OP0896. LINDA DI CHAMOUNIX, Live Performance, 22 July, 1953, Milano, w.Simonetto Cond. RAI Ensemble, Milano; Margherita Carosio, Gianni Raimondi, Giuseppe Taddei, Giuseppe Modesti, Rina Corsi, etc. (E.U.) 2-Walhall 0128. Final copy! - 4035122651287
"One of the great operatic sopranos of the 1930s and ‘40s, Carosio ruled the stage of La Scala with her powerful yet light voice, her looks and her outstanding abilities as an actress….The cancellation through illness of a performance of Puritani at La Fenice in 1949 unwittingly gave a young soprano named Maria Callas an opportunity to consolidate her reputation in the bel canto repertoire."
- James Jolly, GRAMOPHONE, April, 2005
“The Italian tenor Gianni Raimondi had a prestigious career lasting three decades. From 1956 to 1976 he sang frequently at La Scala, where his partner a number of times during the early years was Maria Callas. His voice, smooth and warm in tone with a good coloratura facility and very strong top notes, was ideal for 19th-century Italian opera from Rossini and Donizetti to Verdi and Puccini and he rarely sang anything outside that repertory, apart from a few French rôles and a couple of modern operas.”
- Lizbeth Forbes, THE INDEPENDENT (London), 27 Oct., 2008
"Taddei is splendid, one of Italy’s greatest baritones, with a voice rich and powerful as well as gorgeous…..What a pity Taddei never had a major career at the Met….His great Verdi singing and acting at age 69 [while at the Met] would put many baritones half his age to shame.”
- Michael Mark, AMERICAN RECORD GUIDE, Sept./Oct., 2012
“There used to be a saying in Italy: ‘We gave the rest of the world Tito Gobbi, but we kept Giuseppe Taddei for ourselves’. Whatever the respective merits of these two baritones who dominated the scene in the early postwar period, Taddei was undoubtedly a superb artist and, in fact, possessed the superior voice. It was voluminous, richly mellifluous and admirably flexible. He handled it with immense intelligence and he kept his vocal faculties intact over a career spanning 50 years. Taddei’s repertory was vast — more than 100 rôles. Having made his rôle début as Falstaff in the late 1940s, he was still singing the rôle under Karajan in Salzburg more than three decades later and at his belated Metropolitan Opera début in 1985. His warm, rounded tone and subtle underlining of notes and text made him an ideal Falstaff, a portrayal that, fortunately, has been preserved on records and video. Few Italian baritones have exhibited the exceptional versatility that was Taddei’s hallmark. Apart from the accomplishments of his singing, he was a stage being through and through, able with a gesture or facial expression to create character and mood. The longevity of his career is evidence enough of the solidity of his technique. Taddei died at his home in Rome, 2 June, 2010.”
- THE SUNDAY TIMES, 5 June, 2010
"Known as a versatile artist effective in dramatic and comic roles…[Taddei] had an ample, warm, and smooth voice and was a very fine vocal actor, delivering the many declamatory passages with excellent diction."
- Kurt Moses, AMERICAN RECORD GUIDE, July/Aug., 2005