OP2336. SIMON BOCCANEGRA, Live Performance, 18 Feb., 1961, w.Verchi Cond. Met Opera Ensemble; Frank Guarrera, Renata Tebaldi, Richard Tucker, Giorgio Tozzi, Ezio Flagello, Norman Scott, etc. (E.U.) 2-Walhall 0359. - 4035122653595
“With his slender but firm voice and winning stage presence, Frank Guarrera was a fixture at the Met in a number of roles: Escamillo in CARMEN (his début role in 1948), Marcello in LA BOHÈME, Valentin in FAUST. He also essayed larger, Verdian roles with honor, if not quite the vocal opulence of contemporaries like Robert Merrill, or Leonard Warren, whom he replaced as Simon Boccanegra a few days after Mr. Warren’s death onstage in 1960.
In 1948, when the 24-year-old Mr. Guarrera was participating in the Metropolitan Opera’s ‘Auditions of the Air� (a precursor of the current National Council Auditions), which he eventually won, Toscanini heard him on the radio singing Ford’s monologue from FALSTAFF and arranged for an audition. The result was Mr. Guarrera’s engagement at La Scala in Boito’s NERONE on the 30th anniversary of Boito’s death. It was the first of several performances under Toscanini; Mr. Guarrera sang Ford on the conductor’s legendary 1950 FALSTAFF broadcasts, still available on CD.
His final role at the Met was Gianni Schicchi, which he last sang in 1976. After his retirement from the stage, he taught at the University of Washington in Seattle for 10 years."
- Anne Midgette, THE NEW YORK TIMES, 27 Nov., 2007
“Again Tebaldi convinces us that she is indeed a heroic Verdi soprano � she can throw a grand phrase out into the house in commanding fashion�.Tebaldi’s top voice gives her no trouble this afternoon�.The re of Maria/Amelia is admirably tailored to Tebaldi’s gifts�.there is comfort in the more imposing creation which Guarrera achieves in his second broadcast. The baritone had been granted the season première and additional performances as well, and experience and further study show themselves in his meaningful reading of every line of text and each musical phrase. He is in firm vocal form�.�
- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.258-60
“I heard Tebaldi many times, as a standee at the old Metropolitan Opera House from the mid-1950s through the early 1960s, and I never stopped marveling at the sheer beauty of the voice, her ability to project a pianissimo throughout the auditorium so that even though the note was extraordinarily soft, it sounded as if she were standing right next to you. The plushness of tone was probably the most unique feature of her singing, and along with that an innate sense of the appropriate shape of the phrase she was singing. She was not a subtle actress, never inflecting every phrase with subtexts of meaning the way Callas could, but nor was she a disengaged singer just pouring out lovely sounds. Her acting, both physical and vocal, was sincere and convincing, and at times very powerful. Her Butterfly broke your heart every time, through the moving way she shaped the ebb and flow of the music. There was no way you could see her as a 15 year old geisha, but by the wedding scene of the first act you were a complete believer.
Above all, there was that voice. It was immediately recognizable, distinctive, unlike any other. If you tuned in to a radio broadcast without hearing an announcement, two notes would be enough to identify the richly colored, luxurious sonority of the Tebaldi sound, a sound that caressed the ear and at the same time enveloped you. For many of us it was the sound that defined what an Italian soprano should be.�
- Henry Fogel, FANFARE
"...for some thirty years, until his sudden death in 1975, Tucker's vocal security, boundless energy, unceasing enthusiasm, and thorough professionalism ensured a level of popularity that necessitated comparisons to some of his greatest predecessors....Tucker sang thrillingly and delivered the goods, communicating his own joy in singing to all who would listen...."
- Marc Mandel, FANFARE, May/June, 1997
“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