# Round Two: Mira, di acerbe lagrime. Price/ Warren, Callas/ Panerai



## Seattleoperafan (Mar 24, 2013)

Artist: Leonard Warren Artist: Leontyne Price Conductor: Arturo Basile Orchestra: Orchestra del Teatro dell'Opera di Roma Composer: Giuseppe Verdi




Il Trovatore (1997 Remastered Version) , Act IV Scene One: Mira, d'acerbe lagrime · Maria Callas · Rolando Panerai · Orchestra del Teatro alla Scala di Milano · Herbert von Karajan


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## Op.123 (Mar 25, 2013)

Not much a fan of Price's hollow, heady timbre and Warren is past his prime. Callas is more musical than Price with a better produced voice if a few signs of unsteadiness. Panerai sounds healthier than Warren here.


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## Tsaraslondon (Nov 7, 2013)

All three performers (I include Karajan) are superior to their counterparts. However the Price/Warren ends before we get to the fast part, which is thrilling in the Callas/Panerai/Karajan version. Having listened to the first part, I doubt Price, Warren and Basile could improve on it. Callas's voice was still a marevllously supple instrument in 1956 and the accuracy with which she sings the coloratura is fabulous. I love Panerai in this opera too.

Edit! @Seattleoperafan has altered the clip to include the final part of the duet, but it doesn't alter my vote. Callas is far more supple, and far more accurate. Panerai is much more rhythmically exact too. The Callas/Panerai/Karajan is far more exciting.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> All three performers (I include Karajan) are superior to their counterparts. However the Price/Warren ends before we get to the fast part, which is thrilling in the Callas/Panerai/Karajan version. Having listened to the first part, I doubt Price, Warren and Basile could improve on it. Callas's voice was still a marevllously supple instrument in 1956 and the accuracy with which she sings the coloratura is fabulous. I love Panerai in this opera too.
> 
> Edit! @Seattleoperafan has altered the clip to include the final part of the duet, but it doesn't alter my vote. Callas is far more supple, and far more accurate. Panerai is much more rhythmically exact too. The Callas/Panerai/Karajan is far more exciting.


Price is not Callas but people forget that during the golden age of the 60's and 70's when there were so many great singers ( unlike today) Price was the reigning queen of Verdi and seldom have we had sopranos who sang Verdi as well as her since then. Caballe and Arroyo were also really good but I think more people thought of Price as THE Verdi soprano of her day. The problem is that most of the really great Verdi voices were before the 60's: Callas, of course, Tebaldi, Milanov, Cigna, Boninsigna, Ponselle, to name some of the best.


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## Op.123 (Mar 25, 2013)

Seattleoperafan said:


> Price is not Callas but people forget that during the golden age of the 60's and 70's when there were so many great singers ( unlike today) Price was the reigning queen of Verdi and seldom have we had sopranos who sang Verdi as well as her since then. Caballe and Arroyo were also really good but I think more people thought of Price as THE Verdi soprano of her day. The problem is that most of the really great Verdi voices were before the 60's: Callas, of course, Tebaldi, Milanov, Cigna, Boninsigna, Ponselle, to name some of the best.


Price has never sounded like a true Verdi voice to me. This instrument was not heavy enough and her core was not solid enough; her timbre too heady. Her voice thins out a bit on top too. The others you mentioned are more to my tastes when it comes to Verdi.


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## Tsaraslondon (Nov 7, 2013)

Op.123 said:


> Price has never sounded like a true Verdi voice to me. This instrument was not heavy enough and her core was not solid enough; her timbre too heady. Her voice thins out a bit on top too. The others you mentioned are more to my tastes when it comes to Verdi.


True, but she'd be manna in the wilderness now.


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## Seattleoperafan (Mar 24, 2013)

[


Op.123 said:


> Price has never sounded like a true Verdi voice to me. This instrument was not heavy enough and her core was not solid enough; her timbre too heady. Her voice thins out a bit on top too. The others you mentioned are more to my tastes when it comes to Verdi.


I think in some roles you really need to hear people live. I only saw Price in recitals, which is not the same thing as in an opera. On the radio and on recordings she sounded wonderful to me singing Verdi. Mary Elizabeth Williams, our Isolde, is really good at Verdi but she is not well known and and opera buddy saw Angela Meade in Trovatore and said she was wonderful, but two singers cannot cover all the Verdi big houses all over the world that want to put on. People LOVE Verdi and for good reason. I heard Meade here in Sieglinde and it was a really big voice and very lush.


