OP1754. TURANDOT, Live Performance, 13 Dec., 1958, w.Previtali Cond. RAI Ensemble, Milano; Lucille Udovich, Franco Corelli, Renata Mattioli, Plinio Clabassi, etc. (E.U.) 2-Myto 00171. - 8014399501712
"Udovich was born in Denver, Colorado, and grew up in California. She appeared in a series of concerts around Milan, and then moved to Rome, where she remained for the rest of her life. Beniamino Gigli invited her to perform with him in one of his last concert tours in Italy. Udovich made her opera debut in Spontini's AGNESE DI HOHENSTAUFEN [above] in 1954 at the Maggio Musicale Fiorentino with Franco Corelli and Giangiacomo Guelfi, conducted by Vittorio Gui. She inaugurated a second festival with ANTIGONE by the baroque composer Tommaso Traetta. She made other appearances with the Santa Cecilia Orchestra in Bartok's BLUEBEARD'S CASTLE, in Verdi's REQUIEM, and Rossini's PETITE MESSE SOLENNELLE; and with the RAI Orchestra in PETER GRIMES and Britten's WAR REQUIEM, and Schonberg's GURRE-LIEDER. Udovich performed in the Rome Opera, Comunale of Florence, Fenice of Venice, and the San Carlo of Naples. At the Glyndebourne Festival Opera she sang Elettra in Mozart's IDOMENEO. She was invited to Torre del Lago for the 100th anniversary of Puccini. She is best remembered for a TURANDOT with Franco Corelli telecast by RAI in 1958. Her career was halted because of back problems she had encountered. She died in Rome, aged 69."
- Z. D. Akron
"Franco Corelli had been singing for well over a decade when he made his Met debut in 1961 at the age of 40. The first attraction in any Corelli performance is the voice itself. Solid and evenly produced from bottom to top, with no audible seams between registers. The middle and lower parts of the voice are dark and richly colored. The top is stunningly brilliant, and never thins out or turns hard. It is a once-in-a-generation kind of voice if your generation is lucky, and in the four decades since his retirement in 1976 we have had nothing like it for visceral power. Some critics complained because Corelli would hold high notes well beyond their value in the score. But if we listen to singers from the past whose careers overlapped with the great Italian opera composers, and who often worked with them, we can easily conclude that the composers expected it. (A recording of an aria from Francesco Cilea's ADRIANA LECOUVREUR by tenor Fernando de Lucia, with the composer accompanying at the piano, exposes liberties that go far beyond anything Corelli ever did, and Cilea echoes those 'distortions' at the keyboard.)"
- Henry Fogel, FANFARE