OP0782. SIMON BOCCANEGRA, Live Performance, 30 Jan., 1965, w.Cleva Cond. Met Opera Ensemble; Anselmo Colzani, Jerome Hines, Justino Diaz, Norman Scott, Renata Tebaldi, George Shirley, etc. (Slovenia) 2-Living Stage 1119. Long out-of-print, final copies! - 3830257411192
"[Colzani] may never have quite entered the pantheon of great Italian baritones, but Anselmo Colzani was never that far off. He also had to contend with an era in which the likes of Tito Gobbi, Ettore Bastianini and Giuseppe Taddei bestrode the world’s opera stages….He was in demand internationally too, making his Metropolitan Opera début in 1960, where he played Simon Boccanegra. There was a great deal of pressure on the new arrival, as the Met’s favourite baritone, Leonard Warren, had died weeks before. If Colzani never became the next Warren, he did become a Met regular. He sang 272 performances there over the next 16 seasons."
- James Inverne, GRAMOPHONE, June, 2006
“I heard Tebaldi many times, as a standee at the old Metropolitan Opera House from the mid-1950s through the early 1960s, and I never stopped marveling at the sheer beauty of the voice, her ability to project a pianissimo throughout the auditorium so that even though the note was extraordinarily soft, it sounded as if she were standing right next to you. The plushness of tone was probably the most unique feature of her singing, and along with that an innate sense of the appropriate shape of the phrase she was singing. She was not a subtle actress, never inflecting every phrase with subtexts of meaning the way Callas could, but nor was she a disengaged singer just pouring out lovely sounds. Her acting, both physical and vocal, was sincere and convincing, and at times very powerful. Her Butterfly broke your heart every time, through the moving way she shaped the ebb and flow of the music. There was no way you could see her as a 15 year old geisha, but by the wedding scene of the first act you were a complete believer.
Above all, there was that voice. It was immediately recognizable, distinctive, unlike any other. If you tuned in to a radio broadcast without hearing an announcement, two notes would be enough to identify the richly colored, luxurious sonority of the Tebaldi sound, a sound that caressed the ear and at the same time enveloped you. For many of us it was the sound that defined what an Italian soprano should be.”
- Henry Fogel, FANFARE
“Justino Díaz is a Puerto Rican operatic bass-baritone. In 1963, Díaz won an annual contest held at the Metropolitan Opera of New York, becoming the first Puerto Rican to obtain such an honor. On 29 March, 1963, Díaz won the Metropolitan Opera National Council Auditions, becoming the ‘first’ Puerto Rican to obtain such an honor. As a consequence, Díaz made his Metropolitan début on October 1963 in Verdi's Rigoletto as Monterone. Among the opera houses in which Díaz has made presentations are La Scala, Paris Opéra, Vienna Staatsoper, Salzburg, New York City Opera, Spoleto Opera, Rome Opera, The Royal Opera House in Covent Garden, the Teatro Colón in Buenos Aires, the Zarzuela Theater of Madrid, Barcelona's Gran Teatre del Liceu and others. In 1966 he helped to inaugurate the new Metropolitan Opera House at Lincoln Center by starring in the opening night performance of ANTONY AND CLEOPATRA by Samuel Barber.”
- Zillah Dorset Akron
“After winning the American Opera Auditions in New York, George Shirley was invited to play the role Rodolfo in LA BOHEME in Milan, Italy. In 1961, Shirley won first prize in the Metropolitan Opera Auditions, thus becoming the first African American tenor to be awarded a contract with that company, where he performed from 1961 through 1973. He played major roles in more than twenty operas, often performing with fellow African American opera pioneers Leontyne Price and Shirley Verrett. During and after his stint with the Metropolitan Opera, Shirley was a well sought tenor across the globe, appearing in productions in London, Italy, San Francisco, Washington D.C., Chicago, Boston and a host of other cities. Shirley also won a Grammy Award for the recording of his performance in Mozart’s COSÌ FAN TUTTE.
In 1980, Shirley joined the staff of the University of Maryland as a professor of voice. In 1985, the University honored him with a Distinguished Scholar-Teacher Award. In 1987, he returned to the Detroit area, as a professor of voice at the University of Michigan, and five years later, he was named the Joseph Edgar Maddy Distinguished University Professor of Voice. In 2007, Shirley was named the Joseph Edgar Maddy Distinguished University Emeritus Professor of Voice upon his retirement.”
- The History Makers, 10 June, 2010
"The American bass Jerome Hines had a long and distinguished career at the Metropolitan Opera singing a wide variety of roles with true consistency of voice and style. He appeared with the company for more than 40 years from 1946. An imposing figure - he was 6ft 6in tall - he had a voluminous bass to match his stature.
His charismatic presence made him ideal for the many roles demanding a big personality. It was thus hardly surprising that Sarastro in THE MAGIC FLUTE, Gounod's Mephistopheles, the high priest Ramfis in AIDA, the Grand Inquisitor in DON CARLOS, Boris Godunov, and King Mark in TRISTAN UND ISOLDE were among his leading roles.
Although always faithful to the Met, Hines made many forays abroad. In 1953, he undertook Nick Shadow, with Glyndebourne, at the Edinburgh festival, in the first British performances of Stravinsky's THE RAKE'S PROGRESS. That led to engagements in leading houses in Europe and south America, and eventually to Bayreuth, where he sang Gurnemanz, King Mark and Wotan (1958-63). In 1958, he made his La Scala debut in the title part of Handel's HERCULES, and, in 1961, he first appeared at the San Carlo in Naples, in the title role of Boito's MEFISTOFELE. His Boris Godunov, at the Bolshoi in Moscow in 1962, was, by all accounts, a deeply impressive portrayal.
He was fortunate to arrive at the Met just as the opera house was in need of replacements for the great Ezio Pinza, who had decided to appear in SOUTH PACIFIC. Unlike his distinguished predecessor, Hines could also sing the German and Russian repertory, in addition to Italian and French. In all, his innate musicianship stood him in good stead. Most of his discs derived from live performances. They reveal a sterling voice, a refined style, consisting of a burnished tone, a fine line and exemplary diction, although he never seems to have have been a very profound interpreter.
Hines was both a deeply religious person and a good writer. He combined these qualities in his own opera, I AM THE WAY, a work about Jesus, performed, with Hines as the protagonist, at Philadelphia in 1969. The previous year, he had published his autobiography, THIS IS MY STORY, THIS IS MY SONG, but his most lasting volume was GREAT SINGERS ON GREAT SINGING (1982), in which he made discerning comments on the art of many colleagues.
Hines' later appearances befitted his advancing years: he was Arkel, the elderly grandfather in PELLEAS ET MELISANDE (Rome, 1984), and the blind father in Mascagni's IRIS (Newark, 1989). His last stage appearance was as Sarastro, in New Orleans in 1998, when he was 77."
- Alan Blyth, THE GUARDIAN, 13 Feb., 2003