Aida  (de Fabritiis;   Leontyne Price, Casellato-Lamberti, Parutto-Boyer, Zanasi)  (2-Myto 062.327)
Item# OP1229
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Product Description

Aida  (de Fabritiis;   Leontyne Price, Casellato-Lamberti, Parutto-Boyer, Zanasi)  (2-Myto 062.327)
OP1229. A�DA, Live Performance, 1966, w.de Fabritiis Cond. Rome Opera House Ensemble; Leontyne Price, Giorgio Casellato-Lamberti, Mirella Parutto-Boyer, Mario Zanasi, Luigi Roni, Franco Pugliese, etc. (Slovenia) 2-Myto 062.327. Long out-of-print, Final Sealed Copy! - 608974503277

CRITIC REVIEWS:

"After earning her degree from College of Education and Industrial Arts at Wilberforce, OH (where she studied with Catherine Van Buren), Leontyne Price was awarded a scholarship to attend the Juilliard School of Music where she continued vocal training with Florence Page Kimball. Upon hearing her there, Virgil Thomson invited her to sing Saint Cecilia in the 1952 revival of his FOUR SAINTS IN THREE ACTS. She then toured the United States and Europe as Bess in Gershwin's PORGY AND BESS (1952-1955); on this tour she met and married bass-baritone William Warfield who was singing the role of Porgy.

In October 1953, Price sang the premiere of Samuel Barber's HERMIT SONGS at the Library of Congress in Washington, D.C., and she gave her first New York recital in November 1954. In December of the same year she sang Barber's PRAYERS OF KIERKEGAARD with the Boston Symphony Orchestra. Her appearances in TOSCA, DIE ZAUBERFLOTE, DIALOGUES DES CARMELITES and DON GIOVANNI on television brought her to wide attention for both her outstanding singing, and for being the first African-American leading soprano of note.

In the following seasons, she made her debuts at San Francisco, Chicago, Vienna, London, and Milan. This culminated in her first appearance at the Metropolitan Opera House as Leonore in IL TROVATORE, an evening that garnered a front page review in The New York Times. The Metropolitan would soon become her favored opera house; she sang most of her wide repertoire there, including Aida, Tosca, Madama Butterfly, Leonore in LA FORZA DEL DESTINO, ERNANI, Amelia in UN BALLO IN MASCHERA, Donna Anna (DON GIOVANNI), Pamina (DIE ZAUBERFLOTE), Fiorgiligi (COSI), Ariadne (ARIADNE AUF NAXOS), and Tatiana in EUGENE ONEGIN. She sang her last operatic performance there in 1985 as Aida.

Leontyne Price's voice was a spinto soprano of great beauty. She had a wonderful feeling for the sweep of the long phrases of Verdi and her technique allowed her to encompass all of the difficulties of Donna Anna (DON GIOVANNI) and Elvira (ERNANI). Her lower register had a quality often described as 'dusky' which many listeners found quite sensual. Most of her important operatic roles were recorded by RCA, but only a small fraction of her recital repertoire found its way onto disc. Leontyne Price will always be remembered as one of the greatest Verdi sopranos of the twentieth century."

- Richard LeSueur, allmusic.com





�Giorgio Casellato-Lamberti was a member of that last generation of the �once inexhaustible breed; the Italian tenor�. He came to prominence in the sixties together with other young hopefuls like Ruggero Bondino, Enzo Tei, Franco Tagliavini, Beniamino Prior and Luciano Pavarotti. Mr. Lamberti�s voice has not the many subtleties and the beauty in the middle register of Carlo Bergonzi; nor did he have the stentorian overwhelming sound of Corelli and Del Monaco, but somewhere he was more representative of the breed than either one of those vocal gods. There is a red thread running through vocal history of talented Italians, trumpet voiced, who could cut through any orchestra and chorus. They didn�t have the amazing vocal beauty of Gigli or young Di Stefano but they did the heavy work in other houses than La Scala or the Met; they did the foreign tours where their sound was identified as typical Italian. After the war there appeared Annaloro, Zambruno, Turrini, Lo Forese, Gismondo and Ottolini in that mould. Of them all Lamberti was definitely the best. He could fill big barns like La Scala and the Met. At the Verona Arena he had no problem filling the open space.

The voice always sounds homogenous from bottom to brilliant top. It is slender but still strong with a lot of metal in it. It is bright and well focused. There aren�t a myriad amount of colours in it but it�s still personal and recognizable. The top can be cutting and is often glorious. Indeed one thinks of Hope-Wallace in The Gramophone once describing young Corelli as �a shameless top-note hunter�. So is Casellato-Lamberti now and then, holding the high B in �La donna � mobile� for some ten seconds (as did Corelli). Casellato-Lamberti�s voice above the stave gets an extra gleam and ring and it is a prime example of squillo. Casellato-Lamberti�s voice is somewhat similar to the young Pavarotti; maybe a little bit less rich. Still, the differences being slight they teach us a lesson. One singer marginally better than the other, is a household word due to an American publicity genius while the other is more or less forgotten in the wide world. If Casellato-Lamberti were to sing today, he would reign supreme in Italy.�

Jan Neckers, Operanostalgia