Philemon et Baucis  (Gounod)  (Sanzogno;  Scotto, Misciano, Panerai, Montarsolo)  (2-Myto 00254)
Item# OP2083
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Product Description

Philemon et Baucis  (Gounod)  (Sanzogno;  Scotto, Misciano, Panerai, Montarsolo)  (2-Myto 00254)
OP2083. PHILÉMON ET BAUCIS (in Italian) (Gounod), Broadcast Performance, 4 Oct., 1960, w.Sanzogno Cond. RAI Ensemble, Milano; Renata Scotto, Alvinio Misciano, Rolando Panerai, Paolo Montarsolo, etc.; La Rosa Parodi Cond. RAI S.O., Roma: Wind Symphony in B-flat (Gounod), Broadcast Performance, 9 Jan., 1960. (E.U.) 2-Myto 00254. - 0801439902541

CRITIC REVIEWS:

"Renata Scotto is a musician. She is a studious woman who is devoted to her career. I have seen her at work and her dedication to opera is complete, profound, and remarkable. She will finish singing only to return to the score and study again. She has given herself to opera, body and soul; and she never stops learning. That is why her characterizations are always so fresh."

- Plácido Domingo, SCOTTO, MORE THAN A DIVA, p.xii



"In the same vein as Magda Olivero and Claudia Muzio, [Scotto’s] singing is a paragon of class, communication, and emotional authenticity."

- Raymond Tuttle, FANFARE, May/June, 2006



“Known for her dramatic singing style, Renata Scotto excels in the Italian repertoire, including Bellini's NORMA and Puccini's MADAMA BUTTERFLY. She has performed in more than 45 operas all over the world.

Born in Italy in 1934, Renata Scotto made her operatic début in her hometown of Savona on Christmas Eve, 1952 in LA TRAVIATA. She made her professional opera début at the Teatro Nuovo as Violetta, a rôle she earned by winning the Milan Lyric Association competition. With a blooming musical career, she auditioned for the part of Walter in Catalani's LA WALLY, performed at La Scala in Milan. She instantly received the part and was called back for fifteen curtain calls on opening night, 7 Dec., 1953.

In 1957, the La Scala Company had been in Edinburgh performing Bellini's LA SONNAMBULA, with Maria Callas as Amina. Due to the enormous interest, La Scala decided to add more performances. When Callas refused to do another performance, Scotto was called to replace her. With the success of her performance in this rôle, she became an international star.

With her operatic success came personal success as well. In 1960, Scotto performed at the Royal Opera House as Mimi in LA BOHÈME. She made her United States début with the Metropolitan Opera in 1965 as Cio-Cio-San in MADAMA BUTTERFLY. A quote from the New York Herald Tribune called the performance ‘an occasion for rejoicing, and there was plenty of it in the form of applause and welcoming shouts to the new artist who, above all, is distinctly an individual’."

- Kim Summers, allmusic.com



“A lyric tenor who was an excellent musician, a fine actor who retained his youthful good looks into his fifties, the Italian opera singer Alvinio Misciano enjoyed a successful career lasting more than 25 years. Though he toured Australia and South Africa, visited North and South America, Cairo, Vienna, Prague, Paris and London, he sang mainly in Italy, where he appeared at all the major opera-houses, particularly at La Scala, Milan. He created roles in a number of operas, including Poulenc's DIALOGUES DES CARMELITES, works by Guido Turchi, Renzo Rossellini and Valerio Mortari. His voice, bright-toned and firmly focused, though not very large, was unsuited to Romantic 19th-century music, but his repertory contained, besides many 18th- and 20th-century operas, several Rossini roles, Verdi's Alfredo and Fenton, and the title role of Mascagni's L'AMICO FRITZ.

Misciano studied at the Accademia di Santa Cecilia in Rome with Gino Scolari and the Rome Opera School with Mario Basiola. He made his début in 1946 in Rome as Arturo in LUCIA DI LAMMERMOOR. After touring South Africa and Australia with Italian companies, in the early 1950s he appeared at Trieste, Palermo and Rio de Janeiro.

He first sang at La Scala in 1956, as Mephisto in Prokoviev's FIERY ANGEL, then in 1957, he created the Father Confessor in Poulenc's DIALOGUES DES CARMELITES there. The same year he sang Gonzalvo in Cherubini's LES ABENCERAGES at the Florence Maggio Musicale, and made his US début at Chicago as Wilhelm Meister in Thomas' MIGNON. He returned to Chicago in 1958 for Fenton, Rinuccio in GIANNI SCHICCHI and Almaviva in Rossini's BARBIERE DI SIVIGLIA, which he also sang at Dallas.

The next decade was the busiest in Misciano's whole career. At La Scala he sang Lysander in Britten's A MIDSUMMER NIGHT'S DREAM and created Captain Pelikan in Guido Turchi's IL BUON SOLDATO SVEJK (1962), adapted from the novel THE GOOD SOLDIER SCHWEIK. At La Piccola Scala he sang Asciano in Pergolesi's LO FRATE 'NNAMORATO, Count Alberto in Rossini's L'OCCASIONE FA IL LADRO and created Il Cugino (the Cousin) in Renzo Rossellini's IL LINGU- AGGIO DEI FIORI (1962), adapted from a play by Lorca. He appeared in Genoa, Brescia and Budapest as Alfredo, at the Spoleto Festival as Anatol in Samuel Barber's VANESSA, in Athens as Massenet's WERTHER, and Paolino in Cimarosa's IL MATRIMONIO SEGRETO, and at Florence as Caloandro in Paisiello's LA MOLINARA.

In October 1962 he began a three-month stint at the Theatre des Champs- Elysées, Paris, as Angelo in Gilbert Becaud's L'OPERA D'ARAN (based on the screenplay of Robert Flaherty's film), in which an Italian sailor is washed up, half-drowned, on the shore of the Island of Aran. In this entertainment, Misciano's acting ability and youthful appearance were of more importance than his vocal prowess, but it was a very enjoyable performance all the same. Back in Florence, he sang Max in Krenek's JONNY SPIELT AUF. At La Scala in 1966, he sang Fenney in Richard Rodney Bennett's THE MINES OF SULPHUR and created Vaska in Rossellini's LA LEGGENDA DEL RITORNO (taken from an episode in THE BROTHERS KARAMAZOV).

After taking part in the premiere of Luciano Chailly's opera Vassiliev at Genoa in 1967, the following year Misciano sang Alwa in Berg's LULU for the first time (in Italian) at the Rome Opera. He then embarked with the ‘Piccolo Teatro Musicale’ of the city of Rome for New York, where he sang Edoardo Milfort in Rossini's CAMBIALE DI MATRIMONIO and Almaviva in Paisiello's BARBER at Carnegie Hall, later repeating the two operas in Montréal.

Appropriately, Misciano made his final appearance at La Scala as Mephisto, the role of his début there 14 years before, in a new production of THE FIERY ANGEL in 1970. He sang Jim in Weill's RISE AND FALL OF THE CITY OF MAHAGONNY at Turin in 1971, Prunier in Puccini's LA RONDINE at Venice in 1973, and then retired.”

- Elizabeth Forbes, THE INDEPENDENT, 31 March, 1997



"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