OP1407. LA FORZA DEL DESTINO, Live Performance, 23 Sept., 1960, w.Mitropoulos Cond. Vienna Staatsoper Ensemble; Antonietta Stella, Giuseppe di Stefano, Ettore Bastianini, Walter Kreppel, Giulietta Simionato, Karl Dönch, etc. (Austria) 2-Orfeo C 681 0621. - 4011790681221
"Finalmente! an edition of this 1960 FORZA in good sound…from the Austrian Radio archives. I definitely recommend this to FORZA fanatics….di Stefano…[offers] so much intense, beautiful singing and his vivid depiction of a tortured soul – surely one of the greatest Alvaros ever. Listeners to this performance will find [Stella’s] virtues and flaws…if Stella were singing today, she’d be considered a major Verdian….Bastianini…is still a vocal force to be reckoned with….there is much to admire in his still rich, burnished tone….And Simionato – she just may be the greatest Preziosilla of my lifetime."
- Michael Mark, AMERICAN RECORD GUIDE, July/Aug., 2007
"Such performances [as the above] are gifts of God."
- Dimitri Mitropoulos, PRIEST OF MUSIC, p.438
"This production of FORZA was presented to much acclaim during the Karajan era at the Vienna State Opera. Mitropoulos, who had only weeks to live, returned to a work he much loved….With the Vienna State Opera Orchestra in glowing form, the results are very special….
Bastianini…presents Don Carlo in all his menacing, vengeful fury with that dark-hued, Immensely powerful baritone of his. As his antagonist he has di Stefano as Alvaro in his most eloquent, incisive and appealing form, relishing every word and note….Stella had a brief period when she was fully the equal of Tebaldi and here she is in the middle of it, singing the role as well as, if not better than any soprano on disc. Tebaldi-like in her full, Italianate tone, Caniglia-like in her identification with Leonora’s plight, from start to finish she is magnificent, and she crowns her portrayal with a finely nuanced and felt ‘Pace, pace’ in the final act….In this the performance’s first official appearance, the sound is by and large excellent."
- Alan Blyth, GRAMOPHONE, Feb., 2007
“While Ettore Bastianini's career was quite short, it was also distinguished. He was regarded as having one of the finest Verdi and verismo voices of his day, though his vocal gifts were not always matched by an equal musicianship.
Bastianini studied privately with Gaetano Vanni, and sang in the local choir. His professional solo début was in a concert in Siena early in 1945, and his operatic début was at the Ravenna opera as Colline in Puccini's LA BOHÈME later that year. He sang at the smaller houses throughout Italy and even went abroad to Cairo with a touring company, still singing the bass repertoire, including Mephistopheles in Gounod's FAUST. His La Scala début was in 1948 as Tirésias in Stravinsky's OEDIPUS REX. During these years, he began to wonder if he was truly a bass, and in 1951, he made his début as a baritone early in 1951 at the Bologna Opera as Germont in LA TRAVIATA. However, the performance was not especially successful, and he resumed intense studies over the next few months, giving special attention to developing his upper register. When he returned to the stage that summer, he had achieved just that goal, and his high notes were now considered his vocal glory. In 1953 Bastianini performed opposite Maria Callas for the first of many times, as Enrico Asthon in LUCIA DI LAMMERMOOR at the Teatro Comunale Florence. That same year he sang the rôle of Carlo Gérard in Giordano's ANDREA CHÉNIER for the first time at the Teatro Regio di Torino. He made his Metropolitan Opera début as Germont on 5 December, 1953, opposite Licia Albanese as Violetta and Richard Tucker as Alfredo. The following January he sang Enrico to Lily Pons' Lucia and Jan Peerce's Edgardo at the Met. On 10 May, 1954, he made his début as a baritone at La Scala, in the title rôle of Tchaikovsky's EUGENE ONEGIN with Renata Tebaldi as Tatyana.
