Author: Philip Gardner

50 Years Ago ~ Fabulous FALSTAFF!

Above: Sir Geraint Evans and Renata Tebaldi in FALSTAFF

February 23, 2022 – Fifty years ago this evening, the Metropolitan Opera presented a memorable performance of Verdi’s FALSTAFF. The evening marked the first time Renata Tebaldi sang Alice Ford in New York City; beloved Met luminaries Regina Resnik and Sir Geraint Evans sang Dame Quickly and Sir John Falstaff, and Christoph von Dohnanyi made his Met debut on the podium. Of key interest for me was the beauteous Jeannette Pilou, a great favorite of mine, in the role on Nannetta.

This was my diary entry, written right after the performance:

“A great performance in every way. Christoph von Dohnanyi’s Met debut was a success, despite some moments that seemed under-rehearsed. When the curtain rose on the opera’s second scene and the audience caught sight of La Tebaldi, a sustained round of applause caused the opera to come to a halt. For a moment, no one seemed quite sure what to do, til someone yelled “Start over!”, and that’s what Maestro von Dohnanyi did.

The cast was incredibly good. Two de luxe character tenors – Paul Franke (Dr. Caius) and Andrea Velis (Bardolfo) – scored numerous verbal points at the opera progressed. And…they can sing! Richard Best was a sturdy-voiced Pistola and Joann Grillo a comely, warm-toned Meg Page.

Kostas Paskalis sang splendidly as the jealous Master Ford, his monolog being one of the vocal highlights of the performance. His voice is huge, with a darkish tint. Luigi Ava was a sweetly lyrical Fenton, and he played the role of the love-struck youth well. Regina Resnik was a fabulous, genuinely funny Dame Quickly. The voice is not really very attractive these days, but she knows how to sing, and she uses her voice as a dramatic instrument. She is, in every respect, a great Dame.

Jeannette Pilou (above, as an enchanting Nannetta) seemed so alive, so real, no mannerisms. Her voice is so pretty and clear, and she brought some very appealing pianissimo effects to her Act III aria. Pilou is such a beautiful woman; her arrival on a white Shetland pony as Hearne’s Oak was a lovely moment. Bravissima!

Renata Tebaldi enjoyed an immense success in her first Met appearance as Alice Ford. The voice seemed fresher than in recent seasons: very sweet and warm. Her high notes came quite easily tonight. On the last top-C, she really sailed, whilst Pilou tossed her head back and joined her, bringing this romp of an opera to a joyous end. Tebaldi’s sensational good looks, her charm and humor, and her lively entrance into the spirit of the evening made for another triumph for the great diva. Bravissima!

Towering above all others was that magnificent singing-actor, Sir Geraint Evans, as Sir John Falstaff. In his revelatory portrayal, one sees every aspect – the comic and the tragic – of this incredible character. So pompous at first, so funny and full of himself at Alice’s, so frighteningly degraded as he runs to the Garter Inn at the start of Act III, so touchingly terrorized at Hearne’s Oak, and so human in the opera’s final moments. I’ve heard the role sung with more sheer voice, but never with such flair and nuance. Bravissimo, Sir Geraint: you are Falstaff!

The final ensemble was so much sheer fun: the singers lined up along the footlights and mocked the audience…and themselves. And then that great dual-high-C. The curtain calls were numerous, with everyone staying on, and a big gathering at the orchestra rail where flowers were thrown and we all yelled ourselves hoarse.”

Above: Jeannette Pilou with New York’s most famous opera fan, Lois Kirschenbaum

~ Oberon

February 22, 2022
L-E-V @ The Joyce

Tuesday February 22nd, 2022 – The Brutal Journey of the Heart, the final installment of a trilogy on love by choreographer Sharon Eyal, opened this evening at The Joyce, performed by L-E-V. With a score by Ori Lichtik, costumes by Dior creative director Maria Grazia Chiuri, and superb lighting by Alon Cohen, this dancework explores the ways we heal from wounds of the heart. As an oft-wounded romantic living in an unromantic world, I have had much experience with these healing processes. And – I am sorry to have to admit – I have also thoughtlessly inflicted such wounds on people who deserved better. And so, I expected The Brutal Journey of the Heart to speak to me with poignant clarity; what it ended up doing was make me want to go out dancing.

