Forza del Destino   (Previtali;  Cavalli, Tucker, Taddei, Dominguez, Clabassi)   (2-Archipel 0531)
Item# OP2338
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Product Description

Forza del Destino   (Previtali;  Cavalli, Tucker, Taddei, Dominguez, Clabassi)   (2-Archipel 0531)
OP2338. LA FORZA DEL DESTINO, Live Performance, 4 Aug., 1961, Buenos Aires, w.Previtali Cond. Teatro Colón Ensemble; Floriana Cavalli, Richard Tucker, Giuseppe Taddei, Oralia Dominguez, Plinio Clabassi, etc. (E.U.) 2-Archipel 0531. Specially priced. - 4035122405316

CRITIC REVIEWS:

“…Alvaro served as Tucker’s début rôle at the Teatro Colón…in 1960. Though he would sing a number of rôles during his six seasons at the historic theatre….his first Forza del Destino in Buenos Aires haunted him because Warren was to have sung with him.”

- James A. Drake, RICHARD TUCKER, p.185



"...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



"Taddei is splendid, one of Italy’s greatest baritones, with a voice rich and powerful as well as gorgeous…..What a pity Taddei never had a major career at the Met….His great Verdi singing and acting at age 69 [while at the Met] would put many baritones half his age to shame.”

- Michael Mark, AMERICAN RECORD GUIDE, Sept./Oct., 2012



“There used to be a saying in Italy: ‘We gave the rest of the world Tito Gobbi, but we kept Giuseppe Taddei for ourselves’. Whatever the respective merits of these two baritones who dominated the scene in the early postwar period, Taddei was undoubtedly a superb artist and, in fact, possessed the superior voice. It was voluminous, richly mellifluous and admirably flexible. He handled it with immense intelligence and he kept his vocal faculties intact over a career spanning 50 years. Taddei’s repertory was vast — more than 100 rôles. Having made his rôle début as Falstaff in the late 1940s, he was still singing the rôle under Karajan in Salzburg more than three decades later and at his belated Metropolitan Opera début in 1985. His warm, rounded tone and subtle underlining of notes and text made him an ideal Falstaff, a portrayal that, fortunately, has been preserved on records and video. Few Italian baritones have exhibited the exceptional versatility that was Taddei’s hallmark. Apart from the accomplishments of his singing, he was a stage being through and through, able with a gesture or facial expression to create character and mood. The longevity of his career is evidence enough of the solidity of his technique. Taddei died at his home in Rome, 2 June, 2010.”

- THE SUNDAY TIMES, 5 June, 2010



"Known as a versatile artist effective in dramatic and comic roles…[Taddei] had an ample, warm, and smooth voice and was a very fine vocal actor, delivering the many declamatory passages with excellent diction."

- Kurt Moses, AMERICAN RECORD GUIDE, July/Aug., 2005



"Oralia Dominguez is a Mexican mezzo-soprano who was active in the mid-20th century. She was born in Northwest Mexico in the town of San Luis Potosi and studied at the National Conservatory of Mexico where she made the acquaintance of the composer Carlos Chavez who championed her career. In 1951 she sang the role of Amneris in AÏDA for the first time at the Palacio de Bellas Artes in Mexico City with Maria Callas, Mario del Monaco and Giuseppe Taddei under the direction of Italian conductor Oliviero De Fabritiis. A recording of this performance has circulated since that time and is still regarded as one of the most exciting performances of this very popular opera on record. She made her European debut in 1953 at London's Wigmore Hall. That same year she appeared with the La Scala company performing Verdi's MANZONI REQUIEM at the Lucerne Festival. She recorded it the following year under the direction of Victor de Sabata. The following year she appeared throughout Europe with such conductors as Tullio Serafin, Igor Markevitch, Paul Kletzki and Herbert von Karajan. In 1955, she made her debut at the Royal Opera House, Covent Garden, singing in the world premiere of Michael Tippett's A MIDSUMMER'S MARRIAGE."

- Ned Ludd