Magnificent...! Her voice is ravishingly beautiful here. She pours forth one gloriously rich, full, seemingly endless phrase after another and through the entire long and at times fiercely taxing recital, right through to the bountiful encores, she sounds as fresh as when she began...A
I was at this recital in 1972. It was so magnificent, etched in my memory forever as if I were still at symphony hall. There are certain musical moments you will never forget, and this was certainly one of them. Boston loved Miss Price.
I was there with my late parents, and it was a magical evening never to be forgotten. About a decade later I saw her with Ozawa at Symphony Hall, singing an aria from "Die ägyptische Helena," one from Trovatore, and a third which I forgotten. That was a wonderful evening too, but her voice was perfection in 1972.
I heard Leontyne Price in recital in 1987. Although I was a great fan, I wasn't that excited to go. I knew I couldn't pass up the opportunity, but I had seen the Forza and Aida telecasts. I knew how variable she could be, but I thought I would go so that I would be able to say I saw her. The recital was jaw -droppingly beautiful. It was as if she had turned the clock back 30 years and I was listening to a young woman. People forget that many of these artists were in the top echelon because of a special quality they had. A voice teacher of mine talked about hearing Price for the first time and feeling her body start to entrain to Price's vibrato oscillation. "I literally started vibrating at the same rate," she said. At the 1987 recital she transported the entire audience out of the auditorium into a special world of her own making during her singing of Alfred Bachelet's "Chere Nuit." The walls fell back during that song and we were on Bachelet planet. After the song was over, I looked around to see if I was the only one who experienced it and people were disoriented like being awaken from some kind of wet dream. I have never experienced anything like it. Leontyne Price was a vocal sorceress.
Your description of the concert is a wonderful tribute to this great singer and adds so much to the experience of listening to the concert. it reminds me of the marvellous old time reviews, when critics weren't restricted to 500 words. If you want to know why Mary Garden, though often controversial, was such a great star, don't g to the recordings, instead read Quaintance Easton's book on the Boston Opera Company, where superbly evocative descriptions of her on stage culminate in this wonderful paragraph: ... it is as the great artist that Mary Garden most commends herself to memory. In Boston, her Mélisande remains imperishable. Even for those who never witnessed her impersonation, the name of Garden is linked forever with Debussy’s heroine, her white figure a tranquil, gentle wisp caught upon the strange, bleak winds of fate, whirled in and out of the shadows; she brought to Boston and its critics a vision “unique upon the opera stage and in the finer theatre of the imagination and vision each may see for himself.” I reckon you capture Price's greatness in similarly rivetting fashion.
@@starrman22 I was a voice student at the time, and as singers do, there was a lot of talk about who we liked and who we didn't. Price had a lot of detractors, especially among sopranos believe it or not. Much of the department was there at the recital, and I found it interesting how impressed the other students were. Experiencing her live had such a strong effect that everyone was raving about the concert. Even those who were previously the most critical of her.
One more anecdote, since you seem to enjoy them. My best friend is a musicologist/early music person who has come to enjoying opera through singing in the opera chorus in SF for the last 25 years. In the early 80's, he went to see Kiri Te Kanawa in recital, trying to give opera singers a chance. He left thinking that he never would "get" this prima donna soprano thing. Some time after that, he was given tickets to a Price recital. He said, "That recital totally changed my understanding of what a soprano could be or do. I had no idea a singer could make the kind of musical effects she could create."
At this point in her career, I’m sure the pianist is David Garvey!! He was her sole collaborator until his death!!! It’s just amazing the breath of repertoire and stamina she possessed when presenting these beautiful recitals!! A full program and then encores of mostly heavy operatic arias?? Unheard of these days and even among her contemporaries!! Leontyne reigned Supreme!!! She is La REGINA!!!
