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Subject: Re: Cesare Valletti
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Mon, 12 Feb 2018 16:10:05 +0000
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Wonderful appreciation of a great but much underrated singer. I love his Don Ottavio on the RCA highlights album. His Il Mio Tesoro is gorgeous. I love the way he rolls his R's-LOL!  The RCA Traviata with Carteri and Warren was the first operatic highlights album I ever purchased, and loved all of them. I had heard the complete performance on radio and fell in love with opera and especially, La Traviata.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Les Mitnick <[log in to unmask]>
Sent: Monday, February 12, 2018 12:43 AM
To: [log in to unmask]
Subject: [OPERA-L] Cesare Valletti

I was so happy to see that there are still some here who remember Cesare Valletti so
fondly and with such affection.  I too still speculate about what could have possibly
transpired between him and Rudolph Bing.  At any rate, it was a real slap-in-the-face to
an superb artist who did such distinguished work at the Met for a good length of time.  I
cherish his recordings (though I don't have the Cetra ones), the first of which is that
classic EMI Giulini recording of "L'Italiana in Algeri" where he sings Lindora to the Isabella
of Giulietta Simionato on what is to me the greatest recording of the opera (yes, it's
substantially cut, and Simionato, while not in Marilyn Horne's league in the vocal
fireworks department -FAR from it---- remains the only Isabella to me who really
captures the comic elements and charm of Isabella better than anyone else).  I also have
that famous RCA Barbiere with Peters, Merrill, etc, where Valletti attempts to perform
that fabulous second aria of Almaviva (made commonplace with the coming of Blake, and
especially Florez).
     But most of all I treasure Valletti's recitals of French Melodies, Schumann, and the
excerpts from "Werther" alongside of Rosalind Elias.  Valletti certainly lacked the facility
in the uppermost register that Florez possesses, and he certainly didn't sing as many
roles (his ultimate comfort note was a B flat, I believe), but he sang with so much lyric
beauty, such sincerity, and with such refined style, that I find his short top register no big
deal.  His Sonnambula performances with Callas at La Scala were legendary (and she
admired him greatly) as were their "Traviata" performances over the years.  I have those
recordings as well.  Lastly, his Met "Manon" with de los Angeles is still wonderful to hear.
Valletti was a great artist, and deserves to be remembered with respect and admiration.


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