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## Op.123 (Mar 25, 2013)

Seattleoperafan said:


> [
> 
> I think in some roles you really need to hear people live. I only saw Price in recitals, which is not the same thing as in an opera. On the radio and on recordings she sounded wonderful to me singing Verdi. Mary Elizabeth Williams, our Isolde, is really good at Verdi but she is not well known and and opera buddy saw Angela Meade in Trovatore and said she was wonderful, but two singers cannot cover all the Verdi big houses all over the world want to put on. I heard Meade here in Sieglinde and it was a really big voice and very lush.


I'm very critical, I know. There are certainly some fairly big voices about, and many with fairly pleasing timbres but when I'm listening to singers my first thought is always how natural it sounds to me. A 'beautiful' timbre like Price's which uses a lot of head tone may sound lovely but to me it just doesn't sound quite right or completely natural. And while I like many big voiced singers it's usually because the largeness of their sound is a result of their opened and natural technique not only because the voice is lage. Sometimes these voices do sound better live but generally beyond a small degree, a manufactured sound, however attractive just doesn't engage me as much.


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## Seattleoperafan (Mar 24, 2013)

Op.123 said:


> I'm very critical, I know. There are certainly some fairly big voices about, and many with fairly pleasing timbres but when I'm listening to singers my first thought is always how natural it sounds to me. A 'beautiful' timbre like Price's which uses a lot of head tone may sound lovely but to me it just doesn't sound quite right or completely natural. And while I like many big voiced singers it's usually because the largeness of their sound is a result of their opened and natural technique not only because the voice is lage. Sometimes these voices do sound better live but generally beyond a small degree, a manufactured sound, however attractive just doesn't engage me as much.


If I want to go for a Verdi recording I go way back!! LOL There you could find what you and I want to hear. I do like Caballe in Aida and Trovatore, though. Farrell I think was better at Verdi than Price but she was recording that at or around 1960. I probably should have used her in this competition but I have used her a lot lately.


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## nina foresti (Mar 11, 2014)

It seems almost strange for me to horn in on the majority but I'll bet anything when I get up there that most of the votes went to Callas/Panerai. They were all good but there was a certain urgency to the Callas/Panerai which semed somehow more appropriate.


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## Tsaraslondon (Nov 7, 2013)

nina foresti said:


> They were all good but there was a certain urgency to the Callas/Panerai which semed somehow more appropriate.


Absolutely. Some of that I put down to the conductor. Karajan is fantastic here. His tempo for the fnal section is spot on. Fast but not rushed and the rhythm superbly sprung. I've always thought this *Trovatore *was one of the best things he ever did on disc.


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## ScottK (Dec 23, 2021)

This is an easy selection for me with a funny twist...I'm voting against the recording I grew up with and listened to often enough that many of the phrasings are still in my head and I wait for them as I listen! This exact cut, beginning at the same place, was what was included in the highlights album we had. But, despite the appeal that either the piece or Price and Warren held for me, I find Callas and Panerai distinctly superior.

I never enjoyed Price on records the way I did Schwarzkopf and Caballe. But in the house, and particularly Trovatore, she was just about as good as anyone vocally! Warren's production does not bother me at all - I hear what others object to, I just am not put off by it. I think its a great, powerful voice and he always sings with commitment. What bothers me is his way with the italian language and as a result, the musical line. To me, he sounds pedantic and schoolboyish in his effort to "do it all right" and I get a distinct lack of the second nature, falling off of the tongue that comes from many non-native italian speaking singers. The much maligned Hvorostovsky never brings this thought to mind. This recording is such an example of that, that I know I've used this opening line - Udiste, come albeggi... - to make the point to people before. And he often does it to such an extent.....often here, to me....that it intrudes on the musical line.

I think Callas and Panerai sound close to perfect.....maybe until Callas last note, but by then the damage has been done, she's won me over again! I find her most captivating in the degree to which she does everything so within the musical line - the antithesis of Warren. But the conviction and sense of character and situation are there! It's not the sort of piece to be filled with detail so the point is made in a broader way and she makes it. 