At curtain rise, a solitary woman on the dramatically lit stage begins to move to a fascinating beat. She is soon joined by her five colleagues who show off witty ways of walking, and pausing to pose. The movement is inventive and everything feels wonderfully fresh and vivid. As one alluring song melds into another, the urge to dance is increasingly difficult to suppress. After about fifteen minutes, though, one begins to wonder what comes next: a change of lighting? Maybe a pas de deux, something slow and heart-achy?

But, no: the dancers simply draw into a cluster, swaying and writhing in place while their arms and hands weave stylized gestures. Then they spread out again and repeat passages from earlier in the piece. Meanwhile, the music is pretty much relentless, and a feeling of ‘too much of a good thing’ starts to creep in. A male duet and a female solo are briefly eye-catching, but the ensemble keeps giving us recycled moves; it begins to feel like we’re in the purgatory of lost love.

Maybe this is the brutal thing about the journey of the heart: it never really ends, and there’s no redemption to be found. The dancers continue on to a false ending, and though it seems that the woman who opened the performance alone onstage has now found some kind of peace, we don’t really know how, beyond the notion that dance is wonderfully therapeutic, especially to this music.

Despite a sense of aimlessness at times, the evening was very much worthwhile for the excellence of the dancing, the atmospheric lighting, and most of all for the score.

The dancers – Clyde Emmanuel Archer, Keren Lurie Pardes, Darren Devaney, Guido Dutilh, Dana Pajarillaga, and Edit Domoszlai – were hailed at the end with a whooping standing ovation, which they truly deserved.

~ Oberon

February 22, 2022
Antonietta Stella Has Passed Away

February 23rd, 2022 – I have just read of the death of the Italian soprano Antonietta Stella; she passed away on this date at the age of 92.

In 1950, she made her operatic debut at Spoleto as Leonora in TROVATORE and soon after was singing at the opera houses of Rome, Florence, Naples, Parma, Turin, Catania, Venice, and the Arena di Verona.

Above: Antonietta Stella as Leonora in TROVATORE

In 1954, Ms. Stella debuted at the Teatro alla La Scala in Milan as Desdemona in OTELLO; she continued to sing at La Scala thru 1963 in the great soprano roles of Verdi and Puccini, and as Maddalena in ANDREA CHENIER. In 1955, she made debuts at the Wiener Staatsoper, the Royal Opera House in London, the Paris Opera, La Monnaie, and the Lyric Opera of Chicago.

She came to the Metropolitan Opera in 1956 as Aida, and went on to sing there thru 1960 as Cio-Cio-San, Violetta, Tosca, Elisabetta in DON CARLO, Leonora in TROVATORE,and Amelia in BALLO IN MASCHERA.

Above: Antonietta Stella and Eugenio Fernandi in the Aoyama BUTTERFLY at The Met

In 1958, Ms. Stella portrayed the title-character in Yoshio Aoyama’s classic production of MADAMA BUTTERFLY; the production remained in the Met repertoire thru the 1990s.

Antonietta Stella – Un bel di – BUTTERFLY – Met bcast 1958

Among Antonietta Stella’s commercial recordings, her DON CARLO (with Flaviano Labo, Fiorenza Cossotto, and Boris Christoff), her TROVATORE (with Cossotto and Carlo Bergonzi), and especially her ANDREA CHENIER (with Franco Corelliand Mario Sereni) are my special favorites. She is also heard on several “pirate” recordings.

Ms. Stella sang Minnie in the televised Japanese premiere performance of Puccini’s FANCIULLA DEL WEST (The Girl of the Golden West) given at Tokyo on November 2nd, 1963. The NHK Symphony Orchestra is conducted by Oliviero De Fabritiis.

Watch and listen here.

CAST:

Minnie: Antonietta Stella
Dick Johnson: Gastone Limarilli
Jack Rance: Anselmo Colzani
Nick: Mario Guggia
Ashby/Jake Wallace: Bruno Marangoni
Sonora: Arturo La Porta
Wowkle: Anna Di Stasio
Sid/Billy Jackrabbit/Jose Castro: Giorgio Onesti
Trin: Antonio Saba
Bello: Marco Scotti
Harry: Augusto Pedroni
Joe: Antonio Pirino
Happy: Paolo Mazzotta
Larkens: Mario Rinaudo
Postman: Takeshi Nakamura

And here is part of the Act II duet of Violetta and Germont from TRAVIATA with Ms. Stella and Tito Gobbi:

