OP2044. MADAMA BUTTERFLY, Live Performance, 16 April, 1960, w.Mitropoulos Cond. Dorothy Kirsten, Eugenio Fernandi, Mario Sereni, Margaret Roggero, Charles Kullman, etc. (E.U.) 2-Walhall 0297. - 4035122652970
"Dorothy Kirsten made her professional concert début in a stage show at the New York World's Fair. She was also reunited with Miss Moore, who recommended her to the Chicago Grand Opera, where Miss Kirsten made her operatic début as Pousette in Massenet's MANON in 1940. Miss Kirsten sang 15 minor rôles during her first season, and the following year shared the stage with Miss Moore in a Chicago performance of LA BOHEME, singing Musetta to Miss Moore's Mimi. In 1942, Miss Kirsten began to sing leading rôles with the San Carlo Opera Company, in Washington and New York City. She made her New York City Opera début in 1943, and by 1945 had performed with the San Francisco Opera, the New York Philharmonic and other major orchestras. Starting in September 1943, she had her own radio program, 'Keepsakes’, which ran for a year. Miss Kirsten's Metropolitan Opera début, as Mimi in LA BOHEME on 1 Dec., 1945, was a critical success, and was the start of a 30-year association with that house. In 1971, when she celebrated her 25th anniversary with the company, she reminisced about that début, and recalled that Miss Moore sat in the first box, at the side of the stage, and threw roses to her. When Miss Moore died in a plane crash in Denmark in 1947, Miss Kirsten sang Schubert's 'Ave Maria' at her funeral. Miss Kirsten's career was centered in the United States, but she did tour Europe and, in 1962, the Soviet Union. There, besides giving recitals, she sang Violetta in a Bolshoi Opera performance of LA TRAVIATA, to considerable acclaim, even though, as she said later, she had to go on without the benefit of a stage rehearsal. During her years at the Met, Miss Kirsten sang most of the important Puccini rôles, including the title rôles in MANON LESCAUT, TOSCA and MADAMA BUTTERFLY, and she starred as Minnie in a revival of LA FANCIULLA DEL WEST that helped restore the work to the repertory. She prepared for the title rôle in LOUISE by going to France to study it with the composer. She also worked with the composer Italo Montemezzi on L'AMORE DEI TRE RE before she performed it in San Francisco and at the Met. In addition to the Puccini heroines, her repertory included the female leads in Gounod's ROMEO ET JULIETTE and FAUST, Leoncavallo's PAGLIACCI and Verdi's LA TRAVIATA. She sang in the American premières of Walton's TROILUS AND CRESSIDA and Poulenc's DIALOGUES DES CARMÉLITES, both in San Francisco. Miss Kirsten's voice was not huge, but she used it gracefully throughout her long career. When she gave her farewell performance at the Met, on 31 Dec., 1976, Allen Hughes wrote in The New York Times that 'she sang and acted the part of Tosca with the vocal control and dramatic acuity of a prima donna in mid-career’."
- Z. D. Akron
“Eugenio Fernandi was born in Pisa and raised in Turin, where he began his vocal studies with Aureliano Pertile. He later entered the opera school at La Scala in Milan, and began appearing there in small roles. His first major role was as Giovanni Battista in Virgilio Mortari's LA FIGLIA DI DIAVOLO in 1954, followed by the Duke in RIGOLETTO and Pinkerton in MADAMA BUTTERFLY. He also sang with success at La Fenice in Venice, the Maggio Musicale Fiorentino in Florence, and the Teatro San Carlo in Naples. In 1957, he made his début at the Vienna State Opera as Cavaradossi in TOSCA, later singing Alfredo Germont, Rodolfo, Riccardo, and Radames. He appeared as Don Carlos at the Salzburg Festival, in 1958 and 1960. He sang at all the major Italian houses and made many guest appearances abroad, especially in France, Switzerland, South America and the United States. His principal roles included Pinkerton, Cavaradossi, Calaf, Rodolfo, Alfredo Germont, Don Carlos, Radames, Gounod's Faust and Saint-Saëns' Samson. He joined the Metropolitan Opera as a leading tenor on 19 February, 1958, débuting there as Pinkerton. Of that performance, a 3 March, 1958, TIME MAGAZINE review noted that Fernandi ‘belted out thundering, on-target salvos of sound that rocked the house’, further praising that ‘physically and vocally it is surely the handsomest BUTTERFLY ever mounted on a U.S. stage’. From 1958 to 1971, Fernandi sang eight seasons with the Met in thirteen roles, including Mario Cavaradossi, Edgardo, Enzo, Ismaele, Arrigo, etc.”
- Echoes-Sentinel, 15 August, 1991