Right or wrong, I always thought of Panerai, like Sereni, as being a slightly smaller voiced version of the big baritone but he sings this wonderfully. In the coloratura section he actually seems to infuse his sound with his joy at "winning" Leonora. And that coloratura section???!!!....like the cabaletta to Tacea la Notte, so defines where Verdi was and has trouble leaving behind. Those moments sound close to silly to me when they stand next to the sounds he was coming up with for the rest of the opera and when considering what is transpiring in the scene. But he did indeed move on!


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## ScottK (Dec 23, 2021)

Op.123 said:


> Price has never sounded like a true Verdi voice to me. This instrument was not heavy enough and her core was not solid enough; her timbre too heady. Her voice thins out a bit on top too. The others you mentioned are more to my tastes when it comes to Verdi.


She killed it in Verdi live!!! Her upper register sent shivers. On record I always thought the middle had a fuzziness I found unappealing but live, her Aida and Trovatore were so gorgeous and clear.


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## MAS (Apr 15, 2015)

I used to love the Mehta recording with Price, but have not listened to it in years. When I think of Leonora, it’s Callas’s voice in in my memory. Whether it’s early, in Mexico in 1950, or 1953 at La Scala, or the studio recording of 1956, she is the quintessential exponent of the role. She has everything needed for it, and even if the voice has thinned out by 1956, she can still sweep everyone aside.


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> If I want to go for a Verdi recording I go way back!! LOL There you could find what you and I want to hear. I do like Caballe in Aida and Trovatore, though. Farrell I think was better at Verdi than Price but she was recording that at or around 1960. I probably should have used her in this competition but I have used her a lot lately.


Somehow, I don’t think Leonora suited Caballe as well as Aida.


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## ScottK (Dec 23, 2021)

MAS said:


> Some how, I don’t think Leonora suited Caballe as well as Aida.


That's possible for the entire role, but D'amor sul ali rosee....when she was making the most of those pianissimi, and not just indulging them, was off the charts!!


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## Op.123 (Mar 25, 2013)

MAS said:


> Some how, I don’t think Leonora suited Caballe as well as Aida.


Sometimes her trills weren't there or not good but I think her voice leant itself to Leonora better than Aida. You can get away singing Leonora with a well projected lyric voice but I find her sounding a little overparted in Aida.


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## Seattleoperafan (Mar 24, 2013)

ScottK said:


> She killed it in Verdi live!!! Her upper register sent shivers. On record I always thought the middle had a fuzziness I found unappealing but live, her Aida and Trovatore were so gorgeous and clear.


Bless you. You really need first hand reports to get the full picture on singers. Some don't record well.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Some how, I don’t think Leonora suited Caballe as well as Aida.


I only know her D'amor sulla etc. aria and it is glorious but the role is much more than that. Her Aida is marvelous but I wouldn't want to see her in the typical Aida one shoulder number. I am a bad person.


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## Seattleoperafan (Mar 24, 2013)

Op.123 said:


> Sometimes her trills weren't there or not good but I think her voice leant itself to Leonora better than Aida. You can get away singing Leonora with a well projected lyric voice but I find her sounding a little overparted in Aida.


I could never tell how big her voice was from records. She sang everything but should she have is another matter. Her voice aged but did not sound like it was ravaged from misuse when she was older. All I know is her ppppp High C in O Patria Mia followed up with the FFF high note was pure magic! I heard her do Isolde's Curse and she sounded great but it could have been a small European house. Doing it in the Met might be another matter. In her early stuff I like best she sounded lyric spinto-ish but not full dramatic soprano like you need for Turandot and Wagner, which she sang.


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## ScottK (Dec 23, 2021)

Op.123 said:


> Sometimes her trills weren't there or not good but I think her voice leant itself to Leonora better than Aida. You can get away singing Leonora with a well projected lyric voice but I find her sounding a little overparted in Aida.


I had never thought about the question before so didn't take it up. There are certainly many parts of Aida that are made for her, but I will agree that when I think of Ritorna Vincitor, I don't think of Caballe.


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## ScottK (Dec 23, 2021)

Seattleoperafan said:


> I could never tell how big her voice was from records. She sang everything but should she have is another matter. Her voice aged but did not sound like it was ravaged from misuse when she was older. All I know is her ppppp High C in O Patria Mia followed up with the FFF high note was pure magic! I heard her do Isolde's Curse and she sounded great but it could have been a small European house. Doing it in the Met might be another matter. In her early stuff I like best she sounded lyric spinto-ish but not full dramatic soprano like you need for Turandot and Wagner, which she sang.


