Iphigenie en Tauride   (Horne, Stilwell, Werner Hollweg, Zoltan Kelemen)   (2-Bella Voce 107.241)
Item# OP0235
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Iphigenie en Tauride   (Horne, Stilwell, Werner Hollweg, Zoltan Kelemen)   (2-Bella Voce 107.241)
OP0235. IPHIGÉNIE EN TAURIDE, Live Performance, 21 March, 1974, w.Henry Lewis Cond. RAI Ensemble, Torino; Marilyn Horne, Richard Stilwell, Werner Hollweg, Zoltán Kelemen, etc.; Iphigénie en Tauride – ‘Ô toi qui prolongeas mes jours’, as sung by de los Angeles (1960), Callas (1957), Jurinac (1965), Crespin (1964) & Brouwenstijn (1964). (Portugal) 2-Bella Voce 107.241. Final copy! - 8712177039364


"The Mezzo sopranos are not the leading ladies in opera, the soprano is, but American-born Marilyn Horne became as big a star as any dramatic soprano diva. Her career span the 60's, 70's and 80's, she sang in all the leading opera houses - The Met, Covent Garden, La Scala, etc., and was an artist who upheld the most consummate musicianship. Her voice was not as dark or deep as the voices of such mezzos as Giuletta Simionato, Fiorenza Cossotto, Grace Bumbry and Shirley Verrett. Hers was a voice that had a brassy, dramatic ring to it though she was clearly in her element as Rossini heroines- Neocle in SEMIRAMIDE, Rosina in BARBER OF SEVILLE, LA CENERENTOLA - and she sang Carmen and Adalgisa in NORMA opposite Joan Sutherland. She sang trouser roles like Cherubino. Not being in the spotlight was at first a struggle for Horne, but she overcame this by her dedication and sheer vocal artistry. Her voice is beautiful and BIG, a mezzo with lyric bravura and coloratura to boot. Marilyn Horne is still a very loved American singer."

- Ned Ludd

“A Karajan favorite and a Bayreuth regular, the Hungarian baritone Zoltán Kelemen was at home on most stages in Northern Europe. His skill as a singing actor is patent from first to last – no character trait escapes his probing mind, no phrase is untouched by some imaginative vocal effect. Best of all, the voice has substantial size and the singing method is sound – in several welcome moments he even allows its timbral appeal to surface.”

- Paul Jackson, START-UP AT THE NEW MET, p.196

“Zoltán Kelemen was a Hungarian bass-baritone who made his début as Kecal in Smetana's BARTERED BRIDE in 1959. He began studying music at the Franz Liszt Academy of Music before leaving Hungary in order to study in Rome. When he left Rome in 1959, he established himself in Germany, first in Augsburg and later in Cologne. In the late 1960s and early 1970s, Kelemen was a favorite singer of Herbert von Karajan, with whom he recorded FIDELIO in the role of Don Pizarro, DER RING DES NIBELUNGEN as Alberich, BORIS GODUNOV as Rangoni, DIE MEISTERSINGER VON NÜRNBERG as Fritz Kothner, THE MERRY WIDOW as Mirko Zeta, and others. Kelemen also recorded the role of Klingsor in PARSIFAL with Georg Solti (1971). At the Bayreuth Festival, Kelemen succeeded Gustav Neidlinger in the role of Alberich, in which he débuted in 1964 and with which he became identified. He notably sang it several times under the direction of Pierre Boulez.”

- Eugene Chadbourne, allmusic.com