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Subject: Re: Clarification of my Tebaldi - Manon Lescaut comment
From: Paul Ferraro <[log in to unmask]>
Reply-To:Paul Ferraro <[log in to unmask]>
Date:Fri, 18 Nov 2016 17:50:45 -0500
Content-Type:text/plain
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text/plain (171 lines)


Wonder if Flaviano Labo was ever considered for the recording?   Why not RT, 
a wonderful DesG. -unless he was committed to Columbia/Angel/RCA - haven't 
spotted his name mentioned in this thread.

DonPaolo

-----Original Message----- 
From: walter guitian
Sent: Friday, November 18, 2016 1:05 PM
To: [log in to unmask]
Subject: Re: Clarification of my Tebaldi - Manon Lescaut comment

Franco Corelli was going to do his debut in Decca  in the 1961 Adriana 
Lecouvreur recording  Tebaldi/Simionato/Fioravanti/Capuana,  but Del Monaco 
put his lawyers and pressed  and he won, and Corelli was out of the 
recording
Walter


      De: Max Paley <[log in to unmask]>
Para: [log in to unmask]
Enviado: Viernes, 18 de noviembre, 2016 3:06:34
Asunto: Re: Clarification of my Tebaldi - Manon Lescaut comment

Ya, neither Bergonzi nor Björling were options for Decca in 1954 when the 
"Manon Lescaut" was made (one of the very first stereo opera recordings). 
Both would have become possible if they'd done it 3 years later.  Bergonzi 
signed with Decca in early 1957 and in 1956 Decca and RCA signed their 
agreement that allowed swapping of artists and use of each other's tech 
crews (hence Björling and Tebaldi together on the Erede "Cavalleria" and 
Leinsdorf "Turandot").

I wish Decca had used Bergonzi (and Serafin, for that matter) for Tebaldi's 
stereo "Tosca" as they had for the "Boheme" and "Butterfly."  But Del Monaco 
was serious Decca capital and he didn't like sitting sessions out and was 
particularly pissed off that Karajan refused to have him for the stereo 
"Aida."

Max Paley

Sent from my iPad

> On Nov 17, 2016, at 21:56, Les Mitnick <[log in to unmask]> wrote:
>
> Speaking of Manon Lescaut and Tebaldi, her Decca studio commercial 
> recording is badly crippled by the bellowing of Mario del Monaco, who had 
> about as much charm and elegance as he who is about to become our new 
> leader.  When Tebaldi sings alone, the sound is ravishing, but when she 
> has to compete with del Monaco's blatantly loud Otello-like approach to 
> Des Grieux, the bellowing seems to overtake HER as well.  The recording 
> should have used a different tenor, like a very young Carlo Bergonzi. 
> Bjoerling would not have been possible because of his affiliation with 
> RCA.  I admire del Monaco on a few of Tebaldi's recordings, but most 
> certainly not on this Manon Lescaut.  I suppose we should be grateful that 
> he didn't end up on her Butterfly or Boheme recordings, where Bergonzi 
> sang so beautifully.
> Just a passing opinion.
>
>
> From: "Max Paley" <[log in to unmask]>
> To: "OPERA-L" <[log in to unmask]>
> Sent: Thursday, November 17, 2016 5:01:05 PM
> Subject: Re: Clarification of my Tebaldi - Manon Lescaut comment
>
> Tebaldi, Björling and Serafin!  No disrespect to Callas or Albanese, but 
> for what I like, that would be like cherry picking the best elements of 
> the mid 50's Decca, EMI and RCA recordings of the opera.
>
> Max Paley
>
> Sent from my iPad
>
> > On Nov 17, 2016, at 13:31, kurt youngmann <[log in to unmask]> wrote:
> >
> > When she sang it here in Chicago in ’57 she was in absolutely top form. 
> > Added bonuses were Bjoerling’s des Grieux, the Geronte of the wonderful 
> > Carlo Badioli and Tullio Serafin’s mastery of the score.
> >
> > Kurt Youngmann
> >
> > PS She also looked delicious!
> >
> > PPS For the record we got to see her in four operas that year. Her other 
> > roles were Desdemona, Adriana and Maddalena.
> >
> >> On Nov 17, 2016, at 2:55 PM, Bob Rideout <[log in to unmask]> wrote:
> >>
> >> After I sent my first post, I realized I left something
> >> out. The great, almost universally admired revival
> >> was in 58-9. She sang a number at the New Met in the late
> >> sixties, but they were generally not well received and they were
> >> far from sold out. My apology for not noting that earlier.
> >>
> >> Bob
> >
> >
> > "It has often and confidently been asserted, that man's origin can never 
> > be known: but ignorance more frequently begets confidence than does 
> > knowledge: it is those who know little, and not those who know much, who 
> > so positively assert that this or that problem will never be solved by 
> > science." - Charles Darwin - introduction to “The Descent of Man.”
> >
> >
> >
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