"While I don't expect all to agree, I personally believe Price still sounds glorious here. I was at this concert and I know that the numerous standing ovations and the six encores were not simply a bunch of loyal fans saying goodbye to their idol, but a genuine response to an outstanding performance. I don't know about anyone else, but considering the generally sorry state of Verdi/Puccini singing these days, I'd gratefully take a 65+ year old Leontyne Price over 99% of the sopranos on the world's stages today (I can't tell you how many Nile scenes and Butterfly death scenes I've cringed through in the last few years having to suffer over soprano after soprano display insufficient breath control, choppy phrasing and botched high C's). Sopranos half her age would absolutely kill for the freedom above the staff and mastery of Italiante style she displays here. Is this the first Price CD one should own? No. There are collections of Strauss, Barber, Verdi, Mozart and Puccini to buy, "Porgy and Bess," the Prima Donna collection, the "Blue" album, the live "Trovatore," and studio "Aida," "La Forza," and "Butterfly"s (among others) to acquire. But, this farewell concert should also be part of any collection as well. There's some truly beautiful singing here and, Callas once told her, you can really hear the "love" in her voice, one of the greatest of the century."
Interpretive Genius
Michael Newberry | Santa Monica | 08/01/2000
(4 out of 5 stars)
"This CD is a little difficult to review because Leontyne was past her prime by some 15 to 20 years, she was 64 at the time of the Carnegie Hall concert. For the first half of the concert her voice sounds...strange, obviously not the glorious sound of her earlier triumphs/recordings. But something amazing occurs in the course of the concert, she wraps her voice around the audience and builds piece upon piece until she blows the audience away! The exalted thunderous applause she receives was earned for THAT evening. Aside from her mature sound, her interpretations are nothing short of magnificent. With the lines from Handel's aria, Just Heaven, I Shall Die, she wafts up to an ethereal high on the word, ciel (heaven), and then drops down to a dark sad low at, io moriro (I shall die). In Villanelle of Berlioz, the song is about the lightness of spring with singing birds and a scattering rabbit, her voice takes on a light, quick, and flexible rhythmic style. With that contrasted with the hauntingly beautiful rendition of Strauss' Befriet, a song about a lover dying, she works her magic. With every song, she changes the character, changes her stylistic approach, but she keeps her view of the entire piece. Rachmaninov said that every piece should have its climatic point, and the interpreter should build up to that point and down from it. Leontyne does precisely that with these pieces. She gives us nine encores, NINE, and she glowingly nails them. Her America, The Beautiful, sung a cappella, is crystal clear in diction and expression, and it grows and climaxes at the most astounding sustained high note I have ever heard (a B-flat, I believe)!Her long time accompanist (some 35+ years), David Garvey, is assertively supportive. Though like I said earlier her voice sounds a bit odd, but for anyone interested in the interpretations of a great artist, this is a CD for your collection."
The original DIVA
Max Zarket | 08/21/2008
(5 out of 5 stars)
"This is an AMAZING concert. Ms. Price has the voice and the presence that simply captivates an audience. Every aria and every spiritual is absolutely divine. I especially enjoy the way she freely allows her southern accent to wrap around certain parts of the spirituals, staying true to the spontaneous nature of the songs. She sounds mature, but by no means is this a less than stellar vocal performance with NINE encores! She is obviously not a 20 year old, but her voice is in excellent condition and each interpretation and delivery is filled with passion, strength and a deep joy for sharing the gift of song. She sings opera with SOUL. Couldn't ask for more. Brava!"
A Sentimental Journey: The Miraculous Leontyne Price
Donizetti's Kid | NYC, NY United States | 05/24/2006
(5 out of 5 stars)
"Leontyne Price was born in Feb. 1927. Her professional career began in 1952. She was an international diva assoluta by 1962, the reigning Verdi soprano of her generation, retiring from Opera triumphantly in a televised METOPERA perf. of "Aida" - one of her greatest roles - in Jan. 1985. In Jan. 1991, the great American diva surprised the classical musical world with a stellar recital of operatic arias, lieder, chanson, twentieth century works, and spirituals at the renowned Carnegie Hall in NYC. The live recital was recorded in its entirety, and serves as a testament to the longevity and artistry of this beloved singer. It is true that, at age 64, Ms. Price's instrument is not in the same estate as it was in the previous 3 decades. It is also irrelevant in the context of this concert, and its inherent musical qualities. Nearly every selection on this programme has been a staple in Ms. Price's recital repertoire over the years, so that her "return" is not only to Carnegie, but also to the songs that audiences have come to identify with her as well. When beloved divas bid adieu to the great stages of their prior triumphs, audiences are usually expected to focus on the memories of said diva's greatness, and excuse the actual performance at hand. Not so with Leontyne Price. Very few apologies or allowances are required for this concert. The characteristic vocal idiosyncrasies that typified the post-70's Price performances (occasional swoops, exaggerated portimenti, a cloudy lower register) are all present here - and again, just as irrelevant as they were prior to this concert. Lets begin.
