Otello  (1948 Performance)   (Busch;  Vinay, Albanese, Warren)     (2-Melodram 27501)
Item# OP1232
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Product Description

Otello  (1948 Performance)   (Busch;  Vinay, Albanese, Warren)     (2-Melodram 27501)
OP1232. OTELLO, Live Performance, 18 Dec., 1948, w.Busch Cond. Met Opera Ensemble; Ram�n Vinay, Licia Albanese, Leonard Warren, etc. (Italy) 2-Melodram 27501. Long out-of-print, final copy!

CRITIC REVIEWS:

"The entire cast is in fine fettle on this afternoon. What one hears [from Albanese] is a fully finished portrayal, both musically and dramatically. While the soprano was noted for her thorough (and extended) preparation for a new role, even greater care was necessary here, for the role often edges over into the spinto realm. The warm color of the voice and thoughtful phrasing create a sympathetic character of immense self-possession. In vocal size and color [Vinay] is an ideal Otello, the baritonal weight making Otello's decline doubly awesome, yet the timbre, so manly, carrying within it an emotive wrench that makes his torment and grief heartrending."

- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, pp.436 & 438





“Licia Albanese was, for her army of admirers, synonymous with the ‘old’ Met during the middle of the twentieth century. She made her début at the Met on 9 February, 1940, as Cio-Cio-San, and sang 427 performances of seventeen roles with the company. Her final Met appearance came at the farewell gala on the closing night of the old house, 16 April 1966, when she sang a thrilling performance of ‘Un bel dì’, dropped to her knees and softly kissed the stage that had been her home throughout the great and glorious years of her career. Many of those who attended remembered that the moment felt like the almost palpable passing of an era — which it was….it was not until she promised her father, on his deathbed, that she would forge a career that she moved to Milan and, with financial help from a cousin, studied with the great soprano Giuseppina Baldassarre-Tedeschi, who had been particularly identified with Madama Butterfly. The teacher instilled in her the importance of the meaning behind the words, the necessity of conveying emotion to the audience.

An amazing fairy-tale-style succession of events occurred in 1934 and ’35. Albanese found out about a national vocal competition from a friend the very day the competition was closing and managed to get in at the eleventh hour. Believing Baldassare-Tedeschi would deem her not yet ready, she entered secretly. One of three hundred singers, Licia won the first round in Milan and traveled to Bologna for the finals, where she competed every day for a week before a tough panel of judges that included Rosetta Pampanini and Luisa Tetrazzini. Licia [won]first prize with the enormously difficult and dramatic ‘Un dì ero piccina’, from Mascagni’s IRIS. Back in Milan, in 1934, she attended a performance of BUTTERFLY at the Teatro Lirico and was pulled from the audience and [appeared] onstage to replace the soprano in the title role — singing it for the first time. Cio-Cio-San was also her ‘official’ début role before the notoriously demanding audience in Parma, in 1935. Her performance was a triumph, and the young singer found steady work in Italian theaters, singing everything from Wagner’s Elsa to Refice’s CECILIA, gaining invaluable experience. At one point, she found herself onstage with Beniamino Gigli, who so admired the soprano that he requested her for his 1938 recording of LA BOHÈME and recommended her to the Metropolitan Opera. She made débuts at La Scala (as Lauretta in GIANNI SCHICCHI), Rome and Geneva, and the 1937 Coronation Season in London featured her Liù in TURANDOT — her Covent Garden début, and a performance of which recorded fragments exist, displaying the trademark Albanese sound. In 1941, she made her débuts at San Francisco Opera, again as Cio-Cio-San, and Chicago Civic Opera, as Micaëla in CARMEN.

Albanese was an ideal verismo artist of the time. She may not have possessed a sound as beautifully limpid as that of other Italian sopranos, but it was a voice of incomparable profile and cut — instantly recognizable to anyone who heard it even once. Always, she sang with full emotional commitment and stunning dramatic intensity; actor/comedian Charles Nelson Reilly, a lifelong Albanese admirer, once aptly observed that, if forced to, she might sacrifice the voice somewhat, but she never sacrificed the word. She invested her roles with enormous thought and preparation, no matter how many times she had sung them before. One of the challenges of Cio-Cio-San, she felt, was that the voice must be light in Act I, to underline the character’s youthful innocence, then gradually darken in the two successive acts, as the tragedy deepens. She took enormous pleasure in bringing certain plangent details to her characterizations — among them letting the wedding veil drop to the ground as Butterfly and Pinkerton enter their house at the close of Act I — ‘a little thing’, she told a reporter in 1947, ‘but effective’.

She worked with another legendary perfectionist, Arturo Toscanini, who requested her for Mimì in the fiftieth-anniversary performance of LA BOHÈME. She loved working with him and was equally delighted when he asked her to sing the title role in LA TRAVIATA with the NBC Symphony Orchestra in 1946….Under Toscanini, Violetta — which she had already sung many times at the Met — became one of her immortal recorded performances. In Act IV’s ‘Addio del passato’, the snuffing out of life within Violetta is overwhelmingly moving. Albanese’s remains one of the most vivid, spontaneous and nakedly real Violettas on disc.