Antonietta Stella & Tito Gobbi – Dite alla giovine ~ TRAVIATA

February 22, 2022
Dame Margaret Price as Ariadne

Dame Margaret Price – monolog ~ ARIADNE AUF NAXOS -with C Trakas-Battle-Upshaw – Levine cond – Ravinia 1987

February 21, 2022
Stile Antico @ The Miller Theatre

Above: the singers of Stile Antico, photographed by Marco Borggreve

Saturday February 19th, 2022 – Stile Antico, the London-based Early Music vocal ensemble, gave a wonderful program this evening at Columbia University’s Miller Theater. The music – and the ensemble’s hauntingly beautiful singing of it – was a balm to the spirit in these uncertain times.

In this program, entitled Toward the Dawn, Stile Antico brings us works – both sacred and secular – that sing of the hours between dusk and dawn: nocturnal music of mystery and of assurance that carries us through the watches of the night.

The twelve singers of Stile Antico stood in a semi-circle on the bare stage, all clad in black, rearranging themselves for each work. The program was devised in three sections: Evening, Nightfall, and Dawn. After the first piece of the evening – John Wilbye’s Draw on sweet night – there was a lovely silence, and then people started applauding. Although the singers seemed prepared for this intrusion – they took a bow – for me it broke the atmosphere. Thereafter, each piece was applauded and bows were taken.

The opening Wilbye set the mood for everything that follows: dreamlike, and tinged alternately with hope and uncertainty. in Thomas Tallis’s Te lucis ante terminum, we hear a prayer for God to watch over us throughout the night. John Ward’s Come, sable night is extraordinarily beautiful, both in words and music. From William Byrd, we heard Vigilante, a dramatic work that urges true believers to remain faithful…and aware.

The Nightfall section of the program commenced with Orlande de Lassus’ Toutes les nuitz, which tells of the restlessness of sleeping alone. This rang true with me as I thought back on the very few nights in the past twenty years that my beloved has not been there to have and to hold. Both in music and words, and in Stile Antico‘s singing of it, this song was a highlight of the program.

Next came the most familiar work of the evening: Gregorio Allegri’s Miserere. I first heard this heavenly music in a movie theatre, while watching the iconic gay film, Maurice. Jonathan Hanley was the tenor soloist, and the high-spinning soprano line was beautifully woven into the sonic tapestry. An interesting program note told of the transformation of this work over the years, so that it probably is quite unlike what Allegri originally wrote. Nevertheless, its enduring enchantment is easy to understand, especially when it is as poetically sung as it was tonight.

John Sheppard’s In manus tuas also calls for a soloist: bass James Arthur’s tone had a poetic sonority. The words, from Psalm 31:6, are wonderfully simple: “Into your hands I commend my spirit; you will redeem me, Lord, God of truth”.

The only contemporary work on the program, Nico Muhly’s Gentle sleep, composed in 2015 to a text by Shakespeare, did not seem at all out-of-place. The bending harmonics in fact gave a pleasing contrast to the rest of the works on the program. Muhly’s score has an intriguing and somewhat anxious feeling.

Now the dawn is heralded by Thomas Tallis’s O nata lux de lumine, which hails Christ as the “Light of the World”; this is followed by Claudio Monteverdi’s Ecco mormorar l’onde, a poem describing the morning breeze out of the Orient, stirring the ocean’s waves and bringing the world to wakefulness.

The evening concluded with Ave Dei Patris Filia by John Taverner: a longish work of varying moods that extols the Virgin Mary. While a blend of timbres is essential in a choral ensemble like Stile Antico, I did find myself frequently listening to individual voices as the program unfolded; the altos, in particular, impressed me in the concluding Taverner.

The concert ended with a joy-filled Amen, whereupon the singers were given a hearty and very well-deserved ovation. I’d had high expectations for this program, and they were surpassed: extraordinary music-making…bravi Stile Antico!

The hall seemed full, and for the most part silence reigned during the music. Invariably, though, if there is one thoughtless person in an audience, that person is destined to sit next to me. This individual arrived as the lights were going down, with a suitcase, and all bundled up; he/she clambered over me, took forever to settle in, and then spent the evening flipping noisily thru the dreaded texts booklet. Yet another case of the triumph of indifference.

