Otello    (Santini;  Vinay, Tebaldi, Bechi)    (2-Bongiovanni 1183/84)
Item# OP0333
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Otello    (Santini;  Vinay, Tebaldi, Bechi)    (2-Bongiovanni 1183/84)
OP0333. OTELLO, Live Performance, 13 Dec., 1952, Napoli, w.Santini Cond. Teatro San Carlo Ensemble; Ram�n Vinay, Renata Tebaldi, Gino Bechi, etc. (Italy) 2-Bongiovanni 1183/84. Final Copy! - 8007068118328


"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

�GINO BECHI, like many singers of his generation, was denied a full international career because of the Second World war. The Italian baritone, whose voice was at its splendid best during the 1940s, was not heard in London until September 1950, when he sang in Otello and Falstaff at Covent Garden during a visit - the first since the war - of La Scala from Milan. Although then only 37 years old, Bechi was accused by the critics of having little voice left. The audience, however, starved of the authentic sound of Italian voices in Italian opera, was less dismissive and greatly enjoyed the baritone's Iago and Falstaff; Bechi was never a subtle artist, but there was a generosity in his singing that captivated the listener. Born and educated in Florence, Gino Bechi made his stage d�but in 1936 at Empoli as Germont p�re in LA TRAVIATA. The following year he was engaged at the Rome Opera, where in 1939 he sang Vladimir in the premiere of MONTE IVNOR by Lodovico Rocca. He first sang at La Scala in January 1940, as Don Carlo in LA FORZA DEL DESTINO, and appeared there throughout the war years. His repertory included Verdi roles such as Renato (UN BALLO IN MASCHERA), Don Carlo (ERNANI)and Rigoletto, but also Rossini's Figaro, Severo in POLIUTO, Sir Richard in I PURITANI and Jokanaan in SALOME (in Italian). He sang in Florence, notably in the premiere of Alfano's DON JUAN DE MANARA in the Maggio musicale of 1941.

When La Scala reopened in 1946, Bechi sang the title-role of NABUCCO, one of his finest roles, which he repeated at the San Carlo, Naples in 1949, with Maria Callas as Abigaille. After the visit to Covent Garden by La Scala, Bechi continued to sing with the company until 1953; his last appearance was as Alfonso in LA FAVORITA. On his retirement from the stage in the early 1960s, Bechi taught in Florence. He made many recordings and can he heard at the peak of his career, when his voice was in full bloom, as Alfio in CAVALLERIA RUSTICANA, conducted by Mascagni; he also recorded Figaro, Renato and Gerard (ANDREA CH�NIER), while the Naples NABUCCO with Callas was captured 'live' on disc.�

- Elizabeth Forbes, THE INDEPENDENT, 16 Feb., 1993

�I heard Tebaldi many times, as a standee at the old Metropolitan Opera House from the mid-1950s through the early 1960s, and I never stopped marveling at the sheer beauty of the voice, her ability to project a pianissimo throughout the auditorium so that even though the note was extraordinarily soft, it sounded as if she were standing right next to you. The plushness of tone was probably the most unique feature of her singing, and along with that an innate sense of the appropriate shape of the phrase she was singing. She was not a subtle actress, never inflecting every phrase with subtexts of meaning the way Callas could, but nor was she a disengaged singer just pouring out lovely sounds. Her acting, both physical and vocal, was sincere and convincing, and at times very powerful. Her Butterfly broke your heart every time, through the moving way she shaped the ebb and flow of the music. There was no way you could see her as a 15 year old geisha, but by the wedding scene of the first act you were a complete believer.

Above all, there was that voice. It was immediately recognizable, distinctive, unlike any other. If you tuned in to a radio broadcast without hearing an announcement, two notes would be enough to identify the richly colored, luxurious sonority of the Tebaldi sound, a sound that caressed the ear and at the same time enveloped you. For many of us it was the sound that defined what an Italian soprano should be.�

- Henry Fogel, FANFARE