OP1897. DON CARLOS, Live Performance, 30 April, 1969, w.Schippers Cond. RAI Ensemble Roma; Bruno Prevedi, Piero Cappuccilli, Nicolai Ghiaurov, Teresa Zylis-Gara, Fiorenza Cossotto, Dimiter Petkov, etc. (E.U.) 3–Myto MDCD 0009. - 3830257900092
“Bruno Prevedi was an Italian tenor, particularly associated with the Italian repertory. Prevedi studied in Mantua with Alberto Sorenisa, and in Milan with Vladimiro Badiali. He made his début as a baritone in 1958, as Tonio, but quickly retrained himself as a tenor, and made a second début in 1959, as Turiddu, again at the Teatro Nuovo in Milan.
He sang widely in Italy, and made his début at La Scala in 1962, in Pizzetti's DEBORA E JAELE. He also appeared in Berlin, Munich, Vienna, Budapest, London and Buenos Aires. He sang the role of Pollione in NORMA in the Gran Teatro del Liceo in Barcelona during the winter season 1962-1963, then made his Metropolitan Opera début on 6 March, 1965 as Cavaradossi in TOSCA. During the following five seasons his roles included Alfredo, Manrico, Riccardo, Alvaro, Don Carlo, and Radamès.
Bruno Prevedi possessed an attractive spinto tenor voice with superb roundness at the top. He can be heard on a number of recordings for Decca, notably in complete performances of Verdi's NABUCCO, opposite Tito Gobbi and Elena Suliotis, in MACBETH, opposite Giuseppe Taddei and Birgit Nilsson, and MEDEA, opposite Gwyneth Jones, as well as a recital of tenor arias.”
“Though Piero Cappuccilli never achieved international stardom, he was enormously admired within the field of opera for his rich and abundant voice, fine vocal technique and exceptional breath control. In the great Italian tradition he fused words and music into elegant phrases. He focused on Italian repertory, particularly the operas of Verdi, singing 17 major rôles. Some critics found his full-voiced singing blunt and burly. And in striving for expressive restraint, he could sometimes come across as stiff. But at his best, with his handsome physique and vocal authority, he made a powerful impact onstage.
In 1960, just three years into his professional career, he was tapped by the producer Walter Legge to sing the rôle of Enrico in a recording of LUCIA DI LAMMERMOOR, starring Maria Callas and conducted by Tullio Serafin. That EMI work remains a classic. In the mid-1970's, Claudio Abbado chose him for the title rôles in Verdi's SIMON BOCCANEGRA and MACBETH at La Scala. These productions led to studio recordings that remain prized by opera buffs.”
- Anthony Tommasini, THE NEW YORK TIMES, 21 July, 2005
“While best known for the fiery, scenery-chewing Verdi roles such as Azucena, Amneris, Lady Macbeth, and Eboli, Fiorenza Cossotto was also a prominent performer of bel canto parts such as Rosina in Rossini's BARBIERE, Leonora in LA FAVORITA, and Adalgisa in NORMA. Such large and powerful mezzo voices, particularly with a secure top, are rare compared to the lyric mezzo, and from the late 1960s through the early 1980s, she was THE Verdi mezzo, the successor to Simionato and the predecessor to Zajick.”
- Anne Feeney, allmusic.com