OP1569. COSÌ FAN TUTTE, Live Performance, 17 Dec., 1955, w.Stiedry Cond. Met Opera Ensemble; Eleanor Steber, Blanche Thebom, Patrice Munsel, Cesare Valletti, Frank Guarrera, Lorenzo Alvary, etc. (E.U.) 2-Andromeda 9020. Final Copy! - 3830257490203
“Triumphs in the Mozart repertory have been the norm for Steber, and Fiordiligi is perhaps the most captivating of her Mozart assumptions….she conquers, for her voice retains its bloom and her command of fioriture remains commendable. She enjoys introducing little musical subtleties into her phrasing….she lays a loving caress on Mozart’s sinuous lines and, at every opportunity, confidently propels a bit of bravura, both endeavors lending distinction to the afternoon….[Valletti’s] dulcet tones and supple technique are innately better suited to Mozart than was Tucker’s tension-filled instrument….His sense of musical style and tonal warmth make ‘Un aura amorosa’ one of the afternoon’s treats….pouring out his feelings with honest emotion. The tenor knows how to sweeten a cadence, however, with an extra bit of tonal honey.”
- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.108 -09
"Steber definitely possessed the most glorious instrument of all, with its classically organized technique, impeccable management of breath support, easy agility and, above all, that phosphorescent top register….She was a singer who possessed a rare combination of vocal radiance, technical mastery and personal charisma, and during her best years, the distinctive purity, spinning tone and easy sweetness of her soprano [which] made her the Mozart-Strauss soprano of one’s dreams."
- Peter G. Davis, OPERA NEWS, Nov., 2003
"In a field long dominated by Europeans, Ms. Thebom was part of the first midcentury wave of American opera singers to attain international careers. Associated with the Met from the mid-1940s to the mid-1960s, she was praised by critics for her warm voice, attentive phrasing and sensitive acting."
- Margalit Fox, THE NEW YORK TIMES, 28 March, 2010
“As one of the younger tenors to emerge soon after World War II, it was obvious that Valletti was an artist whose reputation would be made based on artistic and musical considerations….His musicianship and vocal colour made him an ideal interpreter of Mozart rôles, and like Schipa [his mentor], he became a renowned Werther with sensitivity and nuance being the key to his interpretation….he was considered a lyric tenor of the front rank.”
- Alan Bilgora, program notes to Pearl’s THE CETRA TENORS
“Cesare Valletti…was a phenomenon among Italian tenors, an opera singer who was also a stylish recitalist with a large, well studied repertoire of songs....Valletti was a pupil of Tito Schipa but has more affinity with Schipa’s contemporary Dino Borgioli.”
- John Steane, GRAMOPHONE, June, 2008