OP0961. OTELLO - Excerpts, recorded 1951, w.Cleva Cond. Metropolitan Opera Orch.; Eleanor Steber, Ramón Vinay & Frank Guarrera; FRANK GUARRERA: Arias from Barbiere, Pagliacci, Andrea Chénier, Ballo & Falstaff - recorded 1950. (Austria) Preiser 90500. Very long out-of-print, Final Copy! - 717281905008
"Steber definitely possessed the most glorious instrument of all, with its classically organized technique, impeccable management of breath support, easy agility and, above all, that phosphorescent top registerï¿½.She was a singer who possessed a rare combination of vocal radiance, technical mastery and personal charisma, and during her best years, the distinctive purity, spinning tone and easy sweetness of her soprano [which] made her the Mozart-Strauss soprano of oneï¿½s dreams."
- Peter G. Davis, OPERA NEWS, Nov., 2003
“Chilean tenor Ramón Vinay began his career as a baritone, later reworking his voice to the tenor range. For a decade or so, Vinay was a force to be reckoned with, a wonderful singing actor who excelled in such roles as Don José, Samson, Canio, and Otello. In the mid-late 1950s, the top notes became ever more precarious for Vinay, and he eventually returned to the baritone repertoire, and even some bass roles. Though Vinay was born in Chile, his father was French, and he studied in France. It’s not surprising then, that Vinay’s French pronunciation and grasp of the Gallic opera style are expert. And what sets Vinay’s José apart from other great exponents of [French repertoire], even legendary French artists, is the Chilean tenor’s arresting combination of a rich, vibrant, baritonal middle register with ringing high notes. It is true that, like many tenors who began as baritones, Vinay has some difficulty in scaling back his voice, particularly in the upper register.”
- Ken Meltzer, FANFARE, March / April, 2018
"The most famous Chilean opera singer was Ramón Vinay (1911–96), who began as a tenor and later became a baritone. He had an important international career, most famously as Otello on the brilliant recording led by Toscanini, who said, 'He is a complete artist, magnificent and unsurpassed in roles which require power and violence. At present time no other artist comes near Vinay’s interpretation of Otello'. Vinay sang some 170 performances at the Met in heroic roles in French, Italian and German, was a famous Tristan at Bayreuth, and sang Tannhäuser and roles in the Ring Cycle."
- Santiago Rodríguez, Teatro Municipal
“With his slender but firm voice and winning stage presence, Frank Guarrera was a fixture at the Met in a number of roles: Escamillo in CARMEN (his début role in 1948), Marcello in LA BOHÈME, Valentin in FAUST. He also essayed larger, Verdian roles with honor, if not quite the vocal opulence of contemporaries like Robert Merrill, or Leonard Warren, whom he replaced as Simon Boccanegra a few days after Mr. Warren’s death onstage in 1960.
In 1948, when the 24-year-old Mr. Guarrera was participating in the Metropolitan Opera’s ‘Auditions of the Air’ (a precursor of the current National Council Auditions), which he eventually won, Toscanini heard him on the radio singing Ford’s monologue from FALSTAFF and arranged for an audition. The result was Mr. Guarrera’s engagement at La Scala in Boito’s NERONE on the 30th anniversary of Boito’s death. It was the first of several performances under Toscanini; Mr. Guarrera sang Ford on the conductor’s legendary 1950 FALSTAFF broadcasts, still available on CD.
His final role at the Met was Gianni Schicchi, which he last sang in 1976. After his retirement from the stage, he taught at the University of Washington in Seattle for 10 years."
- Anne Midgette, THE NEW YORK TIMES, 27 Nov., 2007