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 début in Spontini's AGNESE DI HOHENSTAUFEN 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 Bartók'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 Schönberg'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 [above] 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."
"Vocal size and rugged style mark [Corelli] as an open-air tenor....The vibrancy of his timbre is unequaled among tenors, and often it holds a commendable warmth as well."
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.374
"Corelli was more often than not merely a tall man with a loud voice, buying audience favor with such childish coin as long-held top notes and, for variety, longer-held top notes. Given his physical advantages and the power of sound he commands, Corelli could make himself a painter - hero of the first rank, but this would take an alteration of attitude for which there is no reasonable hope."
- Irving Kolodin Review