He has written performance reviews for the Italian publication, Rassegna Melodrammatica and reviewed new vocal releases of historical singers for Opera News, The Record Collector, Classical Singer, and Opera Quarterly. He has sung with professional choral groups in New York City that include The Bach Aria Group, Musica Sacra, New York Choral Artists (New York Philharmonic), Opera Orchestra of New York, The Netherlands Ballet, and Alvin Ailey ( Revelations and Rainbow Round My Shoulder). Nicholas Limansky studied voice at Peabody Conservatory in Baltimore and has a performance degree from the University of West Virginia. It includes an analysis of her recorded legacy both commercial and pirated. Limansky clarifies the rest of it.Īs a bonus, the book concludes with a rare, previously unpublished interview that the author conducted with the great American soprano, Roberta Peters in 1985. What did the stars think of pirating? Many promoted the practice. He examines the moral dilemma of being a pirate while also performing as a professional musician. Who were the pirates? How did they get away with it? (They didn't always.) How and where did they do their recording? The author, a pirate himself, tells us. Limansky's own experience is woven into a history of pirating. Bootlegged recordings can even provide a comparison between a star's performance of a given role on Tuesday to one sung that Thursday while comparing both of those to commercial recordings of that role.Ĭoncentrating on divas, there are lengthy individual technical discussions of the singing abilities and recording histories of Magda Olivera, Leyla Gencer, Leonie Rysanek, Faith Esham, Beverly Hoch, Ashley Putnam, Gianna Rolandi, Diana Soviero, Olivia Stapp, Ruth Welting, Sheryl Woods, and many others. The author discusses the performer's individual singing characteristics (and, sometimes, their shortcomings) in specific roles and, sometimes, specific performances of those roles. This book guides opera lovers as to what to listen for in a given singer's voice and performances. How fortunate! Through this we are provided documentation of famous voices as they sounded in real life, not as they were altered in the sound chambers of recording companies. Practiced internationally between 19, opera piracy (the illegal practice of recording live operatic performances in the opera house) was rampant.
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