likeniobe:illustrations by leo and diane dillon for aïda as told by leontyne priceAïda as a heroine
likeniobe:illustrations by leo and diane dillon for aïda as told by leontyne priceAïda as a heroine – and Aïda as an opera – has been meaningful, poignant, and personal for me. In many ways, I believe Aïda is a portrait of my inner self.She was my best friend operatically and was a natural for me because my skin was my costume. This fact was a positive and strong feeling and allowed me a freedom of expression, of movement, and of interpretation that other operatic heroines I performed did not. I always felt, while performing Aïda, that I was expressing all of myself – as an American, as a woman, and as a human being.Vocally, the role was perfectly suited to my voice in every respect – lyrically, dramatically, and in timbre. The role presented no difficulties, and because my voice was infused with the emotions I felt about Aïda, I sang with vocal ease and great enjoyment.My first Grand Opera performance of this noble Ethiopian Princess’s story was on the stage of the War Memorial Opera House in San Francisco in 1957. Totally prepared, eager, and excited, I performed by debut Aïda with great success. I went on to perform Aïda at the Chicago Lyric Opera House, the Arena di Verona and La Scala in Italy, the Vienna Staatsoper, the Paris Opera House, Covent Garden in London, the Hamburg Staatsoper in Germany, and my home opera house, the Metropolitan Opera House in New York City – where I performed the role more often than in any other opera house. Aida has given me great inspiration onstage and off. Her deep devotion and love for her country and for her people – her nobility, strength, and courage – are all qualities I aspire to as a human being. I will never forget her.leontyne price’s author’s note -- source link
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