Albanese had specific ideas about the nature of acting for the opera stage, feeling that it was a mistake to pursue absolute naturalism or to replicate acting techniques from the screen. ‘The stage is a world apart’, she once said, ‘and the opera stage something more specialized still…. You have to add poetry, too.’ She believed that Puccini’s roles were superbly crafted, but she always resisted the temptation to chew the scenery too much, underlining that Tosca was ‘a great diva in an era of poetic elegance’, not a common, hot-tempered shrew. Ultimately, she always believed in the innate dignity and aristocracy of Puccini’s heroines. She believed it was important to begin not with the notoriously tricky role of Manon Lescaut but with Mimì or Liù. ‘Butterfly’, she once said, ‘can break the voice’. She regretted never getting to sing Minnie in LA FANCIULLA DEL WEST, but she did sing her first Magda in LA RONDINE in 1960, in Philadelphia. She also expanded her repertoire carefully, adding roles such as Verdi’s Desdemona, Massenet’s Manon and Cilèa’s Adriana Lecouvreur. Explaining her remarkable longevity to OPERA NEWS’s editor Robert Jacobson in 1974, she said, ‘I never pushed on the low notes, except for some dramatic moments. I was taught to do it with accent and not with the voice. It is important to keep the middle voice light, even when dramatic, or you lose the high notes. The drama comes in accenting the words and with diction’.

Albanese sang in a total of forty-one Met broadcasts; her broadcast record was Violetta, with ten separate airings. Her total of eighty-seven Violettas still stands as a Met record. She was busy in other areas as well: from 1942 to 1947, she had a weekly radio program, TREASURE HOUR OF SONG, in which she branched out to sing operetta and Broadway tunes. She had a happy private life, too, as the wife of stockbroker Joseph Gimma, who soon took on a major role in the handling of her career. They had a child, Joseph, Jr., born in 1952. She had enjoyed very happy relations with Met general manager Edward Johnson through the 1940s and successfully made the transition to the new regime of Rudolf Bing in 1950. She also appeared on television on THE ED SULLIVAN SHOW and VOICE OF FIRESTONE, as well as in the 1956 Warner Bros. musical drama SERENADE, starring Mario Lanza and Joan Fontaine. But by the 1960s, she was heard at the company far less often. (Albanese maintained that it was her determination to save the old Met on Thirty-ninth and Broadway, while the new building at Lincoln Center was in the works, that damaged her standing with Bing.) Although she never appeared at the New Met, which opened in 1966, she was frequently an enthusiastic — and voluble — member of the audience. At the opening of Giancarlo del Monaco’s new production of MADAMA BUTTERFLY in the mid-1990s, Albanese took exception to the director’s decision to have Pinkerton (Richard Leech) begin to disrobe Cio-Cio-San (Catherine Malfitano) onstage and erupted with a robust ‘BOO!’ from her orchestra seat.

She was also much in evidence as the guiding spirit of the Licia Albanese–Puccini Foundation (an American counterpart to the established Italian organization), which she founded in 1974. For more than two decades, she presided over the Foundation’s concerts at Lincoln Center, handing out cash prizes to young singers, welcoming guest-star colleagues such as Fedora Barbieri, Leyla Gencer, Lucine Amara and Robert Merrill, and often performing herself; her opening-concert rendition of ‘The Star Spangled Banner’, complete with flag-waving gestures and a still-impressive B-flat, was always eagerly anticipated by the audience.

In her later years, Albanese’s energy was unflagging. She graced the Met Centennial Gala in 1983 and the opening of the refurbished War Memorial Opera House in San Francisco in 1997. She also taught master classes extensively, worked as a stage director, and appeared as Old Heidi in the New York Philharmonic’s all-star concert version of Stephen Sondheim’s FOLLIES in 1986; her fine interpretation of ‘One More Kiss’ embodied the musical’s themes of missed opportunity and regret. Almost to the end of her life, she continued to attend performances in New York. At a 2011 performance of LA RONDINE presented at Hunter College by Martina Arroyo’s ‘Prelude to Performance’ program, Albanese, now in her tenth decade, could be heard in the audience, softly singing along, having miraculously retained not only every note of the vocal line but the orchestral passages as well. Hers was a life truly centered in music, and she was gifted with the soul of a poet.”

- Brian Kellow & Ira Siff, OPERA NEWS, 16 Aug., 2014





“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





"Leonard Warren emerged as the principal baritone of the Met's Italian wing in the early 1940s and remained so until his untimely death on the Met's stage, 4 March, 1960, at the peak of his career. His smooth, velvety, and beautiful voice was powerful and had an unusually large range in its high register. It was easily and evenly produced, whether he sang softly or roared like a lion�.Warren acted his roles primarily by vocal coloring, expressivity, and his excellent diction - his singing was unusually consistent. Warren's legacy should be of interest to all lovers of great singing."

- Kurt Moses, AMERICAN RECORD GUIDE, Nov./Dec., 2006





"[Warren's] remarkable voice had a dramatic intensity which did not come naturally to him. As with everything else in his life, he worked at that until he got it right. Fortunately, his incomparable voice and dramatic power are still available to us on recordings of some of his most famous roles....[He] became one of the most famous and beloved operatic baritones in the world....Warren's flawless technique, seamless flow of sound, and brilliant top voice were his vocal trademarks and these qualities became the standard by which others would be measured, including me."

- Sherrill Milnes, AMERICAN ARIA, pp.76-77