OP0599. PAGLIACCI, Live Performance, 28 Feb., 1948, w.Antonicelli Cond. Met Opera Ensemble; Florence Quartararo, Ramón Vinay, Leonard Warren, Leslie Chabay, etc.; FLORENCE QUARTARARO: Songs by Schubert, Delibes & Ronald; Arias from Atalanta, Nozze, Don Giovanni, Andrea Chénier, Il Trovatore, Tosca, Madama Butterfly, Otello, Carmen & Thaïs – 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legacy includes only a handful of commercial recordings and a number of radio broadcasts, several of which remain unpublished."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-born Ramón 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