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At last a serious critical examination of the utterly unique vocalist celebrated for her "four-octave voice," Yma Sumac! A confounding, sometimes heartbreaking, mixture of absurd show-biz hype, stunning virtuosity, and sometimes Sfogato online dating artistry, Yma Sumac was a firmly established recording artist of the folk music of her Sfogato online dating Peru when she came to America to be "discovered.

From there her story becomes ever more tangled and weird-and deeply interesting. Yma herself is an amazingly contradictory mix. Nicholas Limansky a formally trained professional singer is Sfogato online dating to demonstrate that she was startlingly sophisticated technically even though almost entirely self-taught.

What is perhaps even more astonishing Sfogato online dating the celebrated 4-octave range of her voice-and its effortless clarity and sweetness-was the nearly incredible longevity-fully 4 decades! With the enthusiastic collaboration of her quixotic, charming, slightly rascally husband, she went Sfogato online dating with the corruption of her artistic identity by the gleefully amoral record-company publicists, creators of her public Sfogato online dating Princess sometimes Priestess!

Imperious as any diva with her intimates and musical collaborators, she maintained an unassailable dignity and unaffected graciousness as a performer and in relation to Sfogato online dating fans. All documented in this large, lavishly illustrated volume-an extensively researched biography her birth date established once and for all!

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Limansky studied voice at Peabody Conservatory in Baltimore and has a performance degree Sfogato online dating the University of West Virginia. His vocal specialty is the acuto-sfogato extended-vocal-range soprano. His work on Yma Sumac Sfogato online dating covered nearly three decades. Read more Read less. Customers who viewed this item also viewed.

Page 1 of 1 Start over Page 1 of 1. The Imma Sumack sessions. Customers who bought this item also bought. April 15, Sfogato online dating I'd like to read this book on Kindle Don't have a Kindle? Share your thoughts with Sfogato online dating customers.

Write a customer review. See all customer images. Read reviews that mention yma sumac nicholas limansky singing photos research singer additional exhaustive artist artists details fascinating recordings unique became career culture definitive famous feature.

Showing of 13 reviews. Top Reviews Most recent Top Reviews. There was a Sfogato online dating filtering reviews right now. Please try again later. An interesting Sfogato online dating on an artist about whom one would imagine to be impossible to tell what's real and what's legend. The author obviously has enormous admiration for her. The way he describes her fabulous career is pervaded with reverence for a truly great artist.

But there is no idolatry. His admiration for her is boundless, no two ways about that. But he's not in awe of her. He wrote the book with his objectivity intact and that Sfogato online dating is his greatest asset as a biographer. From the start he makes us be sure that we can trust him. There are quite a few passages in which he points out that no certainty can be attached to a certain piece Sfogato online dating information.

This is a very rare feature in a biographer. Yma Sumac was one of the most fascinating artists who ever lived. This book does justice to her. As she was often wont to say herself, there were many opera singers, but there was only one Yma Sumac. The trouble being, nobody knew who she was.

Including, after Sfogato online dating years, Ms. Like other artists who deliberately wrapped themselves in mystery and enigma the better to heighten their appeal to the public, she came one might almost say was forced to believe much of the myth that was spun around her.

At the height of her fame, in the 's, the public was happy to lap it all up. In the twilight of her career, such tall tales would come to haunt her reputation as a singer, if not as a performer.

Nicholas Limansky has managed the Sfogato online dating job of Sfogato online dating a detailed and exhaustive biography of someone who declined to cooperate in the telling of her own life story. That it reads as if Ms. Sumac, or at least her amaneuensis, is sitting by his side providing the necessary details is a credit to someone for whom such a project is plainly far more than an academic exercise.

A professional singer himself, Limansky supplies Sfogato online dating kind of insight into Sumac's unique vocal abilities Sfogato online dating a non-musician would have had to hire outside help to explain.

Clear and concise, his writing flows effortlessly from chapter to chapter, knitting together often Sfogato online dating and sparse material. It is an altogether admirable piece of work.

The book is replete with the kind of detail that comes from years and not months of research. A supplementary CD contains much Sfogato online dating written and photographic material.

Leaving it out of the printed edition was clearly a financial decision, as those involved were probably unsure of the book's Sfogato online dating and including such items as color photos would have driven up the project's costs.

In this age of eBooks, an updated electronic edition Sfogato online dating easily incorporate all the supplementary material at little additional production Sfogato online dating. Ideally, such a release would also include at least excerpts from Sumac's recordings, which in turn would help to drive sales of her music. Reading Limansky's Sfogato online dating, it is a wonder that Sumac achieved the kind of world-beating success that eventually came her way.

Her relationship with her husband and manager, Moises Vivanco, was as tempestuous as it was successful. One cringes at Sfogato online dating Svengali-like hold he had over her, yet at the same time realizes he knew well how to promote her unique talent and was not afraid to adapt his own musical leanings the better to feature her abilities.

It's debatable which of them became the bigger egotist. As is ever Sfogato online dating case with artists, what matters in the end is the art Sfogato online dating. With this book Limansky does fans of Yma Sumac and they remain legion an enormous favor by clearing away the layers of nonsense piled on by her publicists and giving us a look at the real woman herself, as well as her music.

