OP0075. Le Cheval de Bronze (Auber), Broadcast Performance, 28 June, 1979, w.Marty Cond. New Philharmonic Radio Orch.; Nigoghossian, Roden, Arapian, Pezzino, etc.; FRA DIAVOLO – Excerpts, Broadcast Performance, 5 March, 1952, w.Simonetto Cond. RAI Ensemble, Milano; Noni, Campora, Nessi, Corena, etc. (Portugal) 2-Gala 100.714. - 8712177043569
“Richard Strauss personally selected Alda Noni to sing Zerbinetta in a famous performance of his opera ARIADNE AUF NAXOS in Vienna to mark his 80th birthday in June 1944.
She was described by commentators as a soprano leggiero, a singer with a light, agile voice, possessing brilliant-sounding vowel projection, but nevertheless with a warmth to her vocal timbre that is not always to be found in other coloratura sopranos. She was also widely praised for her comic roles, playing parts such as Clorinda in Rossini’s LA CENERENTOLA with what Harold Rosenthal once described as a ‘delicious sense of humour’.
Making her debut as Rosina in Rossini’s THE BARBER OF SEVILLE in Ljubljana in 1937, and after a number of appearances in Yugoslavia, she joined the Vienna State Opera in 1942; her German accent was widely admired. The ARIADNE occasion came at a time when Strauss’ relations with Hitler were under severe strain, to the point where the Führer had decreed that there should be no celebration of the composer’s birthday. Wiser counsel prevailed, however, and the conductor Karl Böhm mounted a small Strauss festival that included a new production of ARIADNE that also featured the 25-year-old Irmgard Seefried. The occasion was broadcast by Austrian radio and released on disc some 20 years later by Deutsche Grammophon, leading critics to compliment Alda Noni’s ‘piquant, sparkling, wonderfully accurate Zerbinetta’; for many decades hers was regarded as the foremost interpretation of the role.
In 1946, after leaving Vienna, Alda Noni appeared as Norina with the New London Opera Company in Donizetti’s DON PASQUALE in Jay Pomeroy’s season at the Cambridge Theatre, with the baritone Mariano Stabile, a favourite with British audiences. Her performance was particularly amusing, noted Desmond Shaw-Taylor, because of ‘the suddenness of her transitions from drooping convent lily to mischievous wildcat’. By 1949 she was a member of La Scala, appearing with the company at Covent Garden the following year. She returned to Glyndebourne in 1951 to sing Despina in Mozart’s COSÌ FAN TUTTE and Blonde in DIE ENTFÜHRUNG AUS DEM SERAIL, giving the character ‘a spitfire sharpness’. She also made a widely-admired appearance in Glyndebourne’s first LA CENERENTOLA in 1952, which the company toured to Berlin in 1954.
Alda Noni moved to Cyprus many years ago, occasionally appearing on the judging panels of international singing competitions.”
- THE TELEGRAPH, 24 May, 2011
“[Campora] had a true lyric spinto voice, a fine stage presence, and excellent technique, so it is surprising that he was never really ranked with the top tenors of his time….he sings with some sensitivity and a varied dynamic range.”
- Vivian A. Liff, AMERICAN RECORD GUIDE, Sept./Oct., 2007
"Born in Tortona, Italy, on 30 September 1923, tenor Giuseppe Campora made his professional operatic début when stepping in on short notice for Galiano Masini in 1949 at the Teatro Petruzzelli in Bari as Rodolfo in Puccini's LA BOHEME. Shortly after, in 1951, he was wanted by Toscanini for La Scala in a performance of Cilea's ADRIANA LECOUVREUR, opposite star soprano Renata Tebaldi. The performance set the pace for his rapidly ascending international reputation, marked by his efforts in the filmatization of AïDA in 1951 with Sophia Loren in the title rôle, where Campora sang the tenor voice and Renata Tebaldi the soprano parts.
The following year he visited the Teatro Colón of Buenos Aires and Rio de Janeiro as well as taking part in the La Scala premiere of Lodovico Roccas L'URAGANO in 1952 and the 1954 première at the Teatro San Carlo of Napoli in I PESCATORI by Jacopo Napoli. He débuted at the Metropolitan Opera as Rodolfo in LA BOHEME, where he came to be one of Rudolf Bing's favourite tenors, and enjoyed popularity with the house during the '50s. He was the featured tenor for Maria Callas' Met début in LUCIA DI LAMMERMOOR."