OP1688. I PURITANI, Broadcast Performance, 5 Jan., 1952, w.Previtali Cond. RAI Ensemble, Roma; Lina Pagliughi, Mario Filippeschi, Rolando Panerai, Sesto Bruscantini, Franco Calabrese, etc. (E.U.) 2–Myto 00160. - 8014399501606
“A member of the coloratura sorority that enjoyed ascendancy before the emergence of Maria Callas, Lina Pagliughi represented the best of that breed. Declared ‘my successor’ by Luisa Tetrazzini, Pagliughi possessed a clear, beautifully formed instrument that was flexible in passagework and flowing in legato. Unlike the slenderized edition of Callas, however, she was a woman of enormous girth and continued to gain weight during the course of her career. Thus, while vocal display was present in abundance, dramatic verisimilitude was not. On recording, however, Pagliughi's art can be enjoyed without the distraction of physical appearance. Born to Italian immigrant parents in New York, Pagliughi moved to San Francisco before her second birthday. There, she began making public appearances at age seven. Luisa Tetrazzini sought to adopt her, but her parents declined the offer. When Pagliughi moved to Italy at age 15 to study with Manlio Bavagnoli, however, the legendary singer oversaw her training and became close to the young student. Having already graduated from a San Francisco conservatory before her move to Italy, Pagliughi was well prepared musically and could concentrate on vocal polish and learning repertory. For her 1927 début at Milan's Teatro Nazionale, Pagliughi presented herself as Gilda, a rôle with which she would be closely identified thereafter (and which she recorded twice). After an experiment with the rôle of Mimi, Pagliughi vowed to concentrate on the coloratura repertory, even though her voice was substantial enough for lyric rôles. Thus, she kept her instrument supple and trim for the duration of her career, even with having included Violetta among her rôles, a part that grows progressively heavier with each passing act. Pagliughi's equable personality no doubt also contributed to her longevity. A good colleague, one to whom jealousy was an alien emotion, she admired fellow artists of quality and saw in them no threat to her own reputation. In addition to appearances at Italy's major houses, Pagliughi sang at London's Covent Garden in 1938 (her Gilda was regarded as having been beautifully sung) and performed with success at Brazil's São Paulo Municipal Theatre and in Buenos Aires, where she undertook her first Rosina and her first Violetta. Following her formal retirement in 1957, the soprano became a respected teacher.”
- Erik Eriksson, allmusic.com
“Mario Filippeschi began singing lessons at twenty-three and continued studies for a further seven years, only making a small town début in 1937. Success was fortunately not long in arriving though somewhat serendipitous. Word of mouth led to increasingly important engagements and by the early to mid-1940s he was singing in Rome and on tour. La Scala beckoned after the War’s end and record companies paid him increasing attention – many will know him best from his NORMA with Callas. Nevertheless he was not seduced by the prospect of radically upgrading his repertoire to meet international opportunities; he deliberately kept it small but retained works that he knew suited the voice. He retired in 1961, still only in his mid-fifties, and ran an antiques shop. As Lauri Volpi wrote to him in 1978 – ‘Today you would be the King of Tenors’.
Rolando Panerai was born in Ciampi Bisenzio, near Florence, Italy. He studied with Frazzi in Florence and Armani and Giulia Tess in Milan. Panerai made his debut as the pharaon in Rossini's MOSÈ IN EGITTO at the Teatro di San Carlo of Naples in 1947. Other important debut were as Simon Boccanegra in Bergamo and as Sharpless in MADAMA BUTTERFLY at La Scala in Milan both in 1951. He sang in many rarely performed Verdi opera such as GIOVANNA D'ARCO, LA BATTAGLIA DI LEGNANO, AROLDO, on radio broadcast for RAI in 1951, to commemorate Verdi's 50th death anniversary. Later roles included the great Verdi baritone roles such as Rigoletto, di Luna in IL TROVATORE, Germont in LA TRAVIATA, Amonasro in AÏDA. He also enjoyed considerable success in comic roles making a specialty of such roles as Figaro in LE NOZZE DI FIGARO, Leporello in DON GIOVANNI, both Guglielmo and Alfonso in COSÌ FAN TUTTE, roles he often sang at both the Aix-en-Provence and Salzburg festivals. He also excelled as Figaro in IL BARBIERE DI SIVIGLIA, as both Belcore and Dulcamara in L'ELISIR D'AMORE, Malatesta and the title role in DON PASQUALE. Rolando Panerai has a dark and vibrant voice, and has enjoyed a remarkably long and distinguished career singing Germont as recently as the year 2000 in a French television production of LA TRAVIATA next to Jose Cura and Eteri Gvazava, his voice in very good shape for a man of 76."
- Z. D. Akron