I wish only that something had been said about the making of the several black and white shorts early music videos of her singing some of her most famous songs. Sumac was not a great mime see her in Sfogato online dating pre-Indiana Jonesish film Secret of the Incasbut in Sfogato online dating shorts viewable on YouTube she appears to be, if not actually singing, at least lip-synching far better than in later years. From a singing standpoint, it's fascinating to watch her throat and mouth at work as she produces vocal effects that at times verge on the inhuman.

Her mysterious Andean background, ravishing beauty and thrilling voice of many octaves made her the absolute empress of the Exotica craze of the s. Anyone seeking to understand her unique magic needs to look no further than this book. In a monumental undertaking of love, research, intuition, understanding and first-rate detective work, Nicholas Limansky has laid before the reader Sfogato online dating the facts and all the fictions that continue to surround this Sfogato online dating artist.

One of the singular careers in Sfogato online dating show business is completely examined in a book so complete, thorough and well-written that it can only be called Sfogato online dating. Limansky's deep knowledge of the technical and Sfogato online dating components of singing - and his clear and incisive writing - enable him to explain the intricate details of her performances in a way that both reaches the experienced listener and is also completely comprehensible to the novice.

In fact, to read his descriptions while listening to the referenced selection is to fast-forward one's total understanding Sfogato online dating the mysteries of the singing voice.

This is a remarkeable achievement and Ms. Sumac is one fortunate diva, indeed, to have such a sympathetic and accurate champion. There have been countless stories published Sfogato online dating Yma Sumac since she first burst upon the scene in the s but nearly all have been filled with the hype and mistakes of her original marketing campaigns.

Limansky has come up with this definitive tome after many years of extensive and thorough research that dispels most of the myths and provides the first true look at her life, music and vocal techniques. Limansky has done a tremendous amount of research on the evasive Yma Sumac, to put together this outstanding biography. Loaded with rare photos, many candid. Limanky's vast knowledge of Ms. Fortunately, the photos in the book are available on a separate CD for additional costalong with additional material, which I'll be ordering.

A long read, but informative. See Sfogato online dating 13 reviews. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers.

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  • Category:Italian opera terminology - Wikipedia
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  • OF ALL TERMS APPLIED TO OPERATIC VOICES, perhaps none has generated...
  • sfogato (It.). Airy, evaporated. Light and easy in style. Soprano...
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Half the range of the piano keyboard! At last a serious severe examination of the body unique nightingale celebrated appropriate for her "four-octave voice," Yma Sumac! A confounding, on occasion heartbreaking, salmagundi of preposterous show-biz hype, stunning show, and from time to time ravishing artistry, Yma Sumac was a firmly established recording artist of the folk music of her native Peru when she came to America to be "discovered.

From there her gest becomes everlastingly more tangled and weird-and deeply riveting. Yma herself is an amazingly conflicting mix. Nicholas Limansky a formally trained professional choirboy is competent to rally that she was startlingly sophisticated technically even granted almost clearly self-taught. What is maybe even more astonishing than the acclaimed 4-octave sweep of her voice-and its effortless distinctness and sweetness-was the virtually incredible longevity-fully 4 decades!

With the enthusiastic collaboration of her quixotic, charming, slightly rascally husband, she went forth with the corruption of her artistic identity around the gleefully amoral record-company publicists, creators of her public persona-Inca Princess off Priestess! Imperious as any diva with her intimates and lyrical collaborators, she maintained an unassailable station and unsophisticated graciousness as a artiste and in relation to her fans.

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Sutherland sang the lyric and colourful coloratura repertoire. Her voice was, I would say, too altogether to be a lyric coloratura voice. Was hers an essentially dramatic coloratura instrument?

Aida and Desdemona are both spinto roles and not dramatic , although Desdemona can be sung close a lyric soprano it does go below the stave a lot. Verdi had a long tear so the type of sopranos changed with heretofore, here is my stinting, humble, flawed but greatly personal view: I keep to confess that I've heard this opera at most once or twice and apart from the thread aria and the soprano I do not include much interest in it.

I would think it is also a impressive coloratura but am not sure - Ernani: At the crack Sutherland was perfect on this role, the recording of Ernani involami was superb not the blown Sutherland also. It is hard to explain you can find some pages on the internet. Ricciarelli who recorded the part is perfect. Ricciarelli and Caballe both are large here and good examples of the voice group.

It is interesting that Verdi favored that cut of singing a quantities in his early years. This is a sturdy one, dramatic sopranos or even mezzos can tell it well but most of the time skid over the coloratura.

Callas was perfect, born for this role equable Toscanini thought so. Jessye Norman and Caballe are good voice types here in the Philips recording which is excellent. La Battaglia di Legnano:

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The copy was so good that when I played the original I could not detect the difference The modern grand gives us so much that the older instruments cannot, but there is room for all. Sumac is one fortunate diva, indeed, to have such a sympathetic and accurate champion.

So by shutting down free pages they did disservice to the public. Originally Posted by sandalholme. I also think that Steinway and therefore virtually all makers since then made a mistake in making cross-strung large instruments, particularly the concert grand as I find the bass of most modern concert instruments far too thick and dominant.

He wrote the book with his objectivity intact and that probably is his greatest asset as a biographer.

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