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Subject: Re: Cetra CD reissues. Some more.
From: albert innaurato <[log in to unmask]>
Reply-To:albert innaurato <[log in to unmask]>
Date:Sat, 8 Jul 2017 15:13:32 -0500

text/plain (147 lines)

Oops, the YouTube is a Tebaldi performance, misidentified on Google. Sorry.


On Sat, Jul 8, 2017 at 12:58 PM, albert innaurato <
[log in to unmask]> wrote:

> I am glad to see a mini celebration of Pagliughi and can second Rudi's
> recommendation. She was one of a number of Italian singers who had great
> charm in lighter music (Carosio, Pederzini and of course, Schipa are
> examples).
> I love Pagliughi's sound and manner. Her Gilda on Cetra is very touching
> and most sweetly sung, even if now and then she uses some "workarounds" in
> very difficult moments. Her first recording (with the fine sounding
> baritone Piazza) is a little freer at the top and several recordings of
> excerpts in the thirties are exciting (some are live). But the Cetra
> Rigoletto has the wonderful Taddei in spectacular form (he surpasses
> himself, although only by a little, in a phenomenal account of Carlo Quinto
> in the Cetra Ernani) and another terrific supporting cast. The conductor,
> Questa, is yet another underrated pro. He presided over the should be
> famous Tosca in Vienna (released on Westminster) with Dall'Argine and
> Scattolini as soprano and tenor -- wonderful voices, no techniques -- and
> the great baritone (there's no one like him in the world today) -- Scipio
> Colombo. And where else would you get Ludwig Weber and baby Walter Berry
> mispronouncing Italian with such flair? That's one red-blooded performance.
> The problem with the Cetra Rigoletto is Tagliavini who sings white and
> decidedly flat high notes.
> Pagliughi is also wonderful on that great Falstaff on Cetra, with a
> phenomenal Taddei and a terrific supporting cast. That's another good
> conductor, Mario Rossi. It is one of my favorites. I prefer it to most
> others -- there is Toscanini at Salzburg, a different animal than the hyped
> bandmaster of the forties and early fifties. Although one has to search for
> the listenable selenophone version, his ability to draw a very distinctive
> sonority from the orchestra in those days, and the freedom of his
> conducting, spontaneous, spirited, not overdriven with a willingness to
> give an excellent cast some leeway to make their points is wonderful.
> Taddei gave an amazing demonstration of great opera singing, now vanished,
> in Falstaff at the Met in 1985 when he was 69. I saw five and couldn't
> believe he still had so much voice, infinite charm, was very funny and was
> also effortlessly heartbreaking. More than 30 years before, all of those
> qualities with a gorgeous, rounded, immensely resonant tone are there but
> having seen him one misses his physical presence.
> On Cetra, Pagliughi is irresistible, funny and very touching in The
> Daughter of the Regiment (in Italian). Her singing is an infinite caress.
> Valetti lowers the big scene to avoid the high C's but is so charming it
> doesn't matter.
> I once jokingly said to Mirella Freni that I was said to resemble Lina
> Pagliughi. "You are much too tall," she answered, "but if you were much
> shorter the two of you could roll around like barrels". I actually don't
> think she liked either of us (although Lina was spoken about with great
> warmth by the older singers I talked to). I hung around Mirella because I
> adored her second husband (I also liked the first one, Leone Magiera, who
> was and perhaps still is, hilarious, and certainly knew where all the
> bodies were buried). Ghiaurov who had stunned me (and a great many others)
> in the 60's and then gradually declined had sung at the Bolshoi on his
> travels before becoming famous in the West.
> He had known Reizen and Pirogov, one amazing bass and one very fine one,
> who had loathed one another, and had such passionate fans they occasioned
> riots and now and then warfare. He had stories for days (they were both
> immense, eccentric characters with mean streaks according to him). He had
> also known Koslovsky, Lemeshev, and Obukhova, the last, someone I adored. I
> have to say they came to my apartment in NY and listened to records of
> Russians and cried at Obukhova. Freni listened as entranced as I was to his
> stories (she can't have been all that bad, although she would squeeze, my
> upper arm, when I visited Modena in the summers, and say, "you'd make a
> nice stew".)
> RAI broadcast a Traviata with Pagliughi. I'm not sure it was ever made
> into a record (I have it on tape). That was in 1952. I think it's one of
> the great recordings of the role (the performance has the lovely sounding
> Prandelli and the baritone Oralndini, Rossi conducts.) She sings with
> tremendous intensity and temperant, managing the outbursts and lower lying
> music easily, and she is heartbreaking. We are so used to the hard sell in
> this opera, indeed, it's become the standard to which all aspire. But
> Pagliughi projects the ongoing frailty and vulnerability, the youth, of
> Violetta to wonderful effect and sings with great beauty. It is available
> on YouTube:
> AI
> On Sat, Jul 8, 2017 at 1:22 AM, Rudi Van den Bulck <[log in to unmask]>
> wrote:
>> Stephen Charitan wrote about Pagliughi :
>> "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?"
>> Try her two "unpublished" films songs which are pure gems to my ears :
>> La vite a una canzone :
>> and : Quando ti guardo ( a Walter Jurman song)
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