I Puritani  (Quadri;  Gencer, Raimondi, Ausensi, Mazzoli)   (2-Myto 00298)
Item# OP2323
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Product Description

I Puritani  (Quadri;  Gencer, Raimondi, Ausensi, Mazzoli)   (2-Myto 00298)
OP2323. I PURITANI, Live Performance, 30 June, 1961, Buenos Aires, w.Quadri Cond. Teatro Colón Ensemble; Leyla Gencer, Gianni Raimondi, Manuel Ausensi, Ferruccio Mazzoli, etc. (E.U.) 2-Myto 00298. - 0801439902985

CRITIC REVIEWS:

"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



“The Italian tenor Gianni Raimondi had a prestigious career lasting three decades. From 1956 to 1976 he sang frequently at La Scala, where his partner a number of times during the early years was Maria Callas. His voice, smooth and warm in tone with a good coloratura facility and very strong top notes, was ideal for 19th-century Italian opera from Rossini and Donizetti to Verdi and Puccini and he rarely sang anything outside that repertory, apart from a few French rôles and a couple of modern operas.”

- Lizbeth Forbes, THE INDEPENDENT (London), 27 Oct., 2008



“Manuel Ausensi i Albalat was a Catalan baritone who studied singing in Valencia and then in the Municipal Conservatory of Barcelona. This Catalan baritone was famous for rôles such as Figaro in BARBIERE. He made his début at the Teatro Liceu in a performance of ANNA BOLENA to mark the centennial of the house. He remained there for 23 seasons but made guest appearances in other opera houses. He was very popular in South America and was a highly popular zarzuela singer in addition to his operatic career. He was considered particularly outstanding in rôles such as Rigoletto, but also sang eighteenth century music such as Mozart and Cimarosa, as well as French romantic opera at the Liceu for thirteen consecutive seasons. He recorded a famous full version of THE BARBER OF SEVILLE conducted by Silvio Varviso and co-starring Teresa Berganza and Ugo Benelli in 1964. He also recorded the leading rôle in several Spanish operettas: LA CALESERA, EL CASERÍO, LOS GAVILANES, KATIUSKA, LA LEGIÓ D'HONOR and JUGAR CON FUEGO. He retired in 1973, but in 1990 he returned for a benefit concert for the Opera House in Catalonia. In 1997 he received the Creu de Sant Jordi.”

- Loyal Bluto