I first heard Leontyne Price in recital in 1974. The most expensive ticket was $6.00!! That single event was life changing for me as a sophomore music major. The program was immense: including the Hermit Songs, Strauss, Marx, Poulenc, spirituals, and then the 7 encores! It was a stunning recital presented with dignity not seen these days. Afterwards, she signed autographs and took pictures. I have both of those unforgettable momentos from that evening. The singing on this Boston program rekindled that magical experience. Stunning in every way.
Yes, what you said! This is the program she performed when I saw her in spring '73. Not sure I breathed the entire time. Thanks for what you said about dignity. I am sure Beverly Sills began the "down to earth" junk we see these days. The singers are never "elevated", and this type of singing is elevated, olympian. Such technique as well! After her recital we did go back to meet her and get her autograph. You will like this: I was 17. She had a large, red boa on stage for some of the recital, using it very well. I saw it on a coat rack behind her. I didn't know what the hell to say, and I said, "That is really beautiful. Does it have a special meaning to you?" Duh... She said, "Yes, a lot of dead chickens!" I also asked her if she was married. OMG. She said, "I was once married to a very nice man who was a wonderful singer." Class!
@@liedersanger1 You gays, I mean guys, are a scream. Everything I said up there is right on target. I was very kind about Sills because she is a legend, and early on I did love her singing. But, when I learned what singing is and realized that so much of what she did was raw, prodigious talent, not vocal know-how I had to rethink her. That is why the middle was always spread, why she checked out early ( even though for her voice type or what she should have known was her voice type, they are the first to go), why that top became so shredded and unreliable by age 43, etc., etc. She always pushed. Did I say any of that? You people need to go to "brunch' more. Or buy more shoes, yeah, buy more shoes.
@@liedersanger1 Buddy, I was never IN a closet thanks to my extraordinary father, and in the SOUTH, too. I'm a homosexual man. And, it has been wonderful. It still is. I'm married to a homosexual man, a sweet cop who is as disgusted with that culture as I am. All is great here. And, seriously, I don't like being ugly to people. I made a comment about Sills which was not ugly, and you jumped on me. I know she is a gay icon along with the dreaded Callas, both phenomenal talents-not the greatest singers. Just be nice. I wish you well.
Two of my favorite sopranos and most beloved were Miss Leontyne Price of the USA and Miss Margaret Price of Wales. Both possessed such lovely qualities in their voices that I described their singing as molten 24 karat gold. Here, Miss Leontyne’s voice or just the recording doesn’t do her justice! In certain areas of her singing.
Brava! One of the finest Leontyne Price recitals I've ever heard and I've heard many. Thanks for sharing this treasure and document of a great artist and singer. She was in fine, fine, voice on this occasion. The 'Seitdem deine Aug' of Strauss is perfection!!!! I will never hear it performed this well.
A wonderful recital and a special treat to hear the high tessitura Strauss 'Als mir dein Lied erklang' sung with easy and abandon by such a juicy opulent soprano voice
I was fortunate to hear Leontyne Price several times in staged operas and 3 different recitals. Her abilities made her legendary which will guarantee her as one of the greatest sopranos of all time. I heard Nicolai Gedda in recital once and he sang 9 opera arias as encores after singing almost 75 minutes. I count Price's stamina of this particular recital as jaw-dropping also.
@@mugrad25 The voice was a bit bigger than the customary lyric soprano size. I would consider Licia Albanese and Dorothy Kirsten as shimmering lyrics. They didn't push their voices past the lyric point as many other sopranos have done, usually to their detriment. Price could spin a piano Bb and in the next breath, be heard over everyone in the triumphal scene in Aida. Listen to her "Pace, pace, mio Dio" for a perfect example. Stunning.
@@mugrad25 I cannot say because I have not heard Radvanovsky in a live situation. Judging from the various broadcasts I have heard (Faust, Norma,etc.,) Radvanovsky has a sizeable instrument. I heard Callas 2 times late in her career and Price compares in size to her. As far as this latest crop of sopranos from the last 20 years, I cannot comment except for Netrebko, who I have heard 5 times. Netrebko's voice is much smaller than Price's. If that helps you gauge Leontyne's voice, I am pleased to help.
