Pagliacci   (Ramon Vinay, Florence Quartararo, Warren, Chabay)   (2-Guild 2291/92)
Item# OP0599
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Product Description

Pagliacci   (Ramon Vinay, Florence Quartararo, Warren, Chabay)   (2-Guild 2291/92)
OP0599. PAGLIACCI, Live Performance, 28 Feb., 1948, w.Antonicelli Cond. Met Opera Ensemble; Florence Quartararo, Ram�n Vinay, Leonard Warren, Leslie Chabay, etc.; FLORENCE QUARTARARO: Songs by Schubert, Delibes & Ronald; Arias from Atalanta, Nozze, Don Giovanni, Andrea Ch�nier, Il Trovatore, Tosca, Madama Butterfly, Otello, Carmen & Tha�s � recorded 1945-50, primarily Live Performances. (England) 2-Guild 2291/92. [Very long unavailable, it is wonderful to have a few copies, once again.] - 795754229226


"The primary source of the 1948 radio broadcast of PAGLIACCI was acetate discs from the personal collection of the Nedda of the performance, recorded privately off-air. Intriguingly, Quartararo was Toscanini's first choice for his Desdemona, but Edward Johnson refused to release her from her contract with the Met. The soprano is something of a revelation, her Italian heritage manifesting itself in her idiomatic performance, her coloring and lyricism, and her power, yet ease, of production. Quartararo's was a voice suited to veristic opera. As the compilation disc demonstrates, she was also an artist of some refinement and versatility.... Lamentably, the attractive California-born soprano...left a somewhat lean discography....Her legacy includes only a handful of commercial recordings and a number of radio broadcasts, several of which remain unpublished."

- Barry R. Ashpole, THE RECORD COLLECTOR, 2006

"An American of Italian parentage, Quartararo had been discovered nearly by accident when singing as an untrained twenty-three year old. Two years later she was on the stage of the Met. Having met and married the bass Italo Tajo, she left singing to bring up their daughter. She also left a studio legacy of four 78rpm discs. This is lyric soprano singing of the very highest order. The voice soars with clarity whilst words, expression, legato and colouration combine to give superb characterisation. On the evidence of these recordings, Quartararo's is a voice to set alongside the giants of the 20th century. Colleagues and other contemporaries likened her voice and vocal skills to that of Ponselle. There can be no greater recommendation."

- Robert J Farr, MusicWeb International, Nov., 2004

Chilean tenor Ramn Vinay began his career as a baritone, later reworking his voice to the tenor range. For a decade or so, Vinay was a force to be reckoned with, a wonderful singing actor who excelled in such roles as Don Jos, Samson, Canio, and Otello. In the mid-late 1950s, the top notes became ever more precarious for Vinay, and he eventually returned to the baritone repertoire, and even some bass roles. Though Vinay was born in Chile, his father was French, and he studied in France. Its not surprising then, that Vinays French pronunciation and grasp of the Gallic opera style are expert. And what sets Vinays Jos apart from other great exponents of [French repertoire], even legendary French artists, is the Chilean tenors arresting combination of a rich, vibrant, baritonal middle register with ringing high notes. It is true that, like many tenors who began as baritones, Vinay has some difficulty in scaling back his voice, particularly in the upper register.

- Ken Meltzer, FANFARE, March / April, 2018