Deliciosa entrevista a doña Giulietta Simionato, con algunos pasajes mágicos:

Stefan Zucker: I touched on the sexuality of mezzo-sopranos with Fedora Barbieri.
Giulietta Simionato: No comment.
SZ: How come?
GS: In her case, it was something beyond the normal. Naturally one person has this hunger and another doesn’t. Gabriella Besanzoni used to call any convenient stagehand into her dressing room between acts to do to her what she needed to have done because she said it was good for her voice.

SZ: And Gianna Pederzini?
GS: Pederzini was something else. She didn’t have a great voice but was a great artist, with great theatricality.

SZ: She didn’t only have Roberto Farinacci [one of Mussolini’s most notorious ministers; for information about the Pederzini-Farinacci relationship, go to Il trovatore.
GS: I don’t know if there were others. I didn’t know her well. With Farinacci it was official, and everybody knew it. He would write to the directors of the theaters and say, “Gianna has to do so many performances of this opera and so many of that,” and he specified her fees. During the fascist era she commanded, and that was that. However, she was an exceptional artist.

SZ: And you yourself?
GS: I was a rather tranquil creature. I thought only of my work and nothing else. If I did something, it was after due consideration, far from the theater, because I always was a bit worried that it could adversely affect my performance on stage. However, [i]there were others who felt the need, and necessity is necessity! [Laughs.] When that happens.

SZ: Some say mezzos are more passionate than other women.
GS: [Laughs.] I don’t know. There are lots of sopranos who behave in the same way! [Big laugh.] And so it’s not a question of category.

SZ: Well, Tebaldi said of Del Monaco, “The man was the slave of the tenor.” After his death his widow said that in order to sing he had renounced sex. Should mezzos do the same?
GS: I don’t know. A man is a man, a woman a woman. Once my hotel room was next to Del Monaco’s. He had a performance the next day, and his wife said, “No, Mario no, Mario—remember that you have a ...” “Yes,” he said. “Remember that you have ...” “Yes, yes!” I could hear them thrashing about on the bed. I had a single room next to theirs, and naturally I didn’t know what to do. I thought, I hope they calm down because I have a performance tomorrow, too, and I need my rest. Later I asked her, “What finally happened?” “I made him take a cold shower,” she said, “and he finally calmed down.” So you see, the man’s needs are more pressing than the woman’s. At least I think so. I think I’m a normal woman. And those women who have this need, according to me, are not normal. Perhaps they have some kind of hormonal imbalance. Rather than say something incorrect, I’ll keep quiet.

Más aquí: http://www.belcantosociety.org/pages/simionato.html

Y hay un rosario de improperios entre Simionato y Fedora Barbieri digno de culebrón! Ojito lo que llama la segunda a la primera:

She did all kinds of bad things to me! I can’t look at her or listen to her or anything. She is the most evil woman in opera! Write that Fedora Barbieri called her that! She’s invidious, bad! She wants to teach but doesn’t know how and ruins all voices. She demands 350,000 lire a lesson. She’s bad, perfidious!

Jajajajaja...

Mala lingua!
Voce di petto!

alucino

Hombre! Miren quién ha dejado las tartas y los bizcochos para hacernos una visita

Dichosos los ojos

he descubierto que puedo leer mientras como

+1 del alucine