OP0606. NORMA, Live Performance, 30 Dec., 1944, w.Sodero Cond. Met Opera Ensemble; Zinka Milanov, Jennie Tourel, Frederick Jagel, Norman Cordon, etc. (E.U.) 2-Myto 044.H093. Long out-of-print, final copy! - 8014399500937
“The NORMA broadcasts represent high point of Milanov’s first Met decade…one is unprepared for the magnificence of her December  broadcast….The absolute security of her performance, its authority, its vocal control, are quite amazing. No Milanov performance thus far has operated at so consistently high a level….The purely vocal effects are often arresting…in the duets she shades her tones from piano to forte and back again with consummate ease. Milanov dominates the act-two trio, turning the opening into a long-spun band of silver. The act-three scene over the children and the duet with Adalgisa contain some of the finest phrases of her entire career….Milanov gives everything she has to the rôle and shows us the fullness of her heart. With Milanov seemingly entering into her golden age, the large-scale operas of the Italian wing would appear to be on their surest footing since the departure of Rosa Ponselle.”
- Paul Jackson, SATURDAY AFTERNONS AT THE OLD MET, pp.354-56
"Milanov's performances as Norma show both her strength and weakness. She was on three broadcasts of the opera from the Met – two in 1944 and one in 1954 – the only soprano in Met history to appear three times as Norma on the Saturday broadcasts. The ideal Norma would have Zinka’s beauty of tone and preternatural pianissimos combined with Callas’s dramatic intensity and agility."
- Neil Kurtzman, 10 Dec., 2007
“Milanov came like a bolt out of heaven - the voice and the young woman, both so vibrant and exciting. We knew something great had come into [the Met’s] Italian wing. What was not obvious at the beginning was that she would have such a staying power, for she gave so much in her singing.…I was present years later on her great anniversaries and she sang at mine [the fiftieth anniversary of [my] Met début, 1963]. She was incomparable. She was like a vocal sorceress singing the OTELLO arias that night. Such a roar went up from the public, I can never forget it.”
- Giovanni Martinelli
“In my childhood in St. Petersburg I heard Battistini and Tetrazzini. After our family’s post-revolution escape to New York, which took in fact several very difficult years, I heard Caruso, Gigli, Destinn, Ponselle, Muzio, Ruffo, Chaliapin. In later life, I heard Milanov, one of the last throwbacks to the great singing of earlier eras. To be able to command the full space of a house the size of the Metropolitan with a mere thread of tone, that is greatness."
- Aida Favia-Artsay
“Frederick Jagel began his education with William Brady and Vincenzo Portanova in New York and concluded with Corace Cataldi-Tassoni in Milan. He made his début in 1924 at the Teatro in Livorno under the name Federico Jeghelli as Rodolfo in LA BOHÈME. He guested at different Italian operatic stages and sang during a season at the Italian Opera in Holland. In 1927 he was engaged by the Metropolitan Opera in New York where he appeared longer than twenty years (under his own name Frederick Jagel). He made his début as Radames. At the Metropolitan Opera he was highly acclaimed especially as an interpreter of the Italian repertoire, however, he also sang Wagner roles (Lohengrin, Tannhäuser, Tristan) and in 1930 the role of Gritzko in the Met première of Mussorgsky’s THE FAIR AT SOROCHYNTSI. His special star role was Herod in SALOME. In 1948 he sang the title role in the Met première of PETER GRIMES. From 1930 he guested regularly at the San Francisco Opera, in 1928 and in the 1939-1941 seasons at the Teatro Colón in Buenos Aires. In 1943 he appeared at the Chicago Opera‘ as Lohengrin, in 1942 at the City Center Opera as Herod.”
- Ashot Arkelyan