The impression I remember was that I never had any problem with size in the basic sense of hearing and carrying. But if you think of weight in a voice and core, you wouldn't think of her voice as adequate for some parts. And the wobble that developed certainly points to some mis-application of her voice.


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## Seattleoperafan (Mar 24, 2013)

ScottK said:


> The impression I remember was that I never had any problem with size in the basic sense of hearing and carrying. But if you think of weight in a voice and core, you wouldn't think of her voice as adequate for some parts. And the wobble that developed certainly points to some mis-application of her voice.


Some voices are more than audible... they fill the house.


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## Op.123 (Mar 25, 2013)

Seattleoperafan said:


> I could never tell how big her voice was from records. She sang everything but should she have is another matter. Her voice aged but did not sound like it was ravaged from misuse when she was older. All I know is her ppppp High C in O Patria Mia followed up with the FFF high note was pure magic! I heard her do Isolde's Curse and she sounded great but it could have been a small European house. Doing it in the Met might be another matter. In her early stuff I like best she sounded lyric spinto-ish but not full dramatic soprano like you need for Turandot and Wagner, which she sang.


I'd say she was a full Lyric. As ScottK mentions she did develop a noticeable beat in her vibrato which is more noticeable when she sings a little louder and appears to be pushing the sound a little more than necessary. Her technique was solid but the natural weight of the voice might have prevented her from trusting it would carry and fill the house properly causing her to stress the voice more than would be ideal.


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## Op.123 (Mar 25, 2013)

Seattleoperafan said:


> Some voices are more than audible... they fill the house.


All voices should fill the house in some sense. Maybe not with a wall of sound like Flagstad, but a mere shimmer that resonates throughout the whole auditorium for a light voice all the way to a tsunami of tone for heavier voices. Being merely audible is not a great accomplishment. Most people could get on stage and just shout to be heard in some respect, only being drowned out by large orchestral climaxes. The acoustics are good, but relying on the theatres acoustics alone is not enough.


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## Seattleoperafan (Mar 24, 2013)

Op.123 said:


> I'd say she was a full Lyric. As ScottK mentions she did develop a noticeable beat in her vibrato which is more noticeable when she sings a little louder and appears to be pushing the sound a little more than necessary. Her technique was solid but the natural weight of the voice might have prevented her from trusting it would carry and fill the house properly causing her to stress the voice more than would be ideal.


If I see anything by her from the 80's other than her big show with Freddy Mercury I avoid it as her voice is not as beautiful . I love her duets with him!!!! With him she never pushed and sounded beautiful.


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## The Conte (May 31, 2015)

I like Price more than most here, but I'm not familiar with her first recording of Trovatore, so this will be interesting. When I listen to Warrren I can't help hearing fake darkness. There's something that doesn't convince me here and he doesn't have the control or the swagger of Bastianini or Stracciari. Price, on the other hand, is magnificent. Her voice is so ripe at this point! This is glorious singing, but she is doing all the work and I just wish Warren would shut up every time it comes to one of his bits. Shame, this is such a one sided affair. (If I want Price I will go with her in the studio with Milnes or live with Bastianini.)

Callas and Panerai are my favourites in these roles and so this may not just win this round, but the whole contest. Callas is only bettered by herself three years earlier live from La Scala. (I get that Herbie is being 'all classy' with his slow conducting of the stretta, but sometimes it's better not to overthink Verdi.) I prefer Votto's more traditional approach to tempo in this. Anyway, that's not in the contest! Callas has it all in this role. Perfect legato, musical accents and phrasing that serve both music and drama and her Leonora never manages to leave behind her melancholy nature (after all she knows that she isn't going to live for much longer at this point). What a joy it is to hear a Leonora who sings all the notes as well! Panerai is firm and commanding. What a superbly vibrant and attractive voice he had! He acts out more of the text than the previous three baritones and is a worthy foil to Callas. This version is going to take some beating and the only version I can think possibly does so is the already mentioned live La Scala performance with Callas and Tagliabue.

N.


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## Woodduck (Mar 17, 2014)

Price and Warren are singers I'll generally pass up. Her heady, chestless voice works better for me in Samuel Barber songs than in Verdi operas, and his dark, heavy sound is too much beef, potatoes and gravy. What notes is he singing at the beginning?

