Neue Live-Zusammenstellungen von berühmten und weniger bekannten Sängern – nun dokumentiert bei opera-club.net:
In spite of the fact that Julia Varady has relatively made few studio-recordings, and her career mainly took place in Europe, she became an international concept for song-lovers. After a big success at the Munich Opera Festival as Vitellia in Mozart’s „La Clemenza di Tito“, she subsequently became a member of the Munich Opera ensemble and later the Deutsche Oper Berlin. Soon she made guest appearances at all the major German opera houses, at Covent Garden in London, and at the Teatro Colon in Buenos Aires. She also sang in New York at the Metropolitan Opera, at the Staatsoper in Vienna, and at the Salzburg Festival. Julia Varady first established a reputation in Mozart roles (Fiordiligi, Donna Elvira, Donna Anna, Countess Almaviva, Vitellia, Elektra, Cecilio) and recorded most of them under Karl Böhm. Soon she also became known for her performance of roles in the Italian repertoire, including Santuzza in Mascagni’s „Cavallaria rusticana,“ Puccini’s Madama Butterfly and Liu („Turandot“), as well as Leonore in Verdi’s „Il Trovatore“ and „Il Forza del Destino“, Elisabetta in „Don Carlo,“ Violetta in „La Traviata,“ Desdemona in „Otello,“ Abigaille in „Nabucco,“ and the title role in „Aida“ (in Berlin with Luciano Pavarotti and her husband, Dietrich Fischer-Dieskau). In addition, she had successes as Tatiana in Tchaikowski’s „Eugen Onegin,“ and in the German repertoire as the Composer in Strauss’s „Ariadne auf Naxos“ and in the title role in „Arabella,“ and as Senta in Wagner’s „Der fliegende Holländer.“ In 1978 she created the role of Cordelia at the premiere of Aribert Reimann’s opera „Lear“ at the Bayerische Staatsoper in Munich. She retired from the opera stage in 1996. (Auszüge aus Lucio Silla Schwetzingen 1976, dto. Don Giovanni Met 1978, Così fan tutte Washington 1983, La Clemenza di Tito München 1976, Idomeneo München 1975, Brahms London 1981; PA-1110: Julia Varady)
José Luccioni (October 14, 1903 in Bastia – October 5, 1978 in Marseille) was a French operatic tenor of Corsican origin. He possessed one of the best dramatic voices of the 1930s and 1940s. Initially a racing car driver and mechanic at the Citroën car company, his voice was discovered while he was serving in the military. He studied singing in Paris with the eminent former tenors Léon David and Léon Escalais and made his debut in Rouen as Cavaradossi in Tosca in 1931. During the 1932-33 season he debuted at both the Palais Garnier and the Opéra-Comique, where he won considerable acclaim as Don José in Carmen, a role he sang an estimated 500 times during his career. Luccioni had an impressively large voice that combined beauty with power, in the tradition of his great French predecessor at the Paris Opéra, Paul Franz (1876–1950). He was also a fine singing-actor. What makes our compilation more interesting is a.o. de cooperation of the Italian, somewhat mysterious Maria Vitale, who left few recordings. She was regarded the successor of Claudia Muzio, and one of the few who could vocally and qua interpretation stand up to Maria Callas. The recordings of Samson et Dalila are also invaluable, just like the one of Carmen. Not only thanks to the cooperation of French singers, but mainly because of the incredible atmosphere and musicality, not ever to be approached in any recording, let alone surpassed (Ausschnitte aus Carmen mit Suzanne Jouyol und Michel dens 1949, dto. Tosca mit Suzanne Sarrocca 1954, dto. Aida mit Maria Vitale 1948, dto. Samson et Dalila mit Suzanne Lefort, dto. Othello mit Maria Vitale (mit der Luccioni in Italienisch sing) 1949 sowie mit Régine Crespin 1955; PA-1106: José Luccioni)
But first of all we pay attention to Italian tenor Carlo Bergonzi. Although absolutely one of the greatest tenors in the past decades, he never quite stood out. When his career started, Franco Corelli and Mario del Monaco were the popular ones and thereafter Giuseppe di Stefano. Carlo Bergonzi survived their careers, but by that time Luciano Pavarotti, Plácido Domingo and José Carreras were rising stars. Carlo Bergonzi was nevertheless unforgettable and had a splendid career, lasting almost fifty years. We present him as a Lied singer, a quality he was less known for. Carlo Bergonzi was an Italian opera tenor. Although he recorded various bel canto- and verismo roles, he was mainly famous for his operas of Giuseppe Verdi. He helped revive a great number of the less-known works of this composer. During his career nobody surpassed him as Verdi-specialist. A lirico-spinto-tenor at heart, at the top of his career Bergonzi was highly admired for his beautiful diction, smooth legato, warm timbre and elegant phrasing. This also made him ideal for Lieder. In spite of his many recitals, his Lied-performances always remained in the shadow of the many opera roles. Bergonzi pursued a busy international career in the opera house and recording studio during the 1960s. His chief Italian tenor rivals in this period were Franco Corelli, Mario Del Monaco and Giuseppe di Stefano. Bergonzi outlasted all three, continuing to sing through the 1970s at major opera houses. But in the 1980s, as his own vocal quality deteriorated inevitably with age, he concentrated on recital work. In 1996, Bergonzi participated in conductor James Levine’s 25th anniversary gala at the Metropolitan Opera. He gave his American farewell concert at Carnegie Hall on 17 April that same year. However, an announcement that on 3 May 2000, he was to sing the title role in a concert performance of Verdi’s Otello, conducted by Eve Queler and the Opera Orchestra of New York, attracted intense interest, particularly because he had never performed the demanding role on stage. Amongst others, the audience included Anna Moffo, Licia Albanese, Sherrill Milnes, José Carreras, Plácido Domingo and Luciano Pavarotti. Bergonzi was unable to finish the performance, supposedly suffering irritation from the air-conditioning in his dressing-room. He withdrew after two acts, leaving the remaining two to be sung by Antonio Barasorda, a substitute singer. This performance was by wide critical consensus seen as a disaster. .(New York Concert mit John Wustman 1977, Glasgow Recital mit Vincenzo Scalera 1983, London Farewell Concert dto. 1992: PA-1105: Carlo Bergonzi)
