OP2117. IL TROVATORE, Live Performance, 29 May, 1957, w.Previtali Cond. RAI Ensemble, Milano; Leyla Gencer, Mario del Monaco, Fedora Barbieri, Ettore Bastianini, etc.; del Monaco & Guichandut: Excerpts from Forza. (E.U.) 2-Myto 00127. - 8014399501279
"When you sing, you have to feel what you are saying.... I actually cried on stage. Once in a while a note would issue forth that was not orthodox. That's why the American critics don't like me. But I don't care. They want music with water and soap."
- Leyla Gencer
“Leyla Gencer was the greatest Turkish opera singer of the 20th century and a singing actor of formidable power and individuality. Although she came from what she herself referred to as a ‘Muslim and oriental’ background, she had the good fortune, as a student in Istanbul, to study with the famous Italian dramatic soprano Giannina Arangi-Lombardi, so that when she went to Italy in 1953, she was thoroughly grounded in the traditions of Italian opera. Gencer was a very beautiful woman, with large dark eyes, a wide, generous mouth and a natural command of the stage. She made her début as Santuzza in CAVALLERIA RUSTICANA at the open-air summer festival in Naples in 1953, and remained a particular favourite with the Neapolitans. Throughout her career, Gencer had a very wide repertoire, ranging from Monteverdi, Gluck and Mozart to Verdi, Ponchielli and Puccini. During her career she sang virtually every soprano rôle in Verdi's operas, but it was especially in the revival of bel-canto works by Bellini, Donizetti and Pacini that she made her mark. To some extent, Gencer shot to fame in the immediate aftermath of the end of Maria Callas' Italian career - Gencer followed Callas as Anna Bolena at La Scala, and in the rôle of Paolina in Donizetti's POLIUTO - the last new part Callas undertook. As Queen Elizabeth I of England, first in Donizetti's ROBERTO DEVEREUX, and then in Rossini's ELISABETTA, REGINA D'INGHILTERRA, Gencer preceded Montserrat Caballé and Beverly Sills, who later recorded the rôles. Although Gencer's career was mostly in Italy, she appeared in the United States, where she made her début in San Francisco as Lucia in 1957, returning there, as well as to Chicago and Dallas. John Ardoin described her voice in a memorable LUCREZIA BORGIA in 1974, as ‘poignant, compelling’ and mentioned the ‘strange colours and deep pathos of her art’. In England she was heard at Glyndebourne as the Countess in FIGARO, and as Anna Bolena. At Covent Garden she was Donna Anna in Zeffirelli's 1962 production of DON GIOVANNI, then Elisabeth de Valois in DON CARLOS. Gencer's most memorable UK appearances were undoubtedly in the title rôle of Donizetti's Maria Stuarda, at the Edinburgh Festival in 1969. The sparks that flew on stage in the confrontation - historically absurd but dramatically thrilling - when Gencer as Mary Stuart ripped off her glove and flung it in the face of Shirley Verrett as Elizabeth I at the words, ‘Vil bastarda’ will surely live in the memory of all who witnessed it. Gencer had no career whatsoever as a recording artist, but many of her broadcasts from Italian radio have now been issued on disc and are a fine memorial to her voice and dramatic ability.”
- Patrick O'Connor, The Guardian, 12 May, 2008
“While Ettore Bastianini's career was quite short, it was also distinguished. He was regarded as having one of the finest Verdi and verismo voices of his day, though his vocal gifts were not always matched by an equal musicianship.
Bastianini studied privately with Gaetano Vanni, and sang in the local choir. His professional solo début was in a concert in Siena early in 1945, and his operatic début was at the Ravenna opera as Colline in Puccini's LA BOHÈME later that year. He sang at the smaller houses throughout Italy and even went abroad to Cairo with a touring company, still singing the bass repertoire, including Mephistopheles in Gounod's FAUST. His La Scala début was in 1948 as Tirésias in Stravinsky's OEDIPUS REX. During these years, he began to wonder if he was truly a bass, and in 1951, he made his début as a baritone early in 1951 at the Bologna Opera as Germont in LA TRAVIATA. However, the performance was not especially successful, and he resumed intense studies over the next few months, giving special attention to developing his upper register. When he returned to the stage that summer, he had achieved just that goal, and his high notes were now considered his vocal glory. In 1953 Bastianini performed opposite Maria Callas for the first of many times, as Enrico Asthon in LUCIA DI LAMMERMOOR at the Teatro Comunale Florence. That same year he sang the rôle of Carlo Gérard in Giordano's ANDREA CHÉNIER for the first time at the Teatro Regio di Torino. He made his Metropolitan Opera début as Germont on 5 December, 1953, opposite Licia Albanese as Violetta and Richard Tucker as Alfredo. The following January he sang Enrico to Lily Pons' Lucia and Jan Peerce's Edgardo at the Met. On 10 May, 1954, he made his début as a baritone at La Scala, in the title rôle of Tchaikovsky's EUGENE ONEGIN with Renata Tebaldi as Tatyana.
In the Fall of 1954, Bastianini joined the roster of the Metropolitan Opera where he sang regularly through May 1957. His rôles at the Met during this time included Amonasro, Carlo Gérard, Count di Luna, Enrico, Germont, Marcello in LA BOHÈME, Rodrigo in Don Carlo, and the title rôle in RIGOLETTO. He later returned to the Met in the Spring of 1960 to portray several rôles including Don Carlo in LA FORZA DEL DESTINO. He returned to the Met again in January 1965 where he spent most of that year singing in several of his prior rôles with the company, as well as performing Scarpia in TOSCA. His 87th and final performance at the Met was as Rodrigo on 11 December, 1965. It was also coincidentally the last performance of his career.
In 1956, he made his Chicago début as Riccardo in Bellini's I PURITANI. In 1962, he made his Covent Garden début as Renato in UN BALLO IN MASCHERA. Early in 1963, he left the stage for a few months, letting it be understood that he was resting, but in fact, he was undergoing treatment for throat cancer. His return performances and subsequent performances were poorly received, often with booing from the audience, as he was often hoarse, off-pitch, and under-powered. While he was deeply dismayed at this, he still did not speak of his illness; for all except family and close friends, it came as a complete surprise until after the announcement of his death. His last performance was in 1965 at the Metropolitan Opera.”
- Anne Feeney, allmusic.com
“Carlos Maria Guichandut was an Argentinian baritone, and later tenor, particularly associated with heroic roles. Born in Buenos Aires, he studied first philosophy and then singing with Alfredo Bontà Biancardi. He began his career as a baritone in 1938 singing zarzuela. He made his operatic début at the Teatro Colón in 1945, in the title role of RIGOLETTO, followed by Luna in IL TROVATORE, Iago in OTELLO, and Scarpia in TOSCA. He then came to Italy, appearing at the Teatro San Carlo in Naples, and La Fenice in Venice, and made his début at La Scala in 1948, as Renato in UN BALLO IN MASCHERA.
In 1952, after further vocal studies with Fidelia Campigna, he made a second début in Bari, as a tenor this time, in the role of Siegmund in DIE WALKÜRE. The following year, he sang the role of Giascone in MEDEA, opposite Maria Callas, at the Maggio Musicale Fiorentino, to great acclaim. In 1954, he sang his first Otello, a role that would quickly become one of his signanture roles. In 1955, he sang Otello and Don José in CARMEN, at the Verona Arena.
He made his début at the Royal Opera House in London in 1958, as Radames in AÏDA. He also sang at the Paris Opéra, the Liceo in Barcelona, also appearing in Palermo and Mexico City.”
- Zillah Dorset Akron