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Thank you for posting this, papeetepatrick - I hadn't heard. I loved her voice. Sad to lose both her and Sills in the same week, although it is nice to be able to note that both of them lived long, full lives and had great careers.

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From Opera News:


Crespin's luminous tone and the exactitude of her diction made her traversals of Wagner singular. Despite an understated vibrato, the voice was enormous — seeming to waft effortlessly, in its scope and projection, above the orchestra — but always feminine and sensual. At the same time, she had a lieder singer's minute precision with text. Listening to her Wesendonck Lieder, one can hear Crespin float her phrases on such breath that — regardless of her attention to the words — the line never seems to falter. She was capable of pouring out the most generous voice for a big note, before whittling it to a sliver or a sigh. But her technique was far from a parade of tricks — it was a means to an end, to the drama of the music. Her patrician demeanor in song allowed her to realize fully the emotional potential of restraint. Crespin didn't sing with the brakes on, but she didn't slam her foot on the gas either. This elegant singer knew how to drive the music forward at a pace that was all her own.
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