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Subject: Re: Cetra CD reissues. Some more.
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Fri, 7 Jul 2017 21:44:19 -0400
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As to the Cetra recordings, I can only proclaim "Hello, Lina!  Its so nice
to have you back where you belong..."  at least as heard on the "Warner"
reissues.

Her coloratura may bump and grind a bit - she may even "fake" some of those
bumps and grinds - and like Alboni, she just might be the elephant that
swallowed the canary - but her timbre and demeanor are so grateful to these
sometimes "overCallased" ears that even in decline she seems "Younger than
Springtime..."  Like her mentor, Tetrazzini, or the great Galli-Curci, she
is an unalloyed pleasure each time I turn her on.  Has any Nanetta, Amina,
or Gilda ever cut so quickly to the heart with so little *apparent* effort?

On Fri, Jul 7, 2017 at 6:12 PM, Donald Levine <[log in to unmask]> wrote:

> I would just like to add a few things to what Albert has already said.  I
> have always loved that Fritz recording.  Tassinari and Tagliavini are
> superb as are Pini and Meletti.  Tassinari has always been one of my
> favorites.  I could never understand why she is not better known except
> that perhaps she came along at the wrong time.  When she began her career,
> Muzio was still around in Italy then Favero and Caniglia (Favero born like
> Tassinari in 1903 and Caniglia in 1905) came and finally Tebaldi.  What was
> the poor soprano to do?  It was a voice that fit nicely between a big full
> lyric and a spinto. Then there was the move from soprano to mezzo in the
> mid fifties.  Nonetheless, a marvelous soprano and artist.  I always
> considered her a better, more important singer than her husband.
>
> As for the great Renata (Tebaldi, not the other one), I have always loved
> the Fanciulla recording and thought it her greatest achievement on disc.
> Of course nearly prime Del Monaco and prime MacNeil are icing on the cake.
> If I had to pick my desert island Tebaldi it would be the Fanciulla and her
> 1955 aria recital where she sings the two big scena's from Cecilia and the
> Porgi amor and Dove sono.  There is something about a great Italian voice
> in Mozart that really turns me on.  I'd give up some of the style to have
> something as consistently gorgeously vocalized and sunny (as in the sound
> of a real Italian spinto) as these performances.  Around the same time,
> maybe a year before, she recorded two song recitals that are to die for.
> Add Lungi dal caro bene and O leggiadri occhi belli to my desert island
> list.
>
> One more thing about the Fanciulla, a couple of years ago I was sitting in
> the back yard of a friends house in the foothills of the Sierra, my
> earphones on, a gorgeous sunny day, listening to this recording.  When it
>  ended, I was bawling like a baby.  Fanciulla does that to me - Butterfly
> does the same thing.  Another favorite recording - the Serafin conducted
> Butterfly with Tebaldi, Bergonzi, Cossotto & Bordello.
>
> Donald
>
> On Fri, Jul 7, 2017 at 1:18 PM, albert innaurato <
> [log in to unmask]> wrote:
>
> > Geary and Mammano are the smartest about these recordings it seems to me.
> > It's amazing we get a Callas fetish making a preposterous claim, but
> Geary
> > was the first to acknowledge that a composer was conducting his own work
> > with a very apt cast (The Callas Traviata is THE GREATEST? With its
> > mediocre tenor and more than gruff baritone and a dead conductor on the
> > podium, what could that poor fat lady DO?). Tassinari and Tagliavini are
> > ideal in L'Amico Fritz, and Pini and Meletti are excellent as Beppe and
> > Fritz (no longer a rabbi in 1942!).
> >
> > Mammano is right that really these recordings are most wonderful in the
> > verismo operas. All of the singers had grown up with verismo and worked
> > with the many still living composers of the operas. The Trittico is
> easily
> > the most colorful and compelling overall recording of the three operas.
> > It's not only a matter of queen fetish singling out a particular lady for
> > praise but someone with a brain understanding how much these works depend
> > on give and take delivered with utter certainly by singers with exactly
> the
> > same comfort with and understanding of the rhetoric of the pieces. And
> the
> > casts are very strong and sometimes wonderful from Petrella's sexy, sad
> > Georgetta to Taddei's marvelous Gianni Schicchi to Carteri's touching and
> > beautifully sung Suor Angelica. But the other characters in all these
> > recordings are wonderfully presented and the level of singing is high.
