The Price is right!
With the new year always come new year's resolutions, and La Cieca thinks that this year her resolution will be to stop making snap judgments. La Cieca hopes you understand that she only got into the habit of making all those snap judgments because she is right almost all of the time. But now and then, La Cieca does miss the boat, and she is the first to admit it. Or at least she is among the first. One such erroneous snap judgement La Cieca made was about Dame Margaret Price. Way, way back in the 1970s, when her brain was probably addled with too much, uh, disco music, La Cieca heard a couple of recordings of Dame Margaret's singing, and, well it just somehow rubbed La Cieca the wrong way. La Cieca used words like "hooty" and "straight tone" and perhaps the most destructive snap judgement of all, "not my cup of tea." Well, now it turns out that Margaret Price should have been La Cieca's cup of tea all those years, had La Cieca bothered to take more than a single sip. And so, on this week's episode of "Unnatural Acts of Opera," La Cieca presents a performance from, ironically enough, 1981, when Dame Margaret appeared as a soloist with the Chicago Symphony. She sings, first, the "Four Last Songs" of Richard Strauss, and then selections from "Des Knaben Wunderhorn" of Gustav Mahler. As an encore, we hear Agathe's "Leise, leise" from 1973. Unnatural Acts of OperaLabels: chicago











9 Comments:
Many thanks for posting such a wonderfully sung performance of the 'Four Last Songs'!!
I also tended to write-off Dame Peg's performances, but this recording is stellar! Thanks again.
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Indeed, thanks, Mme. La Cieca.
Price was a very fine singer who never quite became as popular or well-known as perhaps she could have. I always perceived her as a "lazy" singer. Not sure why. Just my perception. Or possibly because of her limited repertoire. She was also rather "placid" or static onstage.
There was a time in the late 70's and 80's when she seemed to be singing Desdemona all over the place. Wherever I saw Otello, she was the Desdemona. (In Paris, at the Met, at the Kennedy Center, etc.) Vocally her Desdemona was beautiful; dramatically I hate to say it she was boring. She was an excellent onstage Countess, though.
Is she still singing? Is she retired?
She had one of the most exquisite voices and musical sense I've ever heard live, but she was definitely a go-to-the-balcony singer. You could believe her as Desdemona and Amelia in "Simon Boccanegra," but only if you were very far away.
Dame Margaret bade a very discreet farewell to performance a couple of years back.
while she had a lovely voice and was a fine singer, yes, she was a pretty dull stage presence and didn't exactly grip one with drama.In an era dominated by Scotto, Freni, Sutherland, Stratas,Rysanek,L. Price, Verrett, Bumbry , HOrne, Stratas, and Nilsson, Behrens and Gwyneth Jones, is it any suprise she did not get noticed. (All of the above, despite whatever shortcomings each may of had, were a hell of a lot more exciting, and you always knew who was on stage)
Whilst a great fan of the Dame in certain roles, I do have many of the reservations shared by other posts and La Cieca.
Margaret was very, very placid on stage. Her voice developed greatly from her beginnings (as Cherubino!) but so did her figure (not wishing to seem sizist but it did seem to be a bit of an impediment).
I would also question some of her repertoire choices: her Norma at Covent Garden was rather on the painful side: gorgeous individual phrases, a lot of singing decidedly on the flat side (mainly the higher passages) and virtually no fire, either vocal or physical.
Everyone remembers his first. The first first concert I ever attended at Carnegie Hall was the Met Orchestra with James Levine conducting, and Margaret Price singing Strauss's Four Last Songs. I had never head the piece before, and I fell madly in love with both the piece and her voice.
The first time I heard Price was in her American debut recital at Hunter College; I won't even try to recall the year. She sang Liszt's settings of three Petrarch sonnets in a way that got me quite excited in an ethereal way, but her subsequent operatic performances I found rather on the staid side -- perhaps concert was the ideal venue for her. Still, her Countess in the PERFECT Figaro that Solti conducted, when the Paris Opera visited the Met (summer of 1976?), was, well, perfect -- worthy of Van Dam, Freni, and Von Stade, with whom she sang it. But she didn't bounce about during the Act II intrigue (some Countesses do, some don't). She didn't move much on stage at all. This was true also of her Desdemona that summer, which I found unaffecting.
Hans Lick
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