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Thread: The Official Anna Moffo Fan Club

  1. #46
    Senior Member Tsaraslondon's Avatar
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    Quote Originally Posted by Concertantek364 View Post
    Her Nanetta in the 1956 EMI/UK Columbia Falstaff conducted by Karajan and Susanna in the 1959 EMI/UK Columbia Figaro conducted by Giulini are vivid, enchanting and beautifully sung. For me these are her best recorded roles.
    I agree. I'd aso include her Musetta on the Callas/Votto La Boheme, which John Ardoin calls unformed. I don't agree at all and I much prefer her to the usual sparky soubrette. She sounds flighty and temperamental, but has the warmth and tenderness needed for the last act.

    The Luisa Miller is very good too.
    "It's not enough to have a beautiful voice." Maria Callas

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  3. #47
    Senior Member Woodduck's Avatar
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    Quote Originally Posted by Tsaraslondon View Post
    I'd also include her Musetta on the Callas/Votto La Boheme, which John Ardoin calls unformed. I don't agree at all and I much prefer her to the usual sparky soubrette. She sounds flighty and temperamental, but has the warmth and tenderness needed for the last act.
    No reason Musetta shouldn't have a voice with body and a bit of sensuality. Moffo also contrasts nicely with Callas. In many performances (and not only of Boheme) you end up with a couple of anonymous lirico-somethings you can hardly tell apart.
    Last edited by Woodduck; Sep-15-2021 at 14:18.

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    Senior Member Seattleoperafan's Avatar
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    I think Moffo's career would be much bigger today in the age of video because of her combination of talent and great beauty. Maybe bigger than Netrebko... and in my opinion much better.

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  7. #49
    Senior Member Seattleoperafan's Avatar
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    I forget if I said that I saw her in the seventies when she was more full figured, still beautiful and singing wonderfully in Atlanta when I was in my 20's. I knew her through the Villa Lobos album they played for mental patients in the hospital. It was recital and she wore blue. It was typical recital fare, no opera.

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