From the Palacio de Bellas Artes in Mexico City comes a 1998 performance of Camille Saint-Saëns’ SAMSON ET DALILA starring Barbara Dever and Placido Domingo. Genaro Sulvaràn is the High Priest, and Guido Guida conducts.
Watch and listen here.
Between 1992 and 2014, Barbara Dever sang nearly 100 performances with the Metropolitan Opera; I saw her excellent Amneris and Ulrica there. Genaro Sulvaràn sang the role of Count de Luna at he Met in 1999 and made a vivid impression.
Soprano Susan Dunn (above) sings Strauss’s Vier letzte Lieder from a concert given in 1986 by the Montréal Symphony Orchestra, conducted by Günther Herbig. Listen here.
While it was the voice of Renata Tebaldi that initiated my lifelong obsession with opera, it was her compatriot, Gabriella Tucci, who was my favorite soprano during the 1960s when I was glued to the radio for every Met matinee radio broadcast. Tucci’s singing of Aida, both Leonoras, Violetta, Desdemona, Cio-Cio-San, Alice Ford, and Marguerite in FAUST on these broadcasts captivated me, and thru her I developed a love for hearing the words sung with such colour and feeling.
Seeing Gabriella Tucci in TROVATORE at the Old Met was a very special experience for me. I went on to see her in more roles – Liu, Elisabetta, Mimi – at the New Met, and enjoyed her so much, yet it was those formative Old Met broadcasts that linger in my mind to this day: I was learning these great operas at the time, and she taught me how beautifully they could be sung.
I’ve just come upon this video of Ms. Tucci singing Tosca’s “Vissi d’arte” on the Ed Sullivan Show in 1962, and it reminds me of everything I loved about her.
Watch and listen here.
Soprano Christiane Karg (above) sings Maurice Ravel’s Shéhérazade with Stanisław Skrowaczewski conducting the Frankfurt Radio Symphony Orchestra. The performance took place in September 2013.
Watch and listen here.
While best-remembered as an interpreter of the great Rossini mezzo-soprano roles, Lucia Valentini-Terrani here shows another facet of her artistry, singing Johannes Brahms’ Alto Rhapsody. Peter Maag conducts.
Lucia Valentini-Terrani – Brahms ~ Alto Rhapsody – Peter Maag cond – RAI 1979
Valentini-Terrani, born in Padua, sang at all the major Italian opera houses, as well as at Paris, Moscow, Buenos Aires, Chicago, and Washington DC. She debuted at The Met as Isabella in L’ITALIANA IN ALGERI in 1974, and had a huge success at Covent Garden in 1976 in LA CENERENTOLA. Beyond Rossini, her repertoire extended to such diverse roles as Eboli, Carmen, Charlotte in WERTHER, and Jocasta in OEDIPUS REX.
Diagnosed with leukemia in 1996, Lucia Valentini-Terrani passed away in 1998 at the age of 51.
The Italian baritone Aldo Protti (1920-1995) was a native of Cremona. He studied at Parma, and made his operatic debut in 1948, at the Teatro Pergolesi in Jesi, as Rossini’s Figaro. Within two years, he was at La Scala, singing Amonasro in AIDA. From that point forward, Protti sang in Italy’s leading theaters as well as making guest appearances in Vienna; he participated in several broadcasts for the RAI, and in 1957 sang at Lyric Opera of Chicago as Barnaba (GIOCONDA) and Marcello (BOHEME).
Protti made important recordings for Decca, including a 1954 OTELLO with del Monaco and Tebaldi, Alberto Erede conducting. When Herbert von Karajan planned his stereo-remake of that Verdi opera for Decca in 1961, Ettore Bastianini was chosen to sing Iago. But Bastianini had failed to learn the part, so Karajan called upon Protti to repeat the role; the baritone surpassed his earlier recorded portrayal both vocally and in terms of characterization.
In 1985, at the age of 65, Protti sang a single performance as Rigoletto at The Met. He then joined the Company on tour, singing the role in six cities (including in Boston, where his Gilda was Roberta Peters in her final performance with The Met). He sang Rigoletto twice more, in concert form, with The Met in the Parks.
Rigoletto was Protti’s most frequent role, which he performed 425 times in all; Scarpia, Count di Luna, and and Iago each figured prominently in his repertoire, with 100 performances of each role in his résumé.
Also Protti passed away at Cremona in 1995.
Aldo Protti – Prologo ~ PAGLIACCI
Aldo Protti – OTELLO ~ Credo – Karajan cond
~ Oberon
The Italian baritone Aldo Protti (1920-1995) was a native of Cremona. He studied at Parma, and made his operatic debut in 1948, at the Teatro Pergolesi in Jesi, as Rossini’s Figaro. Within two years, he was at La Scala, singing Amonasro in AIDA. From that point forward, Protti sang in Italy’s leading theaters as well as making guest appearances in Vienna; he participated in several broadcasts for the RAI, and in 1957 sang at Lyric Opera of Chicago as Barnaba (GIOCONDA) and Marcello (BOHEME).
Protti made important recordings for Decca, including a 1954 OTELLO with del Monaco and Tebaldi, Alberto Erede conducting. When Herbert von Karajan planned his stereo-remake of that Verdi opera for Decca in 1961, Ettore Bastianini was chosen to sing Iago. But Bastianini had failed to learn the part, so Karajan called upon Protti to repeat the role; the baritone surpassed his earlier recorded portrayal both vocally and in terms of characterization.
In 1985, at the age of 65, Protti sang a single performance as Rigoletto at The Met. He then joined the Company on tour, singing the role in six cities (including in Boston, where his Gilda was Roberta Peters in her final performance with The Met). He sang Rigoletto twice more, in concert form, with The Met in the Parks.
Rigoletto was Protti’s most frequent role, which he performed 425 times in all; Scarpia, Count di Luna, and and Iago each figured prominently in his repertoire, with 100 performances of each role in his résumé.
Also Protti passed away at Cremona in 1995.
Aldo Protti – Prologo ~ PAGLIACCI
Aldo Protti – OTELLO ~ Credo – Karajan cond
~ Oberon
Above: Roberta Knie as Isolde & Jon Vickers as Tristan; photo by Tony Romano
A performance of Wagner’s TRISTAN UND ISOLDE given by Lyric Opera of Chicago in 1979. Franz-Paul Decker conducts, with the following cast:
Tristan – Jon Vickers
Isolde – Roberta Knie
Brangaene – Mignon Dunn
Marke – Hans Sotin
Kurwenal – Siegmund Nimsgern
Melot – Richard Versalle
Shepherd – Gregory Kunde
Steersman – Daniel McConnell
Voice of a Young Sailor – William Mitchell
Listen here.
Soňa Červená (above) sings the aria “Connais-tu le pays ?” from Ambrose Thomas’ MIGNON, recorded under the baton of Heinz Fricke. Listen here.
Ms. Červená, a Czech mezzo-soprano who recently passed away at the age of 97, was a mainstay at the Frankfurt Opera, and was on the roster of singers at the National Theatre in Prague. She also appeared with the San Francisco Opera.
After reading of her passing, I listened to more of her recordings and was quite taken with her rather unusual rendering of Mahler’s Kindertotenlieder. Listen here.
Following her retirement from singing, Ms. Cervena continued her stage career, appearing as Emilia Marty (above) in a Robert Wilson production of Karel Čapek’s drama The Makropulos Case at the National Theatre in Prague. She debuted in this staging in November 2010, and returned to the role many times, performing well into her 80s.
Oberon's Glade 