OP0584. ERNANI, Live Performance, 15 July, 1972, w.de Fabritiis Cond. Arena di Verona Ensemble; Corelli, Ligabue, Cappuccilli, Ruggero Raimondi, de Palma, etc. (Slovenia) 2-Myto 044.299. Long out-of-print, final copies! - 608974502997
"Vocal size and rugged style mark [Corelli] as an open-air tenor….The vibrancy of his timbre is unequaled among tenors, and often it holds a commendable warmth as well…."
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.374
“Corelli was more often than not merely a tall man with a loud voice, buying audience favor with such childish coin as long-held top notes and, for variety, longer-held top notes. Given his physical advantages and the power of sound he commands, Corelli could make himself a painter - hero of the first rank, but this would take an alteration of attitude for which there is no reasonable hope.”
- Irving Kolodin Review
“Though Piero Cappuccilli never achieved international stardom, he was enormously admired within the field of opera for his rich and abundant voice, fine vocal technique and exceptional breath control. In the great Italian tradition he fused words and music into elegant phrases. He focused on Italian repertory, particularly the operas of Verdi, singing 17 major rôles. Some critics found his full-voiced singing blunt and burly. And in striving for expressive restraint, he could sometimes come across as stiff. But at his best, with his handsome physique and vocal authority, he made a powerful impact onstage.
In 1960, just three years into his professional career, he was tapped by the producer Walter Legge to sing the rôle of Enrico in a recording of LUCIA DI LAMMERMOOR, starring Maria Callas and conducted by Tullio Serafin. That EMI work remains a classic. In the mid-1970's, Claudio Abbado chose him for the title rôles in Verdi's SIMON BOCCANEGRA and MACBETH at La Scala. These productions led to studio recordings that remain prized by opera buffs.”
- Anthony Tommasini, THE NEW YORK TIMES, 21 July, 2005
“After singing with success at most of the Italian opera houses, Ilva Ligabue won considerable acclaim in the lead rôle of BEATRICE DI TENDA at La Scala in 1961, followed by Margherita in Boito's MEFISTOFELE.
She then began appearing abroad, notably in Germany, also singing at the Vienna State Opera, the Paris Opera, and became a regular guest artist at the Glyndebourne Festival and the Aix-en-Provence Festival, where she was especially admired as Fiordiligi in COSI FAN TUTTE. She also appeared in Buenos Aires, Chicago and New York.
A sensitive and intelligent singer and a fine actress, other notable rôles included Amelia in UN BALLO IN MASCHERA and Desdemona in OTELLO.”
- Z. D. Akron