OP1237. TURANDOT, Live Performance, 1972, Barli, w.Annovazzi Cond. Teatro Petruzzelli Ensemble;
Marion Lippert, Flaviano Labò, Lydia Marimpietri, Angelo Mercuriali, Antonio Zerbini, Renato Capecchi, etc.;
MARION LIPPERT: Tosca (1971) & Il Trovatore (1973) - Excerpts (both Stuttgart). (Portugal) 2-Gala 100.782. Final sealed copy! - 8712177049547
“Lippert studied voice with a number of teachers, most notable of whom was the Wagner/Strauss specialist, Annelies Kupper. Lippert made her 1959 stage début as Aïda at the Augsburg Stadttheater. She was eventually awarded the title of Kammersängerin by the Württembergisches Staatstheater in Stuttgart. Lippert would also become a resident member of the Stuttgart Staatsoper.
Lippert made her American début at the Metropolitan Opera on 3 October, 1968 in the title role of Puccini's TURANDOT. She was warmly received by NEW YORK TIMES critic Raymond Ericson, who heralded Lippert as ‘something of a find’. Ericson went on to write that ‘Miss Lippert met all the demands of her vocally taxing score without any trouble. This in itself says a great deal. She has a big voice, one that is clear and warm, and it has no trouble in reaching the heights of Turandot's music. It is securely produced and can be very beautiful when softened. At the outset, there were a very few tones that sounded less than full, and those in the lower register were weak. But as the voice warmed up these factors disappeared. In the third act the voice sounded glorious’. Ericson also praised her interpretation, noting that ‘she had her own ideas about acting the part. She left off much of the heavy Oriental make-up, so that the expressiveness of her face could be seen, and she was a more mobile and human person than the icy princess one is accustomed to. It is a valid and convincing approach, if not necessarily the best one, and it suited the warmth of her singing'. Ericson concluded that ‘despite its arduousness, the role of Turandot is musically limited, so that it was only one kind of test of Miss Lippert's artistry. She met it so successfully, though, that her appearance in any other role will be looked forward to eagerly’.
Lippert returned to the Met the following season in a variety of roles, including the Marschallin, Senta in DER FLIEGENDE HOLLÄNDER and Elisabetta in DON CARLO. She was then absent from the Met stage until the 1973-74 season, when she once again assumed the role of the Marschallin - both in New York and on the company's annual spring tour. Lippert also reprised her Turandot at the Met's June Festival that year. In total, Lippert sang a total of 25 performances with the Met, 21 at the house and 4 elsewhere. Given the critical success of her debut performance, Lippert's inability to secure a more important place on the Met roster seems curious.”
- Jason McVicker
“Flaviano Labò was an Italian operatic tenor, particularly associated with heroic rôles of the Italian repertory. Labò was born at Borgonovo, near Piacenza. While in the army, he came to the notice of the conductor Antonino Votto, and subsequently studied with Ettore Campogalliani in Parma, Renato Pastorino in Milan and Valentino Metti in Piacenza. He made his stage début at the Teatro Municipale in Piacenza, as Cavaradossi in TOSCA, in 1954. He quickly sang widely in Italy and various European opera houses, as well as in South America, before making his début on 29 November, 1957, at the Metropolitan Opera in New York, as Alvaro in LA FORZA DEL DESTINO, where he sang thirteen rôles in eight seasons. In 1959, he sang at the New York City Opera as Calaf in Puccini's TURANDOT (conducted by Julius Rudel) and Rodolfo in LA BOHÈME. He also appeared at the San Francisco Opera, and the opera houses of Philadelphia, Houston, and New Orleans.
Other important débuts were at the Royal Opera House in London, and the Palais Garnier in Paris, both as Radamès in AÏDA in 1959. He first sang at La Scala in Milan, in the title rôle of DON CARLOS, in 1960. He appeared at the Maggio Musicale Fiorentino in 1967, as Gualtiero in IL PIRATA, opposite Montserrat Caballé, and was a regular guest at the Verona Arena. He also made guest appearances at the Vienna State Opera, the Zürich Opera, the Teatro Nacional Sao Carlos in Lisbon, and the Teatro Colón in Buenos Aires.
Labò was admired for his robust, typically Italianate voice, and his direct unaffected manner. He died in an automobile accident caused by fog in Milan at the age of 64.”
- Ned Ludd