@@Campuscoll interesting i heard Netrebko's voice was huge...interesting about Callas? A friend of mine said that Radvanovskys' voice was a bit bigger than Freni's voice live but smaller than Joan Sutherland's. Have you heard Freni's voice live?
Thank you for sharing this treasure! The pianist is indeed David Garvey. The first NK (not known) by Poulenc is "Le Pont"; the second is "Aussi bien que les cigales." Under spirituals, the first "Praise ye the Lord" is Psalm 148 (Ned Rorem); "Have mercy, O Lord" is Psalm 31 (Robert Starer); and the second "Praise ye the Lord" is Psalm 150 (Louie White). Hope that helps, and thank you again!!
Magnificent...! Her voice is ravishingly beautiful here. She pours forth one gloriously rich, full, seemingly endless phrase after another and through the entire long and at times fiercely taxing recital, right through to the bountiful encores, she sounds as fresh as when she began...A
I was at this recital in 1972. It was so magnificent, etched in my memory forever as if I were still at symphony hall. There are certain musical moments you will never forget, and this was certainly one of them. Boston loved Miss Price.
I was there with my late parents, and it was a magical evening never to be forgotten. About a decade later I saw her with Ozawa at Symphony Hall, singing an aria from "Die ägyptische Helena," one from Trovatore, and a third which I forgotten. That was a wonderful evening too, but her voice was perfection in 1972.
...perfection indeed...! @@cynaraslover
I heard Leontyne Price in recital in 1987. Although I was a great fan, I wasn't that excited to go. I knew I couldn't pass up the opportunity, but I had seen the Forza and Aida telecasts. I knew how variable she could be, but I thought I would go so that I would be able to say I saw her.
The recital was jaw -droppingly beautiful. It was as if she had turned the clock back 30 years and I was listening to a young woman. People forget that many of these artists were in the top echelon because of a special quality they had. A voice teacher of mine talked about hearing Price for the first time and feeling her body start to entrain to Price's vibrato oscillation. "I literally started vibrating at the same rate," she said. At the 1987 recital she transported the entire audience out of the auditorium into a special world of her own making during her singing of Alfred Bachelet's "Chere Nuit." The walls fell back during that song and we were on Bachelet planet. After the song was over, I looked around to see if I was the only one who experienced it and people were disoriented like being awaken from some kind of wet dream. I have never experienced anything like it. Leontyne Price was a vocal sorceress.
Your description of the concert is a wonderful tribute to this great singer and adds so much to the experience of listening to the concert. it reminds me of the marvellous old time reviews, when critics weren't restricted to 500 words. If you want to know why Mary Garden, though often controversial, was such a great star, don't g to the recordings, instead read Quaintance Easton's book on the Boston Opera Company, where superbly evocative descriptions of her on stage culminate in this wonderful paragraph: ... it is as the great artist that Mary Garden most commends herself to memory. In Boston, her Mélisande remains imperishable. Even for those who never witnessed her impersonation, the name of Garden is linked forever with Debussy’s heroine, her white figure a tranquil, gentle wisp caught upon the strange, bleak winds of fate, whirled in and out of the shadows; she brought to Boston and its critics a vision “unique upon the opera stage and in the finer theatre of the imagination and vision each may see for himself.” I reckon you capture Price's greatness in similarly rivetting fashion.
@@starrman22 I was a voice student at the time, and as singers do, there was a lot of talk about who we liked and who we didn't. Price had a lot of detractors, especially among sopranos believe it or not. Much of the department was there at the recital, and I found it interesting how impressed the other students were. Experiencing her live had such a strong effect that everyone was raving about the concert. Even those who were previously the most critical of her.
