La Traviata   (Sutherland, Pavarotti, Milnes)    (2-Bella Voce BLV 107.217)
Item# OP0163
$19.95
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Product Description

La Traviata   (Sutherland, Pavarotti, Milnes)    (2-Bella Voce BLV 107.217)
OP0163. LA TRAVIATA, Live Performance, 22 Oct., 1970, w.BONYNGE Cond. Met Opera Ensemble; Joan Sutherland, Luciano Pavarotti, Sherrill Milnes, etc.; LA TRAVIATA - Excerpts, Live Performance, 2 Dec., 1970, w.BONYNGE Cond. Met Opera Ensemble; Joan Sutherland & Alfredo Kraus (Excellent in-house recordings, these are not broadcast performances). The Complete Performance is excellent; the excerpted performance cuts out in the final 'band'. (Germany) 2-Bella Voce BLV 107.217. Long out-of-print, Final Copy! - 8712177025558

CRITIC REVIEWS:

“...Sutherland is much what she would be for the next quarter-century: the finest vocal technician of her time….her vocalism is wondrous to the ear; to this day, it remains unchallenged in terms of security and reliability. She commands admiration.”

- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.391



"In her own time, there was a tendency to take Sutherland for granted, so consistent were her high standards of technique, musicianship and, yes, acting. Her total command of the stage was always formidable. No recording can really give an impression of how big the voice was….it had an astonishing and physically thrilling impact."

- Patrick O’Connor, GRAMOPHONE, Jan., 2007



"Pavarotti's first teachers were Arrigo Pola and Ettore Campogalliani, and his first breakthrough came in 1961, when he won an international competition at the Teatro Reggio Emilia. He made his début as Rodolfo in Puccini’s LA BOHEME later that year."

- Bernard Holland, THE NEW YORK TIMES, 6 Sept., 2007



“The Verdi baritone is almost a vocal type in and of itself. Verdi roles require outstanding breath control as well as the ability not only to sing strong high notes, but to sing for extended periods in the upper part of the baritone range. Milnes had both of these, and for a while even considered a career as a Wagner tenor rather than a baritone. His timbre was not to all tastes, but his vocal gifts, musicality, and powerful stage presence made him the leading baritone at the Met, where most of his career was focused.

Milnes made his opera début with the Boris Goldovsky Opera Company as Masetto in Mozart's DON GIOVANNI. He remained with them for five years, singing many of the major Verdi baritone roles, as well as graduating to the title role of DON GIOVANNI, also appearing at other opera houses such as the Baltimore Opera in 1961. In 1964, he appeared at the New York City Opera as Valentin in FAUST, and made his Italian début at the Teatro Nuovo in Milan. The next year he gave his first performance at the Met as Valentin, opposite Montserrat Caballé in her Met début. In 1967, he created the role of Adam Brant in Levy's MOURNING BECOMES ELECTRA. His Vienna State Opera début in 1970, in the title role of Verdi's MACBETH, brought him to international fame. He made his Chicago début in 1971 as Posa in Verdi's DON CARLO as well as his Covent Garden début as Renato in UN BALLO IN MASCHERA.”

- Anne Feeney, allmusic.com