evacado1

I too, respectfully disagree. Look, every other soprano today, with one or two, RARE exceptions, sings in thirds....I swear, I have listened to performances and cannot tell you what note they are on. Also, at over 80, I have HEARD live what was great singing, and I am embrarrassed to say, we took a lot of it for granted. No soprano remotely resembles, except Millo, the type of singing that was considered standard years ago. A Caniglia, A Muzio, a Milanov, Tebaldi, also sang in the mask, and sang with a legato that was considered absolute. Much like the Ballet, traditions were adhered to, letter of the law. You strayed only with the invention of a esteemed choreographer..... Now, people sing in the wrong resonsances. I feel that might explain the feeling of listening to thirds.....the assents to top are not of one cloth. Ponselle was often critized by the young pups of the day, saying she was too homgenous! Too one tone, boring. I have never heard a voice more true in my life...the overtone was dead on. Flagstad too. Dull, matronly, off pitch? Hardly. But with every age, the new authorities think they know best. I respectfully submit, they do not. Crooning, scooping, sagging, and jazz renditions of opera happened years ago too, but we had examples of proper singing, so no one freaked. Wagnerians, real ones not the attempts we have today, sang the italian with harsh angles, and showed themselves swans out of lake....but they had real stimme so you let it roll..... NOW they are very few examples of real Italian singing.....I grew up in Milano in the late 30's and 40's and that was some education. Most of our stars today would be booed off the stage, they do not know their instruments or what they are saying. Tradition isn't bad, it is correct, and needs lifeblood to keep it going forward. CanBelto, from an old opera lover, take my word for what it is worth, there are very few left who know at all the magic of italian opera. Millo, is one. Wishing you well, and glad you seem passionate about so great an art.

You have the right to your opinion....what you describe is not something associated with Millo. Anyone can have a bad night, what you desribe is what I hear in every other soprano on a good night. It is the age of horrid, bland, boring, tremolo voices that many think acceptable. Millo understands the Italian language, and cares about style and proper utterance. Her personality is wonderful, rare and very appreciated by those who know. May I suggest that the truth doesn't come from hearing tapes, it comes from hearing a person live. Go hear her live and hear the way it should be sung. They use to say Tebaldi sang flat too.....who remembers the "they" now, we all remember the great voice and shining example of Tebaldi. Millo was her protege and they were very close friends up till her death. You think it matters at all what someone says when compared with Renata's support and praise of her voice? Or Zinka's praise, or Magda's praise Callas used to be slammed. Tebaldi, Corelli. all the greats have to endure ......I love Millo, and will continue to cheer even louder now.... I edited this myself for those sensitive types......FarrellFan, if you are named for the great singer, she was wonderful also. Brava.

Millo's "house" three weeks before the show, when I went by the theater to get a seat or two was completely sold out on the bottom and 1/3 sold in the rest of the house, this according to the screen they showed me when I requested seats specifically. Advertising on a thursday and canceling on a sunday show an obvious disagreement. Advertising in arts and crafts section of the newspaper not in the arts section because you get a block deal in the area where delsener always places ads for his rock concerts is his fault not hers. I think the number was just fine. As for Ms. Fleming not selling out Manon, which I found to be quite alarming as well, Millo did sell out her Met Ballo, and her Tosca. Millo performs in quality not quantity these days. For whatever reason. falling out of favor with those in charge has happened to many people along the way. As for calling herself a saviour, for some of us, she is. She stated that Nebtremko had followed an example she set, with the tremendous publicity that followed the story, everyone's pr took notice. She stated partly because of her lack of experience and not a full enough program in maturity, because "Carnegie Hall deserves great respect and the public of New York deserves great respect." In Millo's cancelation story she used those exact words. Why not feel that someone was influenced by her decision? If that glorious singing and real understanding of the Italian style is pathetic, LOLthen good for her. Let's hope for more like her. When she sings, they are PLENTY of us who want to hear her....