Ms. Price programmed the music of Handel to open her recitals with rare exception throughout her career. "Se pieta" is given a heart-rending rendition, capturing the plaintiveness of this beautiful aria, tonally dark, but lyrically produced. The Mozart, sung less-idiomatically but with great verve, is well-paced and dramatically alive. The German musical selections (J.Marx and R.Strauss)reveal her fine ability to illuminate the texts, employing an impressive arsenal of dynamic shadings & other musical felicities. Strauss' "Befreit" is singular in Ms. Price's hands, combining elegant phrasing, rich, dark, opulent tone, with astonishing breath control that belies any years. This was a spiritual experience, and the audience responded with a well-deserved ovation. Verdi's "Pace, pace, mio Dio" and Leontyne Price have become synonymous over her 40+yr career. Here, she still sings with commitment and pathos, but phrasing is choppy, register breaks less-smooth, and cohesiveness is intermittent. Still, she's able to deliver a ringing Bflat to end the aria -minus any sign of wobble. Ms. Price has always been sublime when singing the French chanson, where her ability to float ethereal high notes is balanced by her highly-nuanced vocalism elsewhere. Her affinity for this music ( a lovely, youthful "Villanelle" from "Nuit D'ete" was a delectable touch of nostalgia) is evident throughout this set. It is regrettable that her onstage operatic career did not include more of the French repertory (Thais & Dialogues the exceptions). Ms. Price is renowned for her championing of American composers, and more importantly, showcasing their music to her SRO audiences in every one of her recitals. Samuel Barber, Ned Rorem, and Lee Hoiby have been the primary recipients of her vocal largesse over the years. On this evening, Ms. Price sings the music of Mr. Hoiby in a fashion that pleases the audience, but leaves this listener profoundly dissatisfied. Her voice is shorn of its natural beauty, and the voice turns slightly raucous as a result. Idiomatically, one isn't sure what style is being employed for these pieces. Nonetheless, these are obviously artisic choices - not dictated by any vocal deficiencies. Leontyne Price has referred to Negro Spirituals as "America's lieder", and unlike the swinging, wildly irreverent treatment she gives to "Ride On, King Jesus", she always sang with utter conviction and respect for their inherent dignity, and the legacy that spawned them. The miracle of a Leontyne Price recital is what follows the printed program: the ENCORES. On this night, Ms. Price provides the listener with no less than (9) nine selections that comprised some of Opera's most famous arias, spirituals, and a patriotic anthem as well. Arias from "Madama Butterfly" are sung with forthright conviction, and a tonal panapoly largely absent from singers far younger than Ms. Price. She includes the (4)four arias that have become virtual trademark Price encores from "Tosca", "Adrianna L.", La Rondine", and "Porgy & Bess". The latter is sung in a jocular manner that some might find a bit casual. The other three, however, display the fabulous, inimitable Price upper register of old, with its shimmer, spin, and freedom largely untouched by time. "Witness" is sung with a bluesy overlay, effective if not particularly suitable to this artist. "This Little Light of Mine", a favorite of the diva's mother Kate - and a great favorite of this reviewer when performed by this soprano- is sung with fervor and touching simplicity, a spun Bflat crowning it. Ms. Price has often referred to herself as an "American Troubador" (not to mention excelling in the Italian opera bearing that name), and here she ends her incredible "visit" with an a cappella rendition of "America the Beautiful", again topped by a long-held glorious Bflat.
For thirty years Leontyne Price reigned as America's greatest international diva assoluta, and at age 64(!!!), she again demonstrates why. Treat to yourself to the palpable excitement and wonderful artistry generated by a beloved American Diva: Leontyne Price!"
Track Listings (25) - Disc #1