In the Fall of 1954, Bastianini joined the roster of the Metropolitan Opera where he sang regularly through May 1957. His rôles at the Met during this time included Amonasro, Carlo Gérard, Count di Luna, Enrico, Germont, Marcello in LA BOHÈME, Rodrigo in Don Carlo, and the title rôle in RIGOLETTO. He later returned to the Met in the Spring of 1960 to portray several rôles including Don Carlo in LA FORZA DEL DESTINO. He returned to the Met again in January 1965 where he spent most of that year singing in several of his prior rôles with the company, as well as performing Scarpia in TOSCA. His 87th and final performance at the Met was as Rodrigo on 11 December, 1965. It was also coincidentally the last performance of his career.
In 1956, he made his Chicago début as Riccardo in Bellini's I PURITANI. In 1962, he made his Covent Garden début as Renato in UN BALLO IN MASCHERA. Early in 1963, he left the stage for a few months, letting it be understood that he was resting, but in fact, he was undergoing treatment for throat cancer. His return performances and subsequent performances were poorly received, often with booing from the audience, as he was often hoarse, off-pitch, and under-powered. While he was deeply dismayed at this, he still did not speak of his illness; for all except family and close friends, it came as a complete surprise until after the announcement of his death. His last performance was in 1965 at the Metropolitan Opera.”
- Anne Feeney, allmusic.com
“Seeming from time to time a serious contender for consideration with the great prima donnas of her time - Callas, Tebaldi, and Milanov - Antonietta Stella never quite pulled together all the elements of her lavish gift. An immensely attractive woman with large, deep-set eyes and a figure that would have found favor in Hollywood, she presented an appealing stage presence but was not always able to control her impulsive histrionic inclinations. Although her vocal endowment led her to an early début, her lovely spinto-weight soprano was not sufficiently technically secure and not supported consistently enough to endure.
By her mid-teens, Stella had determined she would become a professional singer and began her vocal training. After studies in her native Perugia, and later in Rome, she won first prize in the 1949 Bologna Concorso. In 1950, she made a pre-professional appearance on-stage at Spoleto's Sperimentale and followed that in 1951 with her official début at the Rome Opera singing Leonora in LA FORZA DEL DESTINO. A recording of SIMON BOCCANEGRA shortly thereafter revealed both a promising voice and some ungainly phrasing. Nonetheless, she was entrusted with the rôle of Lavinia in the world premiere of Guido Guerrini's ENEA, mounted by the Rome Opera in 1953. Italy welcomed the young soprano, despite her lack of experience. Engagements took her to many of the country's most prominent theaters, foremost among them La Scala, where she sang Desdemona in 1954 just a year after she had won good reviews in Florence for her performance in Verdi's AROLDO. Several of the lighter Wagner rôles also came her way with such parts as Elsa and Elisabeth and (less suitably) Sieglinde and Senta. The world beyond welcomed her as well: she was introduced as Aïda at Covent Garden in 1955 and at the Teatro Colón in 1956. Stella became a popular presence in several German houses and won appreciative reviews in Spain and Brazil. Stella made her Metropolitan Opera début on 13 November 13, essaying Aïda. Although she was in good voice, reviews held numerous caveats about her artistry and questions about her willingness to look past the approval of the gallery toward a deeper exploration of text and music. During four seasons, Stella sang more than 50 performances of eight different rôles, including Tosca, Butterfly (a memorable interpretation), Violetta, Elisabeth de Valois, Amelia in UN BALLO IN MASCHERA and the IL TROVATORE Leonora. Several ill-advised cancellations put an effective stop to Stella's American career. First, she exited a series of performances for Lirica Italiana in Japan. In 1957, she canceled her début with the San Francisco Opera. After the soprano presented the Metropolitan Opera with a doctor's certificate in 1960 asking for release (granted) for the company's spring tour and then showed up on the stage of La Scala during the period in question, Rudolf Bing filed breach of contract charges with the American Guild of Musical Artists. The action resulted in her suspension. Stella continued to appear in Europe, but decline was evident before she had reached the age of 40.”
- Erik Eriksson, allmusic.com