OP2127. BORIS GODOUNOV (in English), Live Performance, 10 March, 1956, w.Mitropoulos Cond. Met Opera Ensemble; George London, Giorgio Tozzi, Charles Kullman, Giulio Gari, Blanche Thebom, etc. (E.U.) 3-Walhall 0327. - 4035122653274
“[George] London’s diction is superb and appropriately royal throughout the entire afternoon – not a syllable is slighted, and the word sits confidently in his legato….Foremost [among the supporting artists] is Giorgio Tozzi as Pimen. The basso’s instrument bears not a single vestige of age…the voice is almost too beautiful for its mission as recorder of the history of Russia. But Tozzi creates so sympathetic a portrait by the naturalness of his diction, the easy play of tone, the subtle modifications of volume and manner, that Pimen’s story-telling is not just believable but entrancing.”
- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.201 & 203
“In the many performances I have appeared in, there were many wonderful colleagues who had me in raptures. There were those with magnificent voices, or great musicians, wonderful actors or great personalities. But George London had it ALL. He was as impressive on stage as he was the wonderful colleague and friend in his private life.”
- Birgit Nilsson, as quoted in Leonardo A. Ciampa’s THE TWILIGHT OF BELCANTO, p.130
“George London was a dramatic and very expressive singer. In many roles he sang like a demonic panther with a sound of purple-black in color. London was a singer favoring the drama in a piece, varying color to suggest shifts of mood. His acting on stage was described as overwhelming. The special magnetism of this artist is documented on his great recordings. Every role he sang was sung with utmost expression and unbelievable commitment, truly a singing-actor!”
- Andrea Shum-Binder, subito-cantabile
“Giorgio Tozzi, a distinguished bass who spent two decades with the Metropolitan Opera and also appeared on film, television and Broadway, was a distinguished professor emeritus at Indiana University’s Jacobs School of Music, where he had taught since 1991. He was previously on the Juilliard School faculty [originally having studied with Rosa Raisa, Giacomo Rimini and John Daggett Howell].
Esteemed for his warm, smooth voice; skillful acting; pinpoint diction; and authoritative stage presence - he was 6 foot 2 in his prime - Mr. Tozzi sang 528 performances with the Met. He was so ubiquitous there for so long that THE NEW YORK TIMES was later moved to describe him (admiringly) as ‘inescapable’. Mr. Tozzi made his Met début as Alvise in Ponchielli’s LA GIOCONDA in 1955. Reviewing the performance, The NEW YORK POST wrote that he ‘proved to have a voice of beautiful quality’, adding: ‘It was rich in texture and expertly handled both as to characterization and technique’. His most famous performances at the Met include the title roles in Mussorgsky’s BORIS GODUNOV and Mozart’s MARRIAGE OF FIGARO; Ramfis in Verdi’s AÏDA; Don Basilio in Rossini’s BARBER OF SEVILLE; Philip II in Verdi’s DON CARLO; and Hans Sachs in Wagner’s DIE MEISTERSINGER VON NÜRNBERG. Mr. Tozzi began his vocal life as a baritone. He made his début (as George Tozzi) in 1948, singing Tarquinius in Benjamin Britten’s THE RAPE OF LUCRETIA. Staged at the Ziegfeld Theater on Broadway, the production also starred Kitty Carlisle.
He originated the role of the Doctor in Samuel Barber’s VANESSA, which had its world premiere at the Met in 1958. Conducted by Dimitri Mitropoulos, the production also starred Eleanor Steber and Nicolai Gedda. Mr. Tozzi’s last performance with the Met was in 1975, as Colline in Puccini’s BOHÈME.
He also sang with the San Francisco Opera, La Scala and other companies and appeared as a soloist with major symphony orchestras throughout the United States and Europe. On film Mr. Tozzi dubbed the singing voice of the actor Rossano Brazzi in the role of Emile de Becque in SOUTH PACIFIC (1958), directed by Joshua Logan. (Mr. Tozzi had played the role himself, opposite Mary Martin, in a West Coast production of the musical the year before.) On the small screen he sang King Melchior in the 1978 television film of Gian Carlo Menotti’s AMAHL AND THE NIGHT VISITORS, also starring Teresa Stratas. On Broadway he received a Tony nomination for the role of the lonely California grape farmer Tony Esposito in the 1979 revival of Frank Loesser’s operatic musical comedy THE MOST HAPPY FELLA. (The award went to Jim Dale for BARNUM.)"
- Margalit Fox, THE NEW YORK TIMES, 2 June, 2011
"In a field long dominated by Europeans, Ms. Thebom was part of the first midcentury wave of American opera singers to attain international careers. Associated with the Met from the mid-1940s to the mid-1960s, she was praised by critics for her warm voice, attentive phrasing and sensitive acting."
- Margalit Fox, THE NEW YORK TIMES, 28 March, 2010
“Conductor Dimitri Mitropoulos stood apart from the European traditions that dominated first-rank American orchestras for much of the twentieth century. After attending the Athens Conservatory, where he studied piano and composition, his opera BÉATRICE was presented there. The French composer Saint-Saëns was in the audience, and was so impressed that he arranged a scholarship that enabled the 24-year-old to study composition with the Belgian composer Paul Gilson and piano with Busoni in Berlin. Busoni persuaded him to abandon composition and concentrate on becoming a conductor.
From 1921 to 1925, Mitropoulos assisted Erich Kleiber at the Berlin State Opera and on Kleiber's recommendation, was appointed conductor of the Hellenic Conservatory Symphony Orchestra in Athens. In 1927, he became conductor of the Greek State Symphony Orchestra and in 1930 was engaged to conduct the Berlin Philharmonic Orchestra, where he instituted the practice of conducting from the piano.
In 1937 Mitropoulos succeeded Eugene Ormandy as musical director of the Minneapolis Symphony Orchestra. He became a U.S. citizen in 1946, and remained in America until 1959. After 12 years in Minneapolis, he was invited to share the conductorship of the New York Philharmonic Orchestra with Stokowski, becoming its conductor when Stokowski resigned in 1950. Mitropoulos resigned the post after sharing the podium with Leonard Bernstein, his co-principal conductor, in the Orchestra's 1958 tour of Latin America. From 1954, he was a dynamic force as Bruno Walter's successor at the Metropolitan Opera, where he introduced many new operas, including ones by Richard Strauss and Samuel Barber.
Mitropoulos never conducted his own works, but considered his best composition to be a Concerto Grosso written in 1929. His lived simply and took little part in social activities. His conducting style was passionate, highly-charged and demonstrative; he had a phenomenal memory and rarely used a baton. He programmed much modern music and particularly admired Schönberg and the Second Viennese School, such as Webern and Berg, as well as twentieth century American and British composers. His recording of Mahler's First Symphony made with the Minneapolis Symphony Orchestra in 1941 was the first ever made in the U.S. of that work, and Mitropoulos was awarded the American Mahler Medal of Honor in 1950 for his work in promoting the composer's music. He died while rehearsing Mahler's Third Symphony with Toscanini's famous La Scala Orchestra.”
- Roy Brewer, allmusic.com