OP1379. DIE MEISTERSINGER (in Italian), Live Performance, 8 Feb., 1962, w.von Matacic Cond. RAI Ensemble, Torino; Giuseppe Taddei, Boris Christoff, Renato Capecchi, Luigi Infantino, Bruna Rizzoli, etc.; BORIS CHRISTOFF: Die Walküre – Excerpt. (Slovenia) 4-Myto 066.338. Long out-of-print, final copies! - 608974503383
“Lovro von Matacic was one of the great conductors who preserved the authentic late-Romantic tradition into the late-Romantic age. He worked at the Salzburg Festival on the music staff, and then returned to Yugoslavia, which at the end of World War I had finally obtained its independence from Austria. He became the Music Director of the opera house in Osijek, continuing his career advancement through opera houses in the larger cities, Novi Sad, Ljubljana, Zagreb, and in 1938 the capital, Belgrade. In the same year he also became the conductor of the Belgrade Philharmonic Orchestra. After the German invasion of 1941 he resigned his position at the Belgrade Opera (1942) and from 1942 to 1945 he was conductor of the Vienna Volksoper.
After the war, he became the General Music Director in Skopje. He organized the annual Dubrovnik and Split Festivals. He was permanent guest conductor at the opera houses of Munich and Vienna. From 1956 to 1958, he was General Music Director of the Dresden State Opera and Staatskapelle Orchestra and, with Franz Konwitschny, co-General Music Director of the (East) Berlin State Opera. He appeared in America with the Chicago Lyric Opera in 1959. In 1961, Matacic succeeded Georg Solti as General Music Director of the Frankfurt Opera and orchestra, remaining there through 1966. In 1965 he was appointed Honorary Chief Conductor of the NHK (Japanese Radio and Television) Orchestra in 1965. He was Music Director of the Zagreb Philharmonic from 1970 to 1980, and of the Monte Carlo Opera from 1974 to 1979. At the end of these tenures, he became honorary conductor for life of both organizations.
He guest conducted extensively and at various times was principal guest conductor or permanent guest conductor at various times of the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, and Prague Philharmonic. He began conducting orchestras in America frequently, and led opera performances at La Scala, the Bayreuth Festival, Opera di Roma, and various other European and Japanese venues.
He recorded frequently, and many ‘dall vivo’ recordings of his live and broadcast performances exist. He was especially praised for his control over the immense formal structures of Bruckner's symphonies and his masterly control of phrasing.”
- Joseph Stevenson, allmusic.com
“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
“Though not possessing the vocal opulence associated with other star baritones of his era, Renato Capecchi was no vocal underachiever, and his feel for the Italian language and searching musical intellect made him one of the most valued singers of his time. His recorded performance of RIGOLETTO…stands with the best for its mastery of the rôle's subtleties and dramatic truth. Likewise, as Rossini's Figaro, he captured both the quicksilver and pragmatic sides of that buoyant character. Capecchi's repertory was huge, encompassing hundreds of rôles; as the years passed, he increasingly concentrated on the buffo parts, and eventually undertook directorial assignments, allowing him to share his theatrical fluency with other singers.”
- Erik Eriksson, allmusic.com
"...there is the beauty of the voice itself, black and majestic, but capable of melting to the warmest of velvet; a voice that can damn and bless within the same breath. Add to all this a magnificent sense of presence and in Boris Christoff we have a true mastersinger of our time."
- Michael Letchford, Liner Notes to HMV LP set