OP2169. DON CARLOS, Live Performance, 24 April, 1961, w.Rossi Cond. RAI Ensemble, Torino; Luigi Ottolini, Ettore Bastianini, Boris Christoff, Margherita Roberti, Anna Maria Rota, Ferruccio Mazzoli, etc. (E.U.) 3-Walhall 0336. - 4035122653366
“Mario Rossi was an Italian conductor, noted for his solid and meticulous readings of a repertory ranging from Italian classics to Russian moderns such as Prokoffiev, to the German operatic classicist Christoph Willibald Gluck. He studied composition in Rome with Respighi and conducting with Giacomo Setaccioli, graduating in 1925, and soon after graduation he took up the post of assistant conductor to Bernardino Molinari. Appointed resident conductor of the Maggio Musicale Fiorentino in Florence (1937–46), he made his début on the podium there in 1937 with Mascagni's IRIS. The following year he led the premiere of Gian Francesco Malipiero's opera ANTONIO E CLEOPATRA.
He conducted in all the major opera houses of Italy. As well as establishing himself in the standard Italian repertory, he took part in many revivals of ancient works such as Galuppi's IL FILOSOFO DI CAMPAGNA, Monteverdi's IL RITORNO D'ULISSE IN PATRIA, and Piccinni's LA BUONA FIGLIUOLA.
From 1946 till 1969 he served as chief conductor of the orchestra of the RAI in Turin. He elevated this group to an international level, making guest appearances in Brussels (1950), Vienna, (1951), and Salzburg (1952). Amongst his best performances on record were IL MATRIMONIO SEGRETO, IL BARBIERE DI SIVIGLIA, DON PASQUALE, UN BALLO IN MASCHERA, OTELLO and FALSTAFF.
His recordings of Gluck's PARIDE ED ELENA (1968) and of Prokoffiev's ALEXANDER NEVSKY (1954) display Rossi as an unquestionably great conductor whose styles in a 1770 German masterpiece as well as in a 20th-Century Russian masterpiece are remarkable for avoiding any distinctively ‘Italianate’ or otherwise inauthentic stylistic tendencies. In other words, the range of Rossi's musical sympathies was extraordinary. He was certainly one of the least-known of the great orchestral conductors of the 20th Century, one of the very few conductors who sounded authentically Gluckian when performing Gluck, just as much as he sounded authentically Verdian when performing Verdi. Achieving excellence across such a disparate repertory is rare even for great conductors, most of whom are stylistically authentic only in the music of a few periods, or a few nationalities (usually their own). For sheer universality, Rossi had few if any equals.”
- Zillah D. Akron
“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
"...there is the beauty of the voice itself, black and majestic, but capable of melting to the warmest of velvet; a voice that can damn and bless within the same breath. Add to all this a magnificent sense of presence and in Boris Christoff we have a true mastersinger of our time."
- Michael Letchford, Liner Notes to HMV LP set
“Margherita Roberti is an American operatic soprano who had an active international career that spanned from 1948 to 1988. Although she performed throughout the world, Roberti achieved her greatest success and popularity in Italy. A dramatic soprano, Roberti drew particular acclaim for her portrayals of Verdi heroines.
After her European début, invitations from major opera houses throughout Europe came pouring in to Roberti. In 1958 she sang Abigaille in Verdi's NABUCCO for her La Scala début. She was a regular performer at that house for the next four seasons. In 1958 she portrayed the title role in Puccini's TOSCA for her first performance at the Royal Opera at Covent Garden. That same year she made her first appearance at the Arena di Verona Festival and made her début at the Lyric Opera of Chicago as Amelia Grimaldi in Verdi's SIMON BOCCANEGRA opposite Tito Gobbi in the title role and Richard Tucker as Gabriele Adorno. Other international appearances included performances in Buenos Aires, New Orleans, San Francisco, Mexico City, and Israel.
Roberti made her début at the Metropolitan Opera in 1962 as Tosca to the Cavardossi of Franco Corelli. That same year she sang Tosca with Corelli for her début with the Philadelphia Lyric Opera Company. Roberti also sang the title role in Verdi's AÏDA in New York and Philadelphia that year. In 1963 she sang the title role in Verdi's LUISA MILLER at the Edinburgh Festival and in 1964 she portrayed Lady Macbeth in Verdi's MACBETH at the Glyndebourne Festival. She was also a repeat performer at the Vienna State Opera during the 1960's and 1970's.”
- Ned Ludd