~ Oberon

February 20, 2022
Schultz/Rouvali @ The NY Philharmonic

Above: composer Žibouklė Martinaitytė, photo by Romas Jurgaitis

Author: Ben Weaver

Saturday February 19th, 2022 – As we all anxiously await the reopening of David Geffen Hall (née Philharmonic Hall, then re-christened Avery Fisher Hall) at Lincoln Center in Autumn 2022 (two years ahead of schedule!), the orchestra returned to the Rose Theater at Jazz at Lincoln Center for a concert featuring Richard Strauss, Tchaikovsky and a US Premiere of a recent work by Žibouklė Martinaitytė.

Born in St. Petersburg (then Leningrad), USSR, but raised in Lithuania and now based in NYC, Ms. Martinaitytė’s gripping 2019 work Saudade received its US Premiere in these NY Philharmonic performances. The word “saudade” is Portuguese and has no direct English equivalent, but it comes close with “longing,” (or as Madonna described it when covering Césaria Evora’s great ballad “Saudade” during her Madame X Tour: “yearning.”) To be honest, I’m not entirely certain what Ms. Martinaitytė is longing for in her Saudade, which is rather dark and ominous. But that’s not important when the music is this hypnotic. Much of the composition is played at a steady, slow pace, with strings providing the canvas on which the rest of the orchestra makes its contributions. There is something of Arvo Pärt here, though more varied in orchestration. Martinaitytė’s orchestra is huge, with numerous brass and percussion instruments (including, three trombones, tubular bells, and vibraphone), but unlike the lazy “throw in the kitchen sink ” noise of a composer like Christopher Rouse (who Albert Gilbert subjected us to for several seasons), Ms. Martinaitytė’s use of every instrument on stage is always economical and perfectly woven into the tapestry of sound, not just smashing a gong to cover up inadequate musical transitions – something numerous contemporary composers do with abandon. As she slowly builds Sodade to its climaxes and retreats, the work most reminded me of the freezing winds of Sibelius and crashing waves of John Luther Adams. Although unlike John Luther Adams (not to be confused with John Adams), Ms. Martinaitytė believes in brevity. She tells the whole story in about 15 minutes of Saudade. This is a beautiful and gripping piece. Maestro Santtu-Matias Rouvali, currently artistic director of the Philharmonia Orchestra in London, shaped it superbly, and the orchestra seemed to enjoy its challenges. They applauded Ms. Martinaitytė warmly when she came up on stage for a bow: the crowd seemed truly impressed.

The work Saudade has been recorded by the Lithuanian State Symphony Orchestra conducted by Giedrė Šlekytė, and is available on the Ondine label. It is highly recommended.

Richard Strauss’ Brentano-Lieder, Op. 68, were composed in 1918 following a lengthy break from lieder composition, and on the heels of completing ROSENKAVALIER, both versions of ARIADNE AUF NAXOS, and DIE FRAU OHNE SCHATTEN. This is relevant because you can hear all three of these operas in these Brentano songs, and that is perhaps the reason they are infrequently performed as a set: the style of composition is so different from song to song that it’s difficult to find as singer who can cover the full spectrum of Straussian styles in less than 25 minutes. Over the years, some of these songs have been performed at the Philharmonic, by Beverly Sills, Kathleen Battle, Barbara Bonney, and Deborah Voigt, but they did not sing the same songs.

Above: Golda Schultz, photo by Gregor Röhrig

Fortunately the orchestra found an interpreter who managed to not only survive the challenge, but do so with flying colors. Young South African soprano Golda Schultz, who now resides in Bavaria, made a stunning Philharmonic debut with these performances. She has a silky, beautiful voice, even throughout the range, from a secure bottom (which she wisely does not force) to a ringing and full top. “Säus’le, liebe Myrtle!” and “Amor” could be outtakes from Zerbinetta, the more thoughtful in the former and coquettish in the latter, and Ms. Schutlz managed the runs and playful coloratura with aplomb. The lyrical yearning of “An die Nacht” could be Sophie’s wedding night jitters, and wildly passionate “Als mir din Lied erklang” a desperate outburst of the Composer. Ms. Schultz already sings Sophie and I think she’d make a marvelous Composer too. (Originated by Lotte Lehmann, it’s not really supposed to be sung by mezzo-sopranos.) And finally DIE FRAU OHNE SCHATTEN comes blaring in with an Empress-inspired “Ich wolf ein Sträußlein binden” – lyrical and passionate, with some light coloratura, Ms. Schultz never pushed her voice, but showed a simple pleasure of passion and signing. The final song of the cycle, “Lied Der Frauen,” is something the Dyer’s Wife could have sung. Perhaps here Ms. Schultz was reaching the limits of her current vocal comfort, but she did not become desperate and Maestro Rouvali did not allow the orchestra (massive, echt-Strauss sound) to cover her. If the Dyer’s Wife – a vocally brutal role – would be beyond Ms. Schultz’ natural capabilities, I think the Empress is a role she should seriously consider taking on. Ms. Schultz is an exciting young singer and was greeted appreciably by the audience. (…which did applaud after each song…but what can you do?)