One more anecdote, since you seem to enjoy them. My best friend is a musicologist/early music person who has come to enjoying opera through singing in the opera chorus in SF for the last 25 years. In the early 80's, he went to see Kiri Te Kanawa in recital, trying to give opera singers a chance. He left thinking that he never would "get" this prima donna soprano thing.
Some time after that, he was given tickets to a Price recital. He said, "That recital totally changed my understanding of what a soprano could be or do. I had no idea a singer could make the kind of musical effects she could create."
Garthastro. Please, where was this recital you describe so beautifully?
@@liedersanger1 Washington, DC.
At this point in her career, I’m sure the pianist is David Garvey!! He was her sole collaborator until his death!!! It’s just amazing the breath of repertoire and stamina she possessed when presenting these beautiful recitals!! A full program and then encores of mostly heavy operatic arias?? Unheard of these days and even among her contemporaries!! Leontyne reigned Supreme!!! She is La REGINA!!!
One of the greatest singer of the 20th century. Brava Miss Price !
I first heard Leontyne Price in recital in 1974. The most expensive ticket was $6.00!!
That single event was life changing for me as a sophomore music major. The program was immense: including the Hermit Songs, Strauss, Marx, Poulenc, spirituals, and then the 7 encores! It was a stunning recital presented with dignity not seen these days. Afterwards, she signed autographs and took pictures. I have both of those unforgettable momentos from that evening. The singing on this Boston program rekindled that magical experience. Stunning in every way.
Yes, what you said! This is the program she performed when I saw her in spring '73. Not sure I breathed the entire time. Thanks for what you said about dignity. I am sure Beverly Sills began the "down to earth" junk we see these days. The singers are never "elevated", and this type of singing is elevated, olympian. Such technique as well! After her recital we did go back to meet her and get her autograph. You will like this: I was 17. She had a large, red boa on stage for some of the recital, using it very well. I saw it on a coat rack behind her. I didn't know what the hell to say, and I said, "That is really beautiful. Does it have a special meaning to you?" Duh... She said, "Yes, a lot of dead chickens!" I also asked her if she was married. OMG. She said, "I was once married to a very nice man who was a wonderful singer." Class!
@@josephcollins6033 You could’ve said all that and never dissed Beverly Sills, who was an extraordinarily beautiful singer ALSO!
@@liedersanger1 You gays, I mean guys, are a scream. Everything I said up there is right on target. I was very kind about Sills because she is a legend, and early on I did love her singing. But, when I learned what singing is and realized that so much of what she did was raw, prodigious talent, not vocal know-how I had to rethink her. That is why the middle was always spread, why she checked out early ( even though for her voice type or what she should have known was her voice type, they are the first to go), why that top became so shredded and unreliable by age 43, etc., etc. She always pushed. Did I say any of that? You people need to go to "brunch' more. Or buy more shoes, yeah, buy more shoes.
@@josephcollins6033 Come out of the closet, Joe. Its ok! You will find that you are happier and can afford to be more generous.
@@liedersanger1 Buddy, I was never IN a closet thanks to my extraordinary father, and in the SOUTH, too. I'm a homosexual man. And, it has been wonderful. It still is. I'm married to a homosexual man, a sweet cop who is as disgusted with that culture as I am. All is great here. And, seriously, I don't like being ugly to people. I made a comment about Sills which was not ugly, and you jumped on me. I know she is a gay icon along with the dreaded Callas, both phenomenal talents-not the greatest singers. Just be nice. I wish you well.
The accompanist was David Garvey. I was at this recital, and it was one of the most magical afternoons of my life.
One of the greatest of the greats! What an incredible voice!
Wonderful singer of all times God bless you
Two of my favorite sopranos and most beloved were Miss Leontyne Price of the USA and Miss Margaret Price of Wales. Both possessed such lovely qualities in their voices that I described their singing as molten 24 karat gold. Here, Miss Leontyne’s voice or just the recording doesn’t do her justice! In certain areas of her singing.
