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Subject: Prandelli- His recordings
From: Juan Dzazopulos <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Thu, 24 Nov 2016 08:07:25 -0300
Content-Type:text/plain
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Besides the Decca and HMV mentioned below, Giacinto Prandelli had 
already recorded several arias in the late '40s.  His first complete 
recordings were for the Italian Cetra: Adriana Lecouvreur (with Carla 
Gavazzi); Fedora and Francesca da Rimini (with Maria Caniglia). All in 
1950. In 1951 he recorded for Remington label, Lucia di Lammermoor 
(with Renata Ferrari-Ongano). In 1953 for Columbia label La Rondine 
(with Eva De Luca) and in 1954 for HMV (EMI) Amelia al Ballo (with 
Margherita Carosio).
His live recordings included several not common titles such as: 
Leoncavallo's Zazà; Catalani's La Wally and Ignaz Holzbanner's 
"Günther von Schwarzburg" (I have never heard it!).

Juan




El Wed, 23 Nov 2016 22:37:22 +0000
  William Fiorelli <[log in to unmask]> escribió:

> Yes, Prandelli was a fine tenor. There are two MET TRAVIATA 
>broadcasts with him and Albanese ( 1951 and 1955).  The 1955 
>performance also includes Bastiainini.  Prandelli also sang in an 
>1952 BUTTERFLY broadcast with Kirsten.  His other MET operas 
>included:RIGOLETTO, BOHEME, FAUST, MANON, and DON GIOVANNI.  A total 
>of 31 performances from 1951-1955.
> Bill
> 
>      From: Bob Rideout <[log in to unmask]>
> To: [log in to unmask] 
> Sent: Tuesday, November 22, 2016 6:51 PM
> Subject: Re: Clara Petrella/Leontyne Price remasterings
>   
> G'd Evening
> 
> Prandelli was a marvelous singer, who, quite different from the
> cathartic Clara Petrella, was an International star. He sang in
> many of the most important theaters, including 31 performances of
> seven roles at the Met. He is Rodolfo on Tebaldi's first "Boheme"
> recording, as well as "Tabarro" with Gobbi, "Mefistofele" with 
>Christoff,
> and at least 20 live performances preserved on CD or tape. Tebaldi
> was a major partner in his recorded legacy. A few of the theaters in 
>which
> he appeared would include, Scala, Rome, Napoli-San Carlo, Venezia,  
>San
>Francisco, Los Angeles, Chicago, Lisbon, London, Paris and, and, and.
> 
> He was a beautiful stylist, who, at his best was the equal of Cesare
> Valletti,
> and was able to sing a few roles whose vocal demands, like Maurizio,
> were beyond Valletti. Two truly wonderful Italian lyric tenors, who
> triumphed
> in the post WWII years.
> 
> Bob
> 
> On Tuesday, November 22, 2016, Mitchell, Katalin 
><[log in to unmask]>
> wrote:
> 
>> Thank you all for discussing this soprano at such length that I 
>>finally
>> snapped out of my “have no idea, who cares?” attitude, and looked 
>>her up
>> on Youtube. What a treasure trove!
>> She was amazing, a wonderful actress as well as voice…. and that led 
>>to
>> Giacinto Prandelli, another new discovery….
>> This is the reason I am so grateful for being accepted on this 
>>forum, I do
>> learn so much about great singers before my time of reason….
>> I can always skip the lecture on Spinoza …
>> Kati
>>
>>
>>
>>
>> On 11/22/16, 5:20 PM, "Discussion of opera and related issues on 
>>behalf of
>> James Bodge" <[log in to unmask] <javascript:;> on behalf of
>> [log in to unmask] <javascript:;>> wrote:
>>
>> >The story I heard was that the orchestra noted how well things were
>> >going for RCA and everyone else, so the union asked for more money 
>>for
>> >the third and last year of the contract - or else.    RCA  balked 
>>at
>> >first and then gave in and paid the extra money - which the union
>> >thought would be the gift that kept on giving.Wrong. RCA closed the
>> >studio and went to London. NO money at all for the Rome musicians.
>> >
>> >Jim Bodge
>> >
>> >
>> >On 11/21/2016 10:52 PM, Maxwell Paley wrote:
>> >>
>> >> Want to add my "atta boy" to Les' comment.  The greatest thing is 
>>when
>> >>someone's posting leads to a new discovery.
>> >>
>> >> Petrella is a wonderfully slutty Nedda on the Decca mono studio
>> >>recording with Del Monaco.
>> >>
>> >> Takis, the remastered Leinsdorf "Aida" sounds better on the 
>>remaster (I
>> >>downloaded it and other Price operas in the 96/24 version from 
>>HDTracks)
>> >>than I've heard it before on LP or CD, but the sound is still
>> >>surprisingly mediocre for its date (1970, I think) and the 
>>production
>> >>talent involved.  The Mehta "Trovatore" sounded good on UK or 
>>German LP
>> >>but picked up serious distortion when first digitized.  This now 
>>sounds
>> >>considerably better than previous CD releases.
>> >>
>> >> I know some internal record industry scuttlebut but maybe someone 
>>else
>> >>has the answer to a mystery.  In the early 60's, RCA spent a 
>>fortune
>> >>building their "Italiana" studios out towards Fumicino.  
>>Leinsdorf, who
>> >>had been tearing out what little hair he had left at the Rome 
>>Opera
>> >>Orchestra, and other RCA musical preparation staff also spent a 
>>fortune
>> >>auditioning and setting up a recording orchestra from the finest 
>>players
>> >>in the area.  Even Solti was impressed when he recorded 
>>"Rigoletto" and
>> >>"Falstaff.".
>> >>
>> >> But they only used the setup for a few years.  The Mehta 
>>"Trovatore"
>> >>and Leinsdorf "Aida" were done in the Walthamstow suburb of London 
>>(a
>> >>potentially great but very tricky recording venue).
>> >>
>> >> After 1970, the only "Italiana" project I can think of was the
>> >>Gavazzeni "Boccanegra."
>> >>
>> >> Why?
>> >>
>> >> Max Paley
>> >
>> >--
>> >James Bodge
>> >
>> >You only need two things: WD-40 and Duct Tape.  If something moves 
>>and
>> >it shouldn't, use the Duct Tape.  If it won't move and it should, 
>>use
>> >the WD-40.
>> >
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