> And
> > this style is hard to conduct. it is notable for small moments that
> > accumulate into bigger statements. The dialogs and apparently casual
> > interchanges must have a naturalness, a rightness of emphasis and
> > transitions (often brief) must be well judged for the big outbursts to
> seem
> > in balance and convincing. The three conductors might not have been world
> > beaters but they have absolute authority in this style.
> >
> > (For a world beater one can turn to the remarkable Clemons Krauss
> broadcast
> > from Stuttgart which not only has the same sureness of touch even in
> German
> > but a master's attention to small details).
> >
> > The Fanciulla seems to me a central performance, despite small cuts.
> > Basile, also not a world beater, also understands how the opera needs to
> > move, he has tremendous thrust and energy and the kind of control that
> > creates a sense of inevitable movement. Gavazzi is fantastic for the
> color
> > and intensity of her Minnie; her singing is also very strong throughout
> the
> > range. The gruff Savarese, a loss as Germond Pere, is perfect as Rance
> and
> > his scenes with Gavazzi are sizzling. The tenor has an iffy middle but a
> > ringing top and tremendous ardor.
> >
> > Little by the little the certainty of touch, the sureness in the style of
> > this recording, is lost in the '50's although no one would dismiss the
> > Mitropoulos account, and only the Callas freak would dismiss the
> thrilling
> > Tebaldi performance. Still, the raw energy and life or death stakes of
> the
> > Cetra performance is I think closest to the real thing. With the awful
> EMI
> > despite the great Nilsson (killing herself to get it right but fish out
> of
> > water), secondary support, and the Nazi Von Matecic conducting, it's
> > missing instruments ("I have two great loves Adolf and Music", Walter
> > Legge) we start to get far afield, something that continues. (Although
> it's
> > interesting to hear the Sinopoli and Thielemann (!) broadcasts).
> >
> > Oh, well, a waste of time, I assume and just my minor opinions.
> >
> > On Fri, Jul 7, 2017 at 2:02 PM, albert innaurato <
> > [log in to unmask]> wrote:
> >
> > > Geary and Mammano are the smartest about these recordings it seems to
> me.
> > > It's amazing we get a Callas fetish making a preposterous claim, but
> > Geary
> > > was the first to acknowledge that a composer was conducting his own
> work
> > > with a very apt cast (The Callas Traviata is THE GREATEST? With its
> > > mediocre tenor and more than gruff baritone and a dead conductor on the
> > > podium, what could that poor fat lady DO?). Tassinari and Tagliavini
> are
> > > ideal in L'Amico Fritz, and Pini and Meletti are excellent as Beppe and
> > > Fritz (no longer a rabbi in 1942!).
> > >
> > > Mammano is right that really these recordings are most wonderful in the
> > > verismo operas. All of the singers had grown up with verismo and worked
> > > with the many still living composers of the operas. The Trittico is
> > easily
> > > the most colorful and compelling overall recording of the three operas.
> > > It's not only a matter of queen fetish singling out a particular lady
> for
> > > praise but someone with a brain understanding how much these works
> depend
> > > on give and take delivered with utter certainly by singers with exactly
> > the
> > > same comfort with and understanding of the rhetoric of the pieces. And
> > the
> > > casts are very strong and sometimes wonderful from Petrella's sexy, sad
> > > Georgetta to Taddei's marvelous Gianni Schicchi to Carteri's touching
> and
> > > beautifully sung Suor Angelica. But the other characters in all these
> > > recordings are wonderfully presented and the level of singing is high.
> > And
> > > this style is hard to conduct. it is notable for small moments that
> > > accumulate into bigger statements. The dialogs and apparently casual
> > > interchanges must have a naturalness, a rightness of emphasis and
> > > transitions (often brief) must be well judged for the big outbursts to
> > seem
> > > in balance and convincing. The three conductors might not have been
> world
> > > beaters but they have absolute authority in this style.
> > >
> > > (For a world beater one can turn to the remarkable Clemons Krauss
> > > broadcast from Stuttgart which not only has the same sureness of touch
> > even
> > > in German but a master's attention to small details).
> > >
> > > The Fanciulla seems to me a central performance, despite small cuts.
> > > Basile, also not a world beater, also understands how the opera needs
> to
> > > move, he has tremendous thrust and energy and the kind of control that
> > > creates a sense of inevitable movement. Gavazzi is fantastic for the
> > color
> > > and intensity of her Minnie; her singing is also very strong throughout
> > the
> > > range. The gruff Savarese, a loss as Germond Pere, is perfect as Rance
> > and
> > > his scenes with Gavazzi are sizzling. The tenor has an iffy middle but
> a
> > > ringing top and tremendous ardor.
