pressed. In later years (after the performance was reissued on the Victrola label), they went back to the master tapes--without the echo--and the excellent quality of the original recording became evident.
I recently bought a couple of original pressings of the Trovatore (including *the* original, which had the record sleeves attached to a kind of metal hanger in the box), and they sounded horrendous.
One instance where the reissue is far superior to the original.
ID number. So what? I'd guess most of the other posters here have already cottoned on as to what to look for in these phony postings. So I'm not going to waste the forum's time any more (with regrets to those who may already be exasperated).
In article <422AB2E4.B6BE2360@verizon.net>, Elizabeth Hubbell says...
I'd guess most of the other posters here have>already cottoned on as to what to look for in these phony postings. So>I'm not going to waste the forum's time any more
Thank God! Geoffrey, that's *five* times this evening. This is more than boring, it's as if you're obsessed. It's a shame because I usually enjoy reading your posts. But this relentless pursuit of Handelman's idiocy is really a turn-off. Give it a rest!! Nobody cares!!
Leonard Tillman 6 March 2005 21:29:10 [ permanent link ]
StinkyShorts Bollmann:
I could never figure out what you expected to> accomplish anyway.
Hell, stinky (not Helsinki), you could never figure out what YOU expected to accomplish anyway, whatwith your cascading, overflowing boll-fuls of pure bollshyyte.
All 607 (if there be that number) of your sickening ID's are identically disgusting for all practical purposes.
In the film Goliath and the Barbarians, there's a scene where opposing teams of horses are trying to "divide" Steve Reeves, as it were.
They failed. Now, had YOU been the object of their efforts, would 1214 Bollmanns have suddenly plopped onto the dirt, like so many overripe cowpuckies?? Not a pleasant concept, that.
Reynolds appears to be dubbing the voice of Jean Hagen, whereas in fact it is Jean Hagen dubbing the voice of Debbie Reynolds dubbing the voice of Jean Hagen.
My posts are now being dubbed in by Marni Nixon....CH
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