Easy one.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> Callas and Panerai are my favourites in these roles and so this may not just win this round, but the whole contest. Callas is only bettered by herself three years earlier live from La Scala. (I get that Herbie is being 'all classy' with his slow conducting of the stretta, but sometimes it's better not to overthink Verdi.) I prefer Votto's more traditional approach to tempo in this. Anyway, that's not in the contest!


Haha! Was that a little swipe at me? We'll never agree on this. I listened to the Callas/Tagliabue/Votto version today and I still prefer the greater refinement of Karajan's conducting.


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## Op.123 (Mar 25, 2013)

The Conte said:


> I like Price more than most here, but I'm not familiar with her first recording of Trovatore, so this will be interesting. When I listen to Warrren I can't help hearing fake darkness. There's something that doesn't convince me here and he doesn't have the control or the swagger of Bastianini or Stracciari. Price, on the other hand, is magnificent. Her voice is so ripe at this point! This is glorious singing, but she is doing all the work and I just wish Warren would shut up every time it comes to one of his bits. Shame, this is such a one sided affair. (If I want Price I will go with her in the studio with Milnes or live with Bastianini.)
> 
> Callas and Panerai are my favourites in these roles and so this may not just win this round, but the whole contest. Callas is only bettered by herself three years earlier live from La Scala. (I get that Herbie is being 'all classy' with his slow conducting of the stretta, but sometimes it's better not to overthink Verdi.) I prefer Votto's more traditional approach to tempo in this. Anyway, that's not in the contest! Callas has it all in this role. Perfect legato, musical accents and phrasing that serve both music and drama and her Leonora never manages to leave behind her melancholy nature (after all she knows that she isn't going to live for much longer at this point). What a joy it is to hear a Leonora who sings all the notes as well! Panerai is firm and commanding. What a superbly vibrant and attractive voice he had! He acts out more of the text than the previous three baritones and is a worthy foil to Callas. This version is going to take some beating and the only version I can think possibly does so is the already mentioned live La Scala performance with Callas and Tagliabue.
> 
> N.





Tsaraslondon said:


> Haha! Was that a little swipe at me? We'll never agree on this. I listened to the Callas/Tagliabue/Votto version today and I still prefer the greater refinement of Karajan's conducting.


I also have to voice support for Votto in this opera. This Trovatore and his live Norma show he was a far more accomplished conductor of Italian opera than you might realise from his studio output. Callas is better there too, Stignani is really wonderful, Penno a more natural Manrico and Tagliabue a more natural Di Luna and in good voice for the last stage of his long career, he is maybe the weakest of the cast members though, not having the same control of legato in his act 2 aria as he did some years earlier. Anyway, I'm getting off topic!


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Price and Warren are singers I'll generally pass up. Her heady, chestless voice works better for me in Samuel Barber songs than in Verdi operas, and his dark, heavy sound is too much beef, potatoes and gravy. What notes is he singing at the beginning?
> 
> Easy one.


Wait till you hear her in Mozart. She sounds almost unrecognizable and controls her wayward impulses. You might surprise yourself and like her. She sings much cleaner and tones down her vibrato considerably.


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## ColdGenius (9 mo ago)

Price is a singer whom I respect rather than love. I believe that her fame was absolutely deserved. I like her singing here, but there is Callas. Both baritones are good, maybe a little too villainous, like Domingo in baritone role (old teddy-bear who is sure that children don't love him as they used to), especially Warren. But it's okay, though I prefer younger and insolent di Lunas, I also think that this opera is an overlapping story of two women. I didn't experience the same particular feeling as in previous round, but Callas easily shows how Leonora should be sung.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Haha! Was that a little swipe at me? We'll never agree on this. I listened to the Callas/Tagliabue/Votto version today and I still prefer the greater refinement of Karajan's conducting.


No (unless you've changed your name to Herbie!)

So might I overall. I just preferred Votto in the stretta (although Karajan brings out some of the detail with great effect).

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> No (unless you've changed your name to Herbie!)
> 
> So might I overall. I just preferred Votto in the stretta (although Karajan brings out some of the detail with great effect).
> 
> N.


I think Votto just goes for fast, but in so doing and it not only sounds as if he is rushing the singers, we lose the inner rhythms. Fast is not always more exciting.