Brava! One of the finest Leontyne Price recitals I've ever heard and I've heard many. Thanks for sharing this treasure and document of a great artist and singer. She was in fine, fine, voice on this occasion. The 'Seitdem deine Aug' of Strauss is perfection!!!! I will never hear it performed this well.
A wonderful recital and a special treat to hear the high tessitura Strauss 'Als mir dein Lied erklang' sung with easy and abandon by such a juicy opulent soprano voice
I was fortunate to hear Leontyne Price several times in staged operas and 3 different recitals. Her abilities made her legendary which will guarantee her as one of the greatest sopranos of all time. I heard Nicolai Gedda in recital once and he sang 9 opera arias as encores after singing almost 75 minutes. I count Price's stamina of this particular recital as jaw-dropping also.
What was the voice like live..I hear a big shimmering lyric soprano
@@mugrad25 The voice was a bit bigger than the customary lyric soprano size. I would consider Licia Albanese and Dorothy Kirsten as shimmering lyrics. They didn't push their voices past the lyric point as many other sopranos have done, usually to their detriment. Price could spin a piano Bb and in the next breath, be heard over everyone in the triumphal scene in Aida. Listen to her "Pace, pace, mio Dio" for a perfect example. Stunning.
@@Campuscoll was her voice like Sondra radvanovksy in size?
@@mugrad25 I cannot say because I have not heard Radvanovsky in a live situation. Judging from the various broadcasts I have heard (Faust, Norma,etc.,) Radvanovsky has a sizeable instrument. I heard Callas 2 times late in her career and Price compares in size to her. As far as this latest crop of sopranos from the last 20 years, I cannot comment except for Netrebko, who I have heard 5 times. Netrebko's voice is much smaller than Price's. If that helps you gauge Leontyne's voice, I am pleased to help.
@@Campuscoll interesting i heard Netrebko's voice was huge...interesting about Callas? A friend of mine said that Radvanovskys' voice was a bit bigger than Freni's voice live but smaller than Joan Sutherland's. Have you heard Freni's voice live?
Thank you for sharing this treasure! The pianist is indeed David Garvey. The first NK (not known) by Poulenc is "Le Pont"; the second is "Aussi bien que les cigales." Under spirituals, the first "Praise ye the Lord" is Psalm 148 (Ned Rorem); "Have mercy, O Lord" is Psalm 31 (Robert Starer); and the second "Praise ye the Lord" is Psalm 150 (Louie White). Hope that helps, and thank you again!!
Happy 95th Life Anniversary
February 10, 2022
To Her Royal Highness,
Leontyne Price
Grandest Of Them All!
What a treasure! Thanks for posting!
Una maravilla
Thank you, thank you!
After "Sinner Please" is Psalm 148 by Ned Rorem. The last one in that set is Psalm 150 by Louie White.
Grandissima!!
Thank you
Thank you for sharing!
Happy Birthday, #Leontyne Price95!🌹🌹🌹
Que maravilla!!!
BRAVO!!!!!!!!!
The Poulenc chanson at 48:07 is called "Aussi bien que les Cigalles" from his cycle "Calligrammes."
Thank you so much for taking the time to post the information on "Aussi bien que les Cigalles". I have waited two years to find out the title!
@@starrman22 the other song is called "Le Pont". Price performed this same program at Salzburg in 1975.
Of the five songs listed under "Spirituals", only the first two qualify. Best to relabel the section as "American Art Songs".
Yep.
It is easy to fix such things - - I wonder why the person who posted this doesn’t.
Praise ye the Lord (Part I) 🙌🏾54:36
Praise ye the Lord (Part II) 🙌🏾 1:00:45
Have mercy, O Lord 🫴🏾 56:56
1:16:11 This Little Light of Mine
51:54 Sinner please 🙏🏾
49:56 He’s got the whole world in his hands 🌎 🤲🏾
1:07:05