Santtu-Matias Rouvali (above, photo by Chris Lee) concluded the concert with Tchaikovsky’s familiar Symphony No. 5. It is a long favorite of the public, even though after the premiere Tchaikovsky – in his typical manner – declared it his worst composition and that the public only pretended to like it. Perhaps Maestro Rouvali took the slow parts a bit too slow, they began dragging from the opening pages of the score. But anything above Adagio took on a playful pep and interesting rhythms. The Valse was perhaps the most successful of the movements, a warm and well judged pacing, lovingly shaped by the orchestra. The finale, too, was thrilling. This is music the orchestra has played many times and they seem to relish it once again.

Since NY Philharmonic music director Jaap van Zweden is leaving the Philharmonic, people are speculating that every conductor who steps on the podium is auditioning for the post. This is certainly true of Maestro Rouvali. New York could certainly do much worse. I’d argue it has. Worth noting currently Rouvali is principal conductor of the Philharmonia Orchestra, chief conductor of the Gothenburg Symphony, and chief conductor and artistic director of the Tampere Philharmonic Orchestra.

Another interesting note on the state of the current Covid-19 pandemic and wearing of masks. One thing that has historically been difficult not to notice is how noisy NYC audiences frequently are. Many nights – and not only in the cold season – it sounds like a consumption ward with someone hacking up a lung every moment of a concert. This was not the case at this concert. One thing the CDC has noted is that, no doubt due to wearing of masks, very few people have gotten sick with the common cold. I don’t think I heard a single cough at this concert. I think perhaps we should make the wearing of masks mandatory at all times going forward.

~ Ben Weaver

February 19, 2022
Romantic Perspectives @ Chamber Music Society

Above: pianist Wu Han

Sunday January 39th, 2022 – This evening’s program at Chamber Music Society of Lincoln Center, entitled Romantic Perspectives, was truly a soul-warming experience, following a week of cold weather and a gusty snowstorm the previous day.

The program got off to an exciting start with a performance of the Scherzo from Johannes Brahms’s “F-A-E” Sonata for Violin and Piano, dating from 1853. With Wu Han at the piano, violinist Chad Hoopes brought real flair to his playing. From the buzzy opening, the two musicians were in perfect sync. This Scherzo has a lyrical interlude, wherein the players’ dynamics meshed ideally; then, back to a lively allegro. What an exhilarating way to start a concert!

Next came a spectacular performance of Gustav Mahler’s sole work in the chamber music genre: the Quartet in A-minor for Piano, Violin, Viola, and Cello, composed in 1876. Violinist Danbi Um, elegant in a ruffled ultramarine tulle gown, led her colleagues onstage. Before taking her place at the Steinway, Wu Han stepped forward to introduce us to two young musicians making their CMS debuts this evening: violist Timothy Ridout, and cellist Sihao He.

No pianist can establish a musical mood quite like like Wu Han does; with the deep, brooding opening measures of the Mahler, she immediately drew us in. The fabulous sound Sihao He summons from his cello was soon blending with Mr. Ridout’s handsome viola tone and the silken magic of Ms. Um’s violin. As the single movement progressed, the four musicians took us deeper and deeper into the music, their playing resplendently full-bodied and thrillingly intense. Passions ebb and flow, and then a darkish calm settles over us. Ms. Um’s exquisite playing, and the extraordinarily poetic phrasing of Mssrs. Ridout and He, were all underscored by Wu Han’s captivating dynamic mastery. It seemed impossible to think that only four players could produce such an ‘orchestral’ sound; their performance moved me deeply.

