Leontyne Price "Porgi amor" Le nozze di Figaro

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Uploaded by on Sep 20, 2008

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Music

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  • I requested this of Onegin who so graciously

    and expeditiously honored me by postng it.

    This and Ms. Price's "Dove sono" evoke ecstatic but mixed feelings.Ecstatic because

    they are gorgeously sung,but there is sadness to hear only a sampling of what might have been the greatest of all Contessa's.

    Ms.Price never performed the role onstage nor recorded it. Imagine her dramatic confrontation with the Count as Cherubino hides nearby or the opera's finale. At least, we have the arias to treasure.

  • My God, so sincere a singing, which at no moment searches any refuge in vocal opulence, but only expresses a tired woman's grief... Divine !

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  • I hate to be a party pooper but to my ears her intonation is less than perfect.A tendency to slight flatness, I found a little disappointing and also it might be my speakers but the voice seems a little thin and I am not convinced by her sense of style dramatically in Mozart.Sorry.Some nice things but over-all, not wonderful, such as Kanawa and Fleming.

  • @RRydnew Mozart wasn't her thing ? How wrong you are! Check out her Mozart album in which she sings various arias. She also did perform Donna Anna in Don Giovanni at the Salzburg Festival and other venues, she performed and recorded Fiordiligi from Cosi Fan Tutte, she was an excellent Countess in Figaro. Please listen to more of her Mozart repertoire. You will find she has a gorgeous Mozart voice. This Porgi Amor sounds a bit anemic but musta been a bad night. Her Dove Sono is excellent

  • @daatka99 100% agreed!

  • Leontyne sung this great but it sounds like Mozart wasnt her thing. Good vocal teniq and everything. Thanks for posting

  • perhaps my favourite rendition of "porgi amor" on youtube! a wonderful tone, great legato, heavinly piano on the high notes...

  • wonderful! Heaven

  • Really nice..

  • It's not upsetting...Price is a wise singer, and many admirers would do well to take a lesson from her in this regard. She could perhaps sing "anything"; there's a difference between being ABLE to sing anything and making EVERYTHING a part of one's performing repertoire. In this excerpt, there is no hint of the Tosca or Cleopatra that was to come. Even in her early days with Barber in recital, there's a hint of a Liú, a different "lyric" in development. She knew what was right for her voice.

  • It is VERY stranged that she never performed nor recorded this role. It's upsetting, right?

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