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Subject: Re: Clarification of my Tebaldi - Manon Lescaut comment
From: Max Paley <[log in to unmask]>
Reply-To:Max Paley <[log in to unmask]>
Date:Sat, 19 Nov 2016 06:04:59 -0800
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Vesna, I think it was a matter of who they (Decca) could get.  Also, the early 50's wasn't that brilliant a time for conductors of Italian opera.  Toscanini and de Sabata were winding up their careers, Cantelli focused more on symphonic rep, Giulini was getting his footing and all were safely tied up by EMI or RCA.  Mitropoulos was with Columbia, who didn't use him for opera (and who didn't have a serious commitment to opera, in any case).  Serafin was exclusive with EMI until the second half of the decade.  Erede seemed a respectable choice given his Met involvement at the time.

As soon as Decca could even moderately upgrade (Molinari-Pradelli, Gavazzeni, Capuana and then Serafin became available), they pretty much dumped Erede like a hot potato.  So did the Met, and Erede continued to have a long career as a "2nd tier" house conductor in places like Düsseldorf.

In the early 50s, Decca's strength was in its Vienna branch: the Ks - Kleiber, Krauss, Keilberth, Krips, Knappertsbusch (not Karajan until 1959) and Böhm and then Solti.

Max Paley

Sent from my iPad

> On Nov 19, 2016, at 05:20, Vesna Danilovic <[log in to unmask]> wrote:
> 
>> On Sat, Nov 19, 2016 at 1:46 AM, Max Paley <[log in to unmask]> wrote:
>> 
>> Decca was still a "scrappy" company then, looking to acquire names that
>> would compete with the impressive EMI and RCA rosters.  Aside from Tebaldi,
>> they were stronger on the German/Viennese side (particularly for
>> conductors) than on the Italian side.  Di Stefano seemed like a catch.
>> 
> 
> The choice of Erede, a dull conductor, is still a mystery to me. His
> routine conducting often mars many of the Tebaldi's studio recordings from
> the early to mid-50s, when her voice was most glorious.
> 
> Vesna
> 
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