Above: violist Timothy Ridout

Composed in 1861, Antonín Dvořák‘s Quintet in A-minor for Two Violins, Two Violas, and Cello, Op.1, brought together the evening’s full string contingent: violinists Danbi Um and Chad Hoopes, violists Paul Neubauer and Timothy Ridout, and cellist Sihao He.

Written when Dvořák was twenty years old, this quintet was the first of his works to be ascribed an opus number. In the opening Adagio — Allegro ma non troppo, the unison slow introduction gives way to a dancing, animated feeling. The tone qualities of the five musicians were perfectly integrated, with Mr. Hoopes excelling in the numerous melodic flights for violin, nimbly seconded by Ms. Um; and Sihao He amplified the beautiful impression he had made in the Mahler. This movement has an unusual ending.

The ensuing Lento brings forth cantabile melodies; the main theme is taken up by Mr. Ridout’s viola (Dvořák’s own instrument) playing over a rhythmical accompaniment provided by the other players. The middle section of the movement provides a fresh theme, after which we hear a reprise of the introductory melody. The composer gives both violists ample opportunity here, and the contrasting timbres of Mssrs. Neubauer and Ridout were savourable indeed. The violins play in unison, then Mr. Hoopes again moved me with a high-lying passage. A swaying mood develops, and a rising violin motif leads us to the movement’s finish

The quartet’s Finale – Allegro con brio involves three primary themes. The marvelous sound of Sihao He’s cello was continually alluring to the ear, and Mr. Ridout again shone in a songful passage. The superb blend these five artists achieved carried us on to the work’s ending, hailed by the crowd with warm applause.

It is interesting to note that Dvořák seemingly never heard his opus 1; its first public performance came seventeen years after his death, and it was not published until 1943.

Above: cellist Sihao He

Having recently enjoyed Maxim Vengerov’s stunning performance of César Franck‘s Violin Concerto at Carnegie Hall, I was definitely in the mood for more of Franck’s music. This evening’s CMS program ended with the composer’s Quintet in F-minor for Piano, Two Violins, Viola, and Cello, dating from 1879.

With a descending phrase from Danbi Um, the passionate slow introduction to the first movement is underway. Wu Han’s gorgeous entry has a hesitant feeling, as if the composer is not quite sure where he wants to take us; a rather fitful acceleration finally achieves Allegro status. Now all five players begin to pass the melodies from one to another. Mr. Neubauer’s dusky viola, Wu Han’s magical piano, the lovely sense of longing from Danbi Um’s violin, the poignant sound of Sihao He’s cello…all combined as the music turns huge. In this movement, a melody of chromatic half-steps is heard, creating a musical tension which our players today clearly relished.

The second movement, marked Lento, con molto sentimento, begins with a haunting theme from Wu Han’s keyboard, and sublime lyricism from Danbi Um. The chromaticism which awoke in the opening movement becomes more pervasive now, with Ms. Um and Mr. He trading phrases. Wu Han’s playing is heavenly, and the cellist is simply stunning. The music builds in grandeur and then dissipates, becoming celestial. Mr. Neubauer’s lovely viola passage, ethereal sounds from the piano, and Danbi Um’s haunting violin draw the movement to a tender finish.

Chad Hoopes opens the final movement with a bustling motif, joined by Ms. Um in an agitato mode. The strings play the work’s main melody in unison, with a vibrant crescendo. A brief, sweet song from Danbi Um leads to a big build-up of sound and emotion as the quintet sails onward to an epic finale.

A full-house standing ovation greeted the players, who were called back for a second bow, much to everyone’s delight.

~ Oberon

January 30, 2022
Maureen Forrester ~ Kindertotenlieder

The great Canadian contralto Maureen Forrester sings Gustav Mahler’s Kindertotenlieder, which she recorded with the Boston Symphony Orchestra under Charles Munch’s baton in 1958.

Listen here.

January 29, 2022
Corelli/Guelfi ~ FORZA DEL DESTINO – scenes

Franco Corelli and Giangiacomo Guelfi in scenes from Verdi’s LA FORZA DEL DESTINO from an RAI broadcast in 1956. Arturo Basile conducts.

Listen here.

January 29, 2022
Corelli/Guelfi ~ FORZA DEL DESTINO – scenes

Franco Corelli and Giangiacomo Guelfi in scenes from Verdi’s LA FORZA DEL DESTINO from an RAI broadcast in 1956. Arturo Basile conducts.

Listen here.

January 28, 2022