> > >
> > > Little by the little the certainty of touch, the sureness in the style
> of
> > > this recording, is lost in the '50's although no one would dismiss the
> > > Mitropoulos account, and only the Callas freak would dismiss the
> > thrilling
> > > Tebaldi performance. Still, the raw energy and life or death stakes of
> > the
> > > Cetra performance is I think closest to the real thing. With the awful
> > EMI
> > > despite the great Nilsson (killing herself to get it right but fish out
> > of
> > > water), secondary support, and the Nazi Von Matecic conducting, it's
> > > missing instruments ("I have two great loves Adolf and Music", Walter
> > > Legge) we start to get far afield, something that continues. (Although
> > it's
> > > interesting to hear the Sinopoli and Thielemann (!) broadcasts).
> > >
> > > Oh, well, a waste of time, I assume and just my minor opinions.
> > >
> > > AI
> > >
> > > On Fri, Jul 7, 2017 at 9:38 AM, ANGELO MAMMANO <[log in to unmask]
> >
> > > wrote:
> > >
> > >> I picked up the Trittico at a cheapo store years ago and found the
> > >> recordings to have excellent sound and
> > >>
> > >> excellent performances by outstanding casts.  Schicchi has Corena as
> > >> Simone and Taddei as Schicchi.
> > >>
> > >> Angelica is with Carteri and Tabarro is with Petrella.  These are on
> the
> > >> Nuova Fonit Cetra label and are among
> > >>
> > >> my prize possessions.
> > >>
> > >>
> > >> Angelo from Boston
> > >>
> > >>
> > >> >
> > >> >     On July 6, 2017 at 4:05 PM LANE WHITESELL <[log in to unmask]>
> > >> wrote:
> > >> >
> > >> >     House of Opera has the same cast in a live recording:
> > >> >
> > >> >     http://www.operapassion.com/cd1545000.html
> > >> >
> > >> >     Lane A. Whitesell
> > >> >
> > >> >         > >
> > >> > >         On July 6, 2017 at 3:57 PM Dennis Ryan <[log in to unmask]
> >
> > >> wrote:
> > >> > >
> > >> > >         The contributions to this thread lead me to recall one
> > >> performance that appeared later on Everest Records, which re-issued
> many
> > >> beloved Cetra recordings, but I do not believe that it had ever been
> > >> previously issued on Cetra. This is a simply FABULOUS performance of
> > >> Rossini's "Petite Messe Solennelle" with Renata Scotto, Fiorenza
> > Cossotto,
> > >> Alfredo Kraus, and Ivo Vinco. I have never heard a greater performance
> > of
> > >> this great work. I believe that this showed up on CD on an obscure
> > Italian
> > >> label briefly, but I know of no place where it is available on CD now.
> > >> Everest Records, of course, was well known for re-issuing many of the
> > old
> > >> Cetra performances in wretched sound on worse-than-wretched vinyl.
> Does
> > >> anyone know where this performance might currently be found on CD?
> Does
> > >> anyone know of other great Italian performances of the late '40's and
> > 50's
> > >> that have likewise been lost?
> > >> > >         Cheers,
> > >> > >         Dennis Ryan
> > >> > >
> > >> > >         -----Original Message-----
> > >> > >         From: Bob Rideout <[log in to unmask]>
> > >> > >         To: OPERA-L <[log in to unmask]>
> > >> > >         Sent: Thu, Jul 6, 2017 1:50 pm
> > >> > >         Subject: Re: Cetra CD reissues. Some more.
> > >> > >
> > >> > >         Must haves
> > >> > >
> > >> > >         L'Amico Fritz - Tassinari F. Tagliavini
> > >> > >         Tassinari's "Son Pocchi Fiori" is as beautiful as anything
> > >> I've
> > >> > >         ever heard.
> > >> > >         Suor Angelica - Carteri
> > >> > >         Nabucco and Ernani - C. Mancini
> > >> > >
> > >> > >         I don't disagree with any of the others previously
> > mentioned,
> > >> though my
> > >> > >         enthusiasm is not as great as for those I've listed. I
> > >> absolutely love
> > >> > >         these four recordings.
> > >> > >
> > >> > >         Of course, I cannot ignore the first Callas Gioconda, her
> > >> 1949 recital,
> > >> > >         and to a lesser extent, her Violetta, which are among the
> > >> greatest things
> > >> > >         ever committed to record.
