Absolute rubbish!! Since you don’t particuarly like Callas, I can understand how you wouldn’t keep up on things, but some of the “really interesting” Callas performances are starting to come out in good sound. First, the Berlin Lucia has been around in very good sound for at least twenty years. Myto’s issues in the last year of 2 of her Norma’s from 1955 are in very good sound, considering the vintage. Her Violetta from Covent Garden with Valletti and Zanasi (my personal favorite among her Traviata performances) was issued in two very good sounding remasters in the last year, one on Myto and one on IDIS (I prefer the latter). Her 2nd Mexico Aida has been issued by Myto in fairly good sound (w. Del Monaco, Taddei and Dominguez). The Lisbon Traviata was also issued within the last year in excellent sound (from Radio Lisbon’s master tapes) on Myto. I have just been listening to the new Myto issue of her Mexico Rigoletto and, to my ear, Myto has used an excellent sounding master (radio announcements before and after each act lead me to believe they have used the broadcast archive materials) for most of the performance. From my listening, I would guess the master they used was incomplete, so they plugged in the existing lesser-sounding material to fill the gaps – but the majority of it is in beautiful, clear sound (altthough the prompter was in excellent voice, and Di Stefano decidely was not).

So you comment, though it may have been mostly true a few years ago, has been overtaken by events.

As for Di Donato, I was in her presence half an hour ago, and I will hear nothing against her. Her closing number at the NYCO gala was, as usual, magisterial.

But you’re right that it’s a small point, and it’s not my fight to fight, so I’ll let it go.

By whom? Many say “serviette” for napkin as well.

I don’t understand your not understanding. The only possible reason to introduce a foreign form into cultivated English discourse is because the English word does not suffice. How is REPERTORY less adequate than the pretentious REPERTOIRE?

Ruxton, I don’t understand your point at all. How does the fact that a word comes from French and Latin — especially when it does so no more than the normal English word — give it predominance for English usage?

I raised this only as a small point in the midst of other small points being raised. But the defense of the nonsensical exotic usage seems to be quite emphatic. Odd.

I don’t understand your comment/complaint about repertoire since it has a long-accepted use in English.

BINGO. You are so right. It is a pet peeve of mine that Americans commonly say they study or teach VOICE. This is nonsense. The Yale Music School — at least when I was there — claimed only to teach SINGING. (This was part of an old-fashioned usage that also included PIANOFORTE PLAYING, PIPE-ORGAN PLAYING, VIOLONCELLO PLAYING, etc. — for the obvious reason that you don’t teach PIANO, etc., you teach the PLAYING.)

My admiration for Callas is unbounded, and not for her voice but for her incomparable singing.

I can’t answer your question until you translate it from whatever language that is.

So is it any wonder an opera buff will weight up the
value of another fan; after being told which singers, they love.

I smile: thinking back, remembering the retorts of some opera fans. Sch as when they might have been asked to a a party and rejected the invitation. Why? The usual rely was “God, I CANNNNNT stand those people , they are all into ………(name of opera singer)!”

Maybe that’s why I always come away from DiDonato performances wondering what all the fuss is about – nothing there you can criticise, but equally nothing to cause a stir.

poisonivy: I’d say Joyce DiDonato is “completely down to earth” or else feigns it very very well. Read her blog. Email her. She often will answer, very nicely.

Like who? Do you actually know any major singer who is really completely down to earth? Are you always just the salt of the earth?
I don’t think I would have chosen Callas as a buddy either, but i’d never judge a singer based on his or her personality.

but all of the really interesting live recordings are disappointing because a) the sound is terrible

I agree with you that the sound is terrible. When I first became interested in opera, I thought I HAD to like Callas because she’s the epitOme of the Diva, but the recordings from that time can’t compare to today in terms of stereophonic sound and, at least when heard on CDs, roundness, warmth, and fullness. (I’ll not speak of vinyl as I’ve not bought a vinyl recording in 20 years, have not own a record player in 18 years, and own no vinyl records of opera.) Many recordings of Callas sound thin to me.

BUT, after hearing quite a few singers (in person) seem to show up and sing all the notes unsupported by any acting, I have a greater appreciation of Callas’ talent. On the 3 Callas recordings I have — Lucia, Traviata, and Tosca — she completely inhabits the roles and sings her heart out.

and b) her voice just doesn’t do it for me.
This seems much more reasonable to me. Some singers, revered by many others, just don’t speak to EVERYone. I myself can’t stand to hear Sutherland. We’re all entitled to our personal tastes so there’s no argument, I think, if she just doesn’t do it for you.

Madama Butterfly, Aida, Forza del Destino, Lucia, Cavalleria Rusticana, Tosca, Norma… These are all great, great recordings (except for Gedda’s Pinkerton which I dislike).

That’s exactly it. There aren’t many extant examples of her fine acting abilities, only numerous audio recordings. Some of her studio recordings are…okay, but all of the really interesting live recordings are disappointing because a) the sound is terrible and b) her voice just doesn’t do it for me.

“Javier, I believe there are delaying cremes on the market for help with your shooting problem. After all, it’s impolite to shoot after merely a glance”

Nice impotence joke. My impotence is a constant struggle, but now there’s hope. I’ll ask around about the cream. Thanks.

Actually I think she had a very limited, annoying type personality.

But I don’t see what that has too do with her singing

But to me “singing actress” also means someone who’s appeal was primarily visual or dramatic.

To me this is someone with a lot of magnetism and/or great theatrical talent with a less than outstanding
way of singing or rather, using their voice.

An example to me would be Anja Silja. I’ve seen her as Emily Marty, Salome, Marie in Wozzeck, and Leonore. I have quite few recordings and two DVDS. She is not someone I want to listen to CDs of. All I get from that
is a “less than perfect voice” used in a not very memorable way. However to SEE her on the stage is electrifying. Last time I saw her in the Makropoulos Case at BAM she game a simply amazing performance .

And some of this is captured on her DVDs of Makropoulos
as well as Jenufa.

But listen to her, without the visual?? No thanks.

She’s what I would call a singing actress.