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
“…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
“Giuseppe Taddei was a distinguished Italian baritone who made his Metropolitan Opera début to glowing notices in 1985 at the astonishing age of 69. Born in Genoa on 26 June, 1916, Mr. Taddei made his operatic début in 1936, as the Herald in a production of Wagner’s LOHENGRIN in Rome. In the decades that followed he performed on many of the great opera stages of Europe, including those of the Vienna State Opera, La Scala and Covent Garden. In the 1950s, Mr. Taddei appeared in the United States with the San Francisco and Dallas Civic Operas; he was also long known to listeners here through his many recordings. In the 1960s, he sang in New York in concert performances. But until 25 Sept., 1985, when he stepped onto the stage at Lincoln Center in the title role of Verdi’s FALSTAFF, Mr. Taddei had never sung at the Met. At his curtain call, THE NEW YORK TIMES reported, Mr. Taddei received ‘a rafter-shaking ovation’.
Opera exacts a great toll on the voice. Singers often retire in their 50's, at least from weightier fare. Appearing at a major opera house in one’s late 60s is highly unusual; making a début at that age, breathtakingly so. To do so to the kind of rapturous reviews Mr. Taddei received is almost beyond contemplation. What apparently stood Mr. Taddei in good stead was the Italian bel canto tradition — the lighter, less forceful style of singing in which he had been trained — which can let its practitioners extend their careers beyond the usual retirement age. In all, Mr. Taddei performed with the Met 21 times. Besides Falstaff, which he sang in 1985 and 1986, he appeared as Dr. Dulcamara in L’ELISIR D’AMORE in 1988.
Reviewing Mr. Taddei’s Met début in The Times, Donal Henahan wrote: ‘His Falstaff, not only wittily acted and fully formed, was astonishingly well sung. The voice is not exactly plummy these days, but it retains a wonderfully liquid quality in lyric passages’.
If Mr. Taddei could sing like that at 69, then why had the Met not signed him in even plummier days? As Mr. Taddei explained in a 1985 interview with The Times, the reasons centered on diplomacy, or rather what he saw as the lack of it. In 1951, he said, Rudolf Bing, then the Met’s general manager, asked him to audition. That did not sit well with Mr. Taddei, who was already a star in Europe. He declined Mr. Bing’s request. In 1958, Mr. Taddei said the Met tried to engage him again, at $600 a week. That did not sit well with Mr. Taddei, who asked for more money. The Met declined his request. A quarter-century went by. Then, in the early 1980s, after Mr. Taddei sang a well-received Falstaff at the Salzburg Festival in Austria, Mr. Levine, the Met’s music director, approached him. He offered Mr. Taddei the part of Fra Melitone in Verdi’s FORZA DEL DESTINO — a role typically billed sixth from the top. That did not sit well with Mr. Taddei . As he told THE TIMES, ‘I said thank you, but coming for the very first time, I think I should come as protagonista’. And thus, as Falstaff, Mr. Taddei went onstage a world-renowned singer and came back a star.”
- Margalit Fox, THE NEW YORK TIMES, 4 June, 2010
"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