![]() ![]() Who were the pirates? How did they get away with it? (They didn't always.) How and where did they do their recording? The author, a pirate himself, tells us. Limansky's own experience is woven into a history of pirating. Bootlegged recordings can even provide a comparison between a star's performance of a given role on Tuesday to one sung that Thursday while comparing both of those to commercial recordings of that role.Ĭoncentrating on divas, there are lengthy individual technical discussions of the singing abilities and recording histories of Magda Olivera, Leyla Gencer, Leonie Rysanek, Faith Esham, Beverly Hoch, Ashley Putnam, Gianna Rolandi, Diana Soviero, Olivia Stapp, Ruth Welting, Sheryl Woods, and many others. The author discusses the performer's individual singing characteristics (and, sometimes, their shortcomings) in specific roles and, sometimes, specific performances of those roles. This book guides opera lovers as to what to listen for in a given singer's voice and performances. How fortunate! Through this we are provided documentation of famous voices as they sounded in real life, not as they were altered in the sound chambers of recording companies. Practiced internationally between 19, opera piracy (the illegal practice of recording live operatic performances in the opera house) was rampant. ![]()
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