C0141. THOMAS SCHIPPERS Cond. NYPO: Quartet in b – Adagio for Strings; Second Essay for Orchestra; The School For Scandal – Overture; Medea’s Dance of Vengeance; w.MARTINA ARROYO: Andromache’s Farewell; SCHIPPERS Cond. Columbia S.O.: VANESSA – Intermezzo (all Barber); AMELIA AL BALLO – Overture (Menotti); WOZZECK – Act III Interlude (Berg); FERVAAL – Introduction (d’Indy). (Austria) Sony MHK 62837, recorded 1960-65. Cardstock Jacket features 40pp. Brochure, archival photos & Discography. Very long out-of-print, Final Copy! - 074646283721
“Samuel Barber is among the finest composers that America has ever produced, much less than one of the greatest of the 20th century. By 14, he was enrolled in the newly-formed Curtis Institute of Music in Philadelphia.
Little needs to be said of the Adagio for Strings, Barber's adaptation of an early string quartet movement for string orchestra. Here, it receives one of the most emotional and endearing performances that I have ever heard. Few listeners have not been moved by its timeless beauty. Its seemingly longing mood accounts for it having been called America's national funeral music.
Throughout this album, I was struck by how splendid is the sound. These are 50 year old recordings; Columbia took care of their master tapes. There are absolutely no criticisms possible with the sound, including soundstage and center fill. The orchestras under Thomas Schippers also deserve much praise. VERY HIGHLY RECOMMENDED!!!!”
- Joseph Kline
“Born in Harlem, the daughter of a Puerto Rican father and an African-American mother, Ms. Arroyo made her début in 1961 in a small role, the Celestial Voice in DON CARLO. During the 1961-62 season, she proved a trouper at the company by singing various supporting roles in Wagner’s RING cycle, including the Third Norn, Woglinde the Rhinemaiden and Ortlinde the Valkyrie.
After a three-year absence, her Met breakthrough came in February 1965, when she sang her first Aïda. That October in DON CARLO she stepped way up from the Celestial Voice to Elizabeth of Valois.
In all, she would sing some 200 performances at the Met. Today, Ms. Arroyo still contributes to opera by running the Martina Arroyo Foundation, which presents young singers in thoroughly prepared and staged productions of central repertory works. She remains an inspiring role model to emerging artists.”
- THE NEW YORK TIMES, 16 February, 2016