OP0792. LA TRAVIATA, Live Performance, 5 Jan., 1935, w.Panizza Cond. Met Opera Ensemble; Rosa Ponselle, Frederick Jagel, Lawrence Tibbett, etc. Transfers by Richard Caniell, also features [duly embarrasing] commentary by Milton Cross and intermission interviews with Geraldine Farrar. (England) 2-Naxos 8.110032/33. Transfers by Richard Caniell. Very long out-of-print, Final Copy! - 636943103227
"Gioconda, Donna Anna, and Santuzza were the intensely dramatic roles which occupied Ponselle when she was not singing Violetta in the 1934-35 season, yet how she modulates her tones for the frail courtesan!...Her legato is a constant wonder, the vocal color is often ravishing, and the act-one fiorature are well articulated (better than by most light-voiced Violettas)....Ponselle nowhere overpowers the role, and, because of her lyrical approach, makes a convincing and moving Violetta."
- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, pp.68 & 69
"...Ponselle...was at the age of the characters she was portraying, in her impulsiveness (incredibly controlled by technique and taste) singing every note and emotion with the freshness of youth in life's spring. This with the most glorious voice that ever came from any woman's throat in the Italian repertory, with a precocious sense of line, style, and emotional honesty...."
- Walter Legge, ON AND OFF THE RECORD, p.133
“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
“Lawrence Tibbett, to my taste the greatest operatic baritone America has ever produced. His enormous charm is complemented by fabulous diction - he's one of the very few ‘classical’ singers whose every word is clearly understandable.”
- Jeffrey Lipscomb