> > >> > >
> > >> > >         Bob
> > >> > >
> > >> > >         On Thursday, July 6, 2017, Juan Dzazopulos <
> > >> [log in to unmask]> wrote:
> > >> > >
> > >> > >             > > >
> > >> > > >             George, I share your selection. But I would add some
> > >> more that I have in
> > >> > > >             my collection, and have been a continious source of
> > >> pleasure:
> > >> > > >
> > >> > > >             L'Amico Fritz: Pîea Tassinari, Saturno Meletti
> (1941,
> > >> Tagliavini first
> > >> > > >             complete recording). A lesson of singing....
> > >> > > >             La Sonnambula: Lina Pagliughi, Cesare Siepi (1952)
> > >> > > >             Werther: Pia Tassinari, Marcello Cortis (1954)
> > >> > > >             Un ballo in maschera: Mary Curtis Verna, Pia
> > Tassinari,
> > >> Giuseppe Valdengo
> > >> > > >             (1954)
> > >> > > >             Marta: Elena Rizzieri, Pia Tassinari, Carlo
> Tagliabue
> > >> (1955)
> > >> > > >             Mefistofele: Marcella Pobbe, Disma De Cecco, Giulio
> > >> Neri (1956)
> > >> > > >             Tosca: Gigliola Frazzoni, Gian Giacomo Guelfi (1956)
> > >> > > >
> > >> > > >             Ernani: Gino Penno, Caterina Mancini, Giuseppe
> Taddei,
> > >> Giacomo Vaghi (1951)
> > >> > > >             Il Barbiere di Siviglia: Giuseppe Taddei, Giulietta
> > >> Simionatao, Luigi
> > >> > > >             Infantino,Carlo Badioli (1950)
> > >> > > >             Aida: Mary Curtis Verna, Franco Corelli, Miriam
> > >> Pirazzini, Gina Giacomo
> > >> > > >             Guelfi, Giulio Neri (1956)L
> > >> > > >             La Fanciulla del West: Carla Gavazzi, Vasco
> > Campagnano,
> > >> Ugo Savarese (1950)
> > >> > > >
> > >> > > >             Enjoy them!
> > >> > > >
> > >> > > >             Juan
> > >> > > >
> > >> > > >             --------------------
> > >> > > >
> > >> > > >             El Thu, 6 Jul 2017 11:02:05 -0400
> > >> > > >             George Rios <[log in to unmask]> escribió:
> > >> > > >
> > >> > > >             I've found Cetra CD remasterings on Warner/Fonit
> seem
> > >> to have gone back to
> > >> > > >
> > >> > > >                 > > > >
> > >> > > > >                 the original tapes or at least very good LP
> > >> pressings and I've found most
> > >> > > > >                 of them to be very good to excellent. But the
> > >> original Cetra label was
> > >> > > > >                 never noted for its sonics, so the sound
> quality
> > >> can vary. Some that I can
> > >> > > > >                 vouch for are:
> > >> > > > >
> > >> > > > >                 BOHEME Carteri, Tagliavini, Taddei, Santini
> > cond.
> > >> > > > >                 RIGOLETTO Taddei, Pagliughi, Tagliavini,
> Questa
> > >> cond.
> > >> > > > >                 OTELLO Guichandut, Broggini, Taddei, Capuana
> > cond.
> > >> > > > >                 IL SEGRETO DI SUSANNA Rizzieri, Valdengo,
> Questa
> > >> cond.
> > >> > > > >                 The FALSTAFF with Taddei, Carteri, Pagliughi,
> > >> Rossi cond. is something of
> > >> > > > >                 a heartbreaker.
> > >> > > > >                 It seems the original recording was never very
> > >> good. Depending on your
> > >> > > > >                 tolerance it's listenable but sonically a
> > >> letdown, especially regrettable
> > >> > > > >                 since the performance itself is
> > >> > > > >                 really marvelous.
> > >> > > > >
> > >> > > > >                 Likewise the GUGLIELMO TELL with Taddei,
> > Carteri,
> > >> Filippeschi, Rossi
> > >> > > > >                 cond. is a mostly fine performance, although
> > >> Filippeschi is appalling. But
> > >> > > > >                 the sound is poor and sometimes afflicted
> with a
> > >> ghastly wow. Avoid this
> > >> > > > >                 one.
> > >> > > > >
> > >> > > > >                 Of course, all of these sound leagues better
> > than
> > >> those horrifying
> > >> > > > >                 "rechanneled for stereo" LP issues on
> > >> Everest/Cetra from the 60s. I have
> > >> > > > >                 always wondered who was the idiot responsible
> > for
> > >> those monstrosities.
> > >> > > > >
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