Talk:Ida Presti

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Um, Ida Presti and Alexandre Lagoya are certainly respected as classical guitarists, but to say without qualification that Ida Presti is the greatest performer in history is absurd. This page urgently needs a total overhaul by someone with knowledge of these two guitarists, or it should be deleed. 88/rosette/88 05:42, 12 July 2007 (UTC)

Quite right. Bream was about 9 years younger than Presti, so it seems rather unlikely he would have been in a position to comment on her musical ablity when she was in her teens. --20.133.0.13 (talk) 15:33, 13 February 2015 (UTC){David Brooke)


 * It's not just Alice Artzt's opinion, it's that of many other people in a position to judge: see, for instance, this interview with John W. Duarte, who knew and composed for both Segovia and the Presti/Lagoya duo.


 * http://www.youtube.com/watch?v=Da_YFGYs-k8


 * In short, it's certainly not the only opinion, but neither is it absurd. Paul Magnussen (talk) 20:02, 26 March 2008 (UTC)

Certainly we find ubiquitous quotes from both Segovia & Bream - stating plainly that she needed no lessons from them, even when she was very young (teenager). So if the two globally acknowledged best guitarists of the twentieth century say she was already at their level, then where does that place her? Of course ratings are subjective; but when the best say she was at their level, why then she was. Why delete the entry? It stands, not on its own, but on the marvelous Ida's merits. —Preceding unsigned comment added by 70.255.144.77 (talk) 14:15, 20 February 2009 (UTC)

Angelo Gilardino (a composer who knew both Presti and Segovia) wrote the following on the classical guitar newsgroup on Saturday, May 22, 2004 9:18 PM:

"She was the greatest firstly and simply in terms of her skills with the instrument: she could do with fingers things that no other guitarist could do. Her hands were phisically "different" (by nature and for having been manipulated by her father since when she was a baby). She produced the loudest, roundest, fullest, tone ever heard: only Lagoya - since when they met and formed the duo - could match her, and only in certain situations. The tones she  produced in certain recordings of the duo ("Goyescas" by Granados, just to give an instance, but one could add many other examples) is the best tone I ever heard from a guitarist - and I listened to all of them who gave concerts after my birth - and she could produce a variety of tones, with a correspondent amplitude of dynamic range, that nobody else has matched so far.  She could play a sort of "legato" unique to her playing, and to nobody else's playing. Her vibrato - still documented in the duo recordings, take for example the "Adagio" by Albinoni-Giazotto - is still above anybody else's possibilities. She was - simply - unmistakable. I never heard a wrong note from her. Jack Duarte, who was a strict friend of hers, can witness that in the hundred times he listened to her practicing, he never heard one single mistake from her. Her virtuosity - a stunning one - has been matched by several players nowadays, but at which price, in terms of sound, expression, etc.? Consider that, after her severe training during her childhood, she did not practice very much, her life being spent mainly in travels and concerts... But all of this prodigy was serving the most important purpose: she was a marvelous musician, with a direct, immediate, unabriged vision of the music. Her drawing rhythms, melodies, voices in counterpoint, chords, was simply perfect. She played so well, that you couldn't realize she played well, because you received the music in such an accomplished way that you were allowed to forget she was playing an instrument, and that she was skilled. Her skills disappeared with her doing the music. Her fellows, in the heavens of 20th century interpreters, are to be sought outside guitarists: I would say Dinu Lipatti, and only a few other ones."

Are you satisified now? Paul Magnussen (talk) 17:56, 21 August 2009 (UTC)

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