Otello  (Gressier;  Luccioni, Vitale, Cambon)   (Malibran 512)
Item# OP0331
$19.90
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Product Description

Otello  (Gressier;  Luccioni, Vitale, Cambon)   (Malibran 512)
OP0331. OTELLO - Excerpts, Broadcast Performance, 18 Dec., 1948, w.Gressier Cond. Radio Lyrique Ensemble; Luccioni, Cambon, Vitale, Deshayes, etc. (France) Malibran 512. - 3760003775127

CRITIC REVIEWS:

"A heroic tenor with strong lyric instincts, [Luccioni] had a brilliant, trumpety voice, forwardly produced, tightly focused, and apparently tireless. The words are perfectly clear, and Luccioni, not given to much nuance, pretty much lets them speak for themselves.”

- Ralph V. Lucano, AMERICAN RECORD GUIDE, July/Aug., 2000



“Maria Vitale studied with the renowned Giannina Arangi-Lombardi in Milan. At first it was assumed that her voice was that of a coloratura soprano, however upon the recommendation of composer Riccardo Pick-Mangiagalli, she turned to the dramatic soprano repertoire. After singing in the ‘Martini-Rossi’ concerts on Italian radio, she appeared as a guest at the Paris Opéra in 1950 to considerable success, singing Norma, Leonora, Amelia and Aida.

In 1951, the year of Verdi's 50th death anniversary, she sang major parts in lesser known Verdi operas for RAI, notably; Leonora in OBERTO, Giselda in I LOMBARDI, Lucrezia in I DUE FOSCARI, and Mina in AROLDO. She continued singing in Italy, appearing in Palermo, Florence, Turin, Trieste, etc. In 1953, she sang the title rôle in ELISABETTA, REGINA D'INGHILTERRA on Italian radio, and appeared at the Edinburgh Festival, as Desdemona in Rossini's OTELLO. Other rôles included Senta and Elsa, she was also a successful interpreter of Lieder, a rarity among Italian singers, and appeared in recital in Stuttgart, Frankfurt, and Berlin.

Vitale never achieved the international career she had hoped for and retired, still at the height of her powers, with her husband in the small town of Munsingen in Switzerland. Later she taught for a while in the United States, then returned to Europe and lived partly in Munsingen, partly in Milan, where she died in 1984. She can be heard on recordings in Spontini's LA VESTALE, Mercadante's IL GIURAMENTO, and the aforementioned, OBERTO, I LOMBARDI, I DUE FOSCARI, and AROLDO.”



“In the firmament of model French singers, Charles Cambon figures amongst the greatest. Thanks to the good instincts of certain artistic directors, this voice of exceptional timbre, power and range has been preserved for us in all its splendour.

Charles Cambon joined the chorus at l’Opéra in 1923, amking his solo début a year later in a small role in BORIS GODUNOV. He would remain thrity years in this illustrious theatre, making an impression as Amonasro, Valentin, Ottokar in DER FREISCHÜTZ, as Sylvio in PAGLIACCI and as the Dutchman. He appeared only once at l’Opéra-Comique as a memorable Zurga in LES PÊCHEURS DE PERLES. But it was radio and records that brought him fame. True opera-lovers never missed the broadcasts in which he starred, admiring his diction, his fearlessness, his fabulous top notes but also his sensibility and his dramatic instincts in the greatest roles; Rigoletto, Luna in IL TROVATORE, Athanaël, Iago and of course Hamlet.

Charles Cambon died in Paris on 17 September,1965. He lives on, thanks to recordings, as one of the most admired baritones of the French vocal tradition.”

- Jean Ziegler