Rita Hunter always reminds us of Cristina Deutekom. Nobody expects these singers to do parts like a Norma or Brünnhilde, especially not with the great ease and relaxed posture, along with Mozart and the light repertory. Rita Hunter will be remembered as one of the major Wagnerian sopranos of the later 20th century, especially for her performances as all three of the Brünnhildes in the Ring cycle, conducted byReginald Goodall at the English National Opera. The recordings based on this production, are regarded as amongst the finest available, even though they are sung, in accordance with ENO practice, in English. In an interview in 1979 Hunter expressed her dissatisfaction with having to sing the same part in both English and the original languages. „I find it very difficult learning a role in different languages. The phrasing is different – one has to take breath in a different place.“ She also recalled having to know „Santuzza in three different English translations as well as in Italian“. She found Italian easier to learn and memorize than German. (London Concert 1977; BBC Concert 1976 mit viel Norma/Charles Mackerras; BBC concert 1970 dto, diverse Opernarien; PA-1109: Rita Hunter)
For the many fans of Nelly Miricioiu we focus on her concerts, starting with what’s assumed to be her first concert in Bucharest in 1978, and her concert in ‘ s Hertogenbosch where she won first prize in the International Vocalist Concourse, starting her international career. PA-1108: Nelly Miricioiu ~ In Concert Volume 1
Janice Baird is one of those sopranos who suddenly appear in the spotlights and equally suddenly disappear in the background. Other examples were for instance Andrea Gruber and Sylvie Valayre. They probably started too early and above all too intensive, with notorious roles in the heavy dramatic department, with Elena Souliotis as example. Janice Baird is still singing in European opera houses, but there’s no longer the sensation she created in the USA, or in any case isn’t mentioned in the international press. Before these singers will be completely forgotten, it’s absolutely worth it to highlight them and dedicate CD’s. (exc Tristan und Isolde Met 2008, Die Walküre dto. Seattle 2009; Siegfried dto Seattle 2009; Götterdämmerung Seattle 2009; PA-1107: Janice Baird ~ Sings Richard Wagner)
Martina Arroyo is known by many connoisseurs as the greatest Verdi-singer of the 1960’s through the 80’s. People used to compare her with Leontyne Price and there really wasn’t a lot of difference, though it was more a matter of taste. Martina Arroyo did have more Verdi-roles than Leontyne Price on her repertoire. For EMI she recorded Un Ballo in Maschera and La Forza del Destino in the studio, recordings that were praised and by many still regarded as the best ever. opera-club.net present an extensive overview of her Verdi-repertoire in the best available quality, restored with the greatest care (Papillon PA-1047 mit Ernani, Macbeth, Trovatore; Papillon PA-1048 mit Vespri und Simon Boccanegra, Papillon PA-1049 mit Ballo und Simon Boccanegra, Papillon PA-1050 mit Forza, Papillon PA-1051 mit Don Carlo und Aida; Papillon PA-1059 erneut Aida – verschiedene Aufführungsorte und -Jahre).
Lando Bartolini is one of the many tenors standing in the shadow of Placido Domingo and Luciano Pavarotti. It sounds a bit commonplace, but today he absolutely would have been one of the great singers. He felt most comfortable in Puccini-roles and was much asked-for as Calaf in Turandot, which we can definitely call his role with flying colors. Please notice his co-singers, who for a great part also fell short and didn’t get the attention they deserved (Papillon PA-1052 mit Manon Lescaut, Butterfly und Fanciulla, Papillon PA-1054 mit Turandot – verschiedene Aufführungsorte und -Jahre).
The Sony label unexpectedly launched Jane Eaglen as a world star presenting a number of CD-recitals with her as one of the greatest diva’s ever. This wasn’t completely untrue, but her personality had not developed enough to live up to it. Her Isolde and Brunnhilde became a sensation at the Metropolitan Opera. The press wrote that Birgit Nilsson finally had a successor and that Jane Eaglen, like her illustrious predecessor, could tirelessly carry Isolde with no effort. However the toll it took shortened her career. Many of you will welcome this complete overview of her Brünnhilde as a supplement (Papillon PA-1055 Walküre, Siegfried, Götterdämmerung Met 2004).
Martile Rowland: A singer who came, saw and conquered, but also suddenly vanished. She was considered to be the successor of Montserrat Caballe and Joan Sutherland. Her debut at the Metropolitan Opera was a sensation, but ended fatally. During the break of one of her Lucia performances she ate an apple and part of it got stuck in her throat. It took a lot of effort to solve the problem, but the madness scene became a disaster. One can’t say for sure, but this could have caused her not being invited back to the Met. She was one of the most exciting Belcanto-singers around, but again a career that unfortunately ended way too soon. Opera-club.net are happy to present a number of recordings that will absolutely convince you of her exceptional qualities (Papillon PA-1056 Puritani, Roberto Devereux, Pirata, Norma; Papillon PA-1058 Giovanna D´Arco, Attila, Corsaro, Trovatore – verschiedene Aufführungsorte unhd -jahre). onc/gh