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## BBSVK (10 mo ago)

Wow Leonard Warren is a totally new take on Luna for me, both absolutely wrong and absolutely right ! He is in a position of power, but, when he has to face Leonora, he is just small like this ! I feel his knees shaking. I actually forget he is a villain here and feel a lot of empathy for his diffident pain. I believe, Luna is not supposed to be like this, he should be a man used to his power and very angry. But this really grabbed me. Callas is a better Leonore, on the acting emotional side of it, but, man, I have to vote for Warren !


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## BBSVK (10 mo ago)

ScottK said:


> Warren
> ...
> To me, he sounds pedantic and schoolboyish in his effort to "do it all right"


Hmmmm...


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## toasino (Jan 3, 2022)

Op.123 said:


> Not much a fan of Price's hollow, heady timbre and Warren is past his prime. Callas is more musical than Price with a better produced voice if a few signs of unsteadiness. Panerai sounds healthier than Warren here.


To Each His Own, but IMO Price had one of the best produced and beautiful voices I ever heard at the Met, or anywhere. Price lasted much longer than Callas, so I would not say Maria had the better produced voice. Price in the last act of Trovatore, live, was breathtakingly beautiful, and expressive. Her Trovatore Leonora was one of the greatest singing performances I ever heard in over thirty years attending the Met. Warren, even if past his prime, had the superior sound to Paneri, to my ears.


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## toasino (Jan 3, 2022)

MAS said:


> Somehow, I don’t think Leonora suited Caballe as well as Aida.


I loved Caballe, but from what I heard live, she sounded much better in Trovatore than Aida. Price though, was better in both roles.


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## Op.123 (Mar 25, 2013)

toasino said:


> To Each His Own, but IMO Price had one of the best produced and beautiful voices I ever heard at the Met, or anywhere. Price lasted much longer than Callas, so I would not say Maria had the better produced voice. Price in the last act of Trovatore, live, was breathtakingly beautiful, and expressive. Her Trovatore Leonora was one of the greatest singing performances I ever heard in over thirty years attending the Met. Warren, even if past his prime, had the superior sound to Paneri, to my ears.


Callas's basic method of production was more centred, more Italiante and squalliante than Price's. More traditionally produced let's say. Her decline was nothing to do with her basic method of sound production which was fine for the most part. Warren had a larger voice, and in his prime a remarkable instrument but there was always a thickness to it which became more apparent with age. Here Panerai's leaner baritone sounds more natural and precise than Warren.


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## toasino (Jan 3, 2022)

Tsaraslondon said:


> Absolutely. Some of that I put down to the conductor. Karajan is fantastic here. His tempo for the fnal section is spot on. Fast but not rushed and the rhythm superbly sprung. I've always thought this *Trovatore *was one of the best things he ever did on disc.


Von K seemed to love Trovatore. There is a wonderful live performance on DVD from Vienna with: Domingo, Cossotto, Kabaivanska and Piero Cappuccilli. All are great as is the conductor.


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## Tsaraslondon (Nov 7, 2013)

toasino said:


> Von K seemed to love Trovatore. There is a wonderful live performance on DVD from Vienna with: Domingo, Cossotto, Kabaivanska and Piero Cappuccilli. All are great as is the conductor.


I believe it was one his favourite Verdis.


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## ScottK (Dec 23, 2021)

BBSVK said:


> Wow Leonard Warren is a totally new take on Luna for me, both absolutely wrong and absolutely right ! He is in a position of power, but, when he has to face Leonora, he is just small like this ! I feel his knees shaking. I actually forget he is a villain here and feel a lot of empathy for his diffident pain. I believe, Luna is not supposed to be like this, he should be a man used to his power and very angry. But this really grabbed me. Callas is a better Leonore, on the acting emotional side of it, but, man, I have to vote for Warren !


You guys are adding a little spice to the opinion poll!!!!

I truly am eager to relisten with these thoughts in my mind. Perfectly honest???...I didn't get a whiff of all that but YOU did, so I'm curious!


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## ScottK (Dec 23, 2021)

toasino said:


> Price in the last act of Trovatore, live, was breathtakingly beautiful, and expressive.


Agree completely!! Gorgeous singing. Her records are very popular but for me, she's a member of the "didn't record the way she sounded live" club.


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## ScottK (Dec 23, 2021)

BBSVK said:


> Hmmmm...


Uh-huhhhhh????


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