OP0863. LA TRAVIATA (in Russian), recorded 1947, w.Orlov Cond. USSR State Ensemble; Yelizaveta Shumskaya, Ivan Kozlovsky, Pavel Lisitsian, etc.; PAVEL LISITSIAN: Arias & Scenes from Il Trovatore, Ballo & Aida - recorded 1948-53. (England) 2-Guild 2305/06. Final Sealed Copy! - 795754230628
"Elisaveta Shumsyaya made a relatively late debut on the leading stage of her home-town, but her success there was of all the greater duration. In the one and a half decades after the Second World War she developed into one of the most indispensable singers at the Bolshoi Theatre and also at the studios of the Russian record company Melodiya. With her light, easy but substantial soprano voice she participated in around a dozen complete opera recordings, mostly in works by Western European composers."
- Kurt Malisch, VOICES BEHIND THE IRON CURTAIN
"Kozlovsky's voice was distinguished for its beautiful high register and rich palette of shadings. He sang more than 50 operatic roles, and was especially famous as Lensky in EUGENE ONEGIN. They say that Ivan Kozlovsky considered his voice as his one and only possession and prayed every morning thanking the Lord for the priceless gift He gave him."
- Olga Fyodorova
"One way of dividing the world seems to be into admirers and detractors of Ivan Kozlovsky. For the former, the succulent, dripping sweetness of the Russian tenor provides a paragon of bel canto, exquisite, long-held soft head notes, phrases caressed and pressed out of familiar shape - the portrait of an extraordinary singer."
- Max Loppert, OPERA ON RECORD, Vol. I, pp.29-30
“The great name here for collectors is Pavel Lisitsian, born in 1911, who was probably one of the [last] century’s dozen best operatic baritones. To spend an hour or so with Lisitsian’s records is to be reminded what a joy it is to hear the work of a real master.”
- Will Crutchfield, THE NEW YORK TIMES, 29 July, 1990
"This Armenian baritone remains one of the best-kept musical secrets of the old Soviet state. The voice was remarkably warm, bright, and well produced, with a faster-than-normal vibrato that was perfectly even and possessed no beat. He also had Schipa's own gift for phrasing in an imaginative, highly musical fashion that breathed life into whatever he did, and he had the technique and breath control to support his ambitious efforts."
- Barry Brenesal, FANFARE, July/Aug., 2002