Otello  (Toscanini;  Vinay, Nelli, Valdengo, Merriman)  (3-Guild 2275/77)
Item# OP0067
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Product Description

Otello  (Toscanini;  Vinay, Nelli, Valdengo, Merriman)  (3-Guild 2275/77)
OP0067. OTELLO, Broadcast Performance, 6 & 13 Dec., 1947, w.Toscanini Cond. NBC S.O.; Ram�n Vinay, Herva Nelli, Giuseppe Valdengo, Nan Merriman, Nicola Moscona, Leslie Chabay, etc., w.Ben Grauer announcements; also features rehearsals. (England) 3-Guild 2275/77. Final Sealed Copy! - 795754227727

CRITIC REVIEWS:

"This has long been regarded as Toscanini's finest contribution to the recorded repertoire and remains, probably, the most authoritatively conducted performance of the work."

- Vivian A. Liff, AMERICAN RECORD GUIDE, July/Aug., 2005





"Chilean-born Ramon Vinay began his operatic career as a baritone (Mexico City, 1938), singing many of the major baritone roles, but after study with tenor René Maison, he began a second career as a tenor (Mexico City, 1943), and after a long, distinguished career as a tenor, returned to the baritone repertoire in the 1960s, retiring in 1969 with a final Iago. He was most noted for tenor roles requiring great heft and power. His services were in demand everywhere."

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006





�After studying in Turin, Valdengo made his d�but in 1936 at Parma as Rossini 's Figaro, then sang Sharpless at Alessandria. Though engaged at La Scala in 1939, he did not sing there (because of military service) until 1941 , when he made his d�but as Baron Douphol. In 1946 he performed at the New York City Opera, then in 1947 made his San Francisco d�but as Valentin, returning as Escamillo, Sharpless, Iago, Amonasro and Rigoletto. At the Metropolitan (1947�54) he sang Tonio, Marcello, Germont, Count Almaviva, Belcore, Ford, Paolo (SIMON BOCCANEGRA) and Giacomo Puccini 's Lescaut. In 1955 he sang Don Giovanni and Raimbaud (LE COMTE ORY) at Glyndebourne, and in 1961 he created the Lawyer in Renzo Rossellini's UNO SGUARDO DAL PONTE in Rome. His recordings of Iago, Amonasro and Falstaff, deriving from NBC broadcasts (1947�50) conducted by Arturo Toscanini , are vividly and firmly sung, with an even, flexible line.�

- Alan Blyth



"Once again, Toscanini provided the initial boost to propel a young singer on her way. [Toscanini] simply liked her warm musical manner and the appealing smoky sound of [Merriman's] mezzo-soprano. In fact, Toscanini used Merriman in more NBC broadcasts than any American singer other than Jan Peerce. The incisive attack, throbbing vibrancy, and wide expressive range of her voice were probably heard to best advantage in the song literature. EMI recorded her in two LP discs of French and Spanish music during the mid-fifties, records that never lasted long in the commercial catalogues but soon became collectors' items among vocal connoisseurs. Presumably satisfied with a quiet yet fulfilling career, Merriman retired in 1965, her voice and artistry still in peak condition."

- Peter G. Davis, THE AMERICAN OPERA SINGER, p.453