.” “But when she was forced to sing full out in the upper regions, intonation and vocal technique deserted her.”In a display that admirers of Ms. Scotto found outrageous, hecklers had begun taunting her with catcalls — “Brava Callas, Brava Callas!” they shouted — even before Ms. Scotto commenced singing the passage.of the affair, it was a scene “we used to associate with the bleachers of Brooklyn’s old Ebbets Field.
. “Time and again, Scotto reminded us of her sovereign musicality, her instinctive feeling for the rhythmic life of the notes, her ability to mold finely sculpted phrases, and her sensitivity for coloring the words into emotions that instantly define a dramatic situation.”“No, Scotto’s was not a perfect Norma,” he continued, “but we’re not likely to have a better one in the here and now.”Ms. Scotto, the daughter of a police officer and a seamstress, was born on Feb.
Ms. Scotto was 12 when an uncle took her to first opera — “Rigoletto” with Tito Gobbi in the title role — at the opera house in Savona shortly after the war. The experience transfixed her, she said, and made her decide that very night to become an opera singer.At 16 she moved to Milan, where she lived and worked, sewing and cleaning, in a convent of nuns while studying music. In 1952, the year she turned 18, she won a competition whose prize was a debut at the Teatro Nuovo in Milan.
“Leading roles in smaller theaters are better than second leads at La Scala,” she recalled saying. “I will be a prima donna or nothing.”
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