OP0388. Rigoletto, recorded 1950, Manhattan Center, NYC, w.Cellini Cond. RCA Victor Orch. & Robert Shaw Chorale; Warren, Berger, Peerce, Merriman, Tajo, etc.; Leonard Warren: Arias from La Traviata, Forza & Otello; w.Astrid Varnay: SIMON BOCCANEGRA – Figlia! a tal nome palipto (all recorded 1950). (Canada) 2-Naxos 8.110148/49. Transfers by Mark Obert-Thorn. Final copy! - 636943114827
"Leonard Warren emerged as the principal baritone of the Met’s Italian wing in the early 1940s and remained so until his untimely death on the Met’s stage, 4 March, 1960, at the peak of his career. His smooth, velvety, and beautiful voice was powerful and had an unusually large range in its high register. It was easily and evenly produced, whether he sang softly or roared like a lion….Warren acted his roles primarily by vocal coloring, expressivity, and his excellent diction….his singing was unusually consistent….Warren’s legacy should be of interest to all lovers of great singing."
- Kurt Moses, AMERICAN RECORD GUIDE, Nov./Dec., 2006
"[Warren's] remarkable voice had a dramatic intensity which did not come naturally to him. As with everything else in his life, he worked at that until he got it right. Fortunately, his incomparable voice and dramatic power are still available to us on recordings of some of his most famous roles....[He] became one of the most famous and beloved operatic baritones in the world....Warren's flawless technique, seamless flow of sound, and brilliant top voice were his vocal trademarks and these qualities became the standard by which others would be measured, including me."
- Sherrill Milnes, AMERICAN ARIA, pp.76-77
"The basic tonal quality [of Peerce’s voice] is bright, ringing, and firmly focused on the note….The superior diction that Toscanini so admired is abundantly audible, as is the elegant musicianship and fervent declamation. Most striking of all [Peerce] exudes an infectious self-confidence and absolute security in his vocal personality, virtues that cannot be taught."
- Peter G. Davis, THE AMERICAN OPERA SINGER, p.421