OP2584. IL TROVATORE, Live Performance, 23 Feb. 1953, w.Votto Cond. La Scala Ensemble; Maria Callas, Gino Penno, Ebe Stignani, Carlo Tagliabue, etc. (E.U.) 2-Myto 00314. - 0801439903142
"For Callas, the distinguishing quality of this TROVATORE is her handling of Leonora's two arias. In each, lines are slimmer, more elegant and more contained."
- John Ardoin, THE CALLAS LEGACY, p.65
“Short in stature and by no means slender, mezzo-soprano Ebe Stignani was a paragon among twentieth-century singers in her vocal range, a compass sweeping from low F to a shining high C of a quality and power many dramatic sopranos envied. Although she herself admitted to being no actress, her stage appearances carried enormous force through her singing alone. Her career was born in an age of other great mezzos and extended nearly three decades into the prime years of Giulietta Simionato, Elena Nicolai, and Fedora Barbieri. She recorded often, preserving several of her most celebrated roles in complete performances.”
- Erik Eriksson, allmusic.com
“In the early 1950s, Gino Penno became known throughout Italy as a highly competent heldentenor singing Siegfried at the Verona Arena and Lohengrin in Rome. He also partnered Maria Callas in Norma, Macbeth, Il Trovatore, and Medea, in various theatres in Italy
In 1951, his career took an international turn. He appeared at the Paris Opéra, the Liceo in Barcelona, the Monte Carlo Opera, the Metropolitan Opera in New York, and the Royal Opera House in London.
He was very highly thought of both for his musicianship and his reportedly enormous voice, of magnificent quality.”
- Henry Fogel, FANFARE
“Gino Penno, who sang at the Met between 1954 and 1956, seems better suited to the urgency and desperation of Gabriele Adorno’s scena from SIMON BOCCANEGRA, ‘Sento avvampar nell’anima’. Giuseppe Campora is revealing a voice at once sturdy and supple, always at the service of his high-level musicianship and dramatic sensitivity. In a Met career that spanned 1955 to 1965, he partnered both Lily Pons and Maria Callas in a run of 1956 LUCIAs and the following year sang performances of LA TRAVIATA with Tebaldi and Leonard Warren. In every aria, Campora’s beautiful legato allows plenty of play for rhythmic details, dotted notes and word accents, and his musical intelligence and dramatic instincts are superb.”
- Judith Malafronte, OPERA NEWS, June, 2015
“Carlo Tagliabue’s début was 1921 in Lodi as Amonasro. After several appearances in various theatres he came to La Scala in 1929 at Toscanini’s behest. He appeared in 39 different rôles at La Scala alone. His conductors were de Sabata, Serafin, Guarnieri, Votto, Marinuzzi and Karl Böhm (who admired him as Wolfram). Further stations of his career were the Arena di Verona, Rio de Janeiro, San Paolo, Lisbon, Wiesbaden and Vienna. In 1936 he sang at Covent Garden in a Gala performance on the occasion of the coronation of George VI. For two seasons he appeared at the Met as Rigoletto, Amonasro and Marcello. His home remained La Scala, he belonged to its ensemble for more than 30 years until his farewell in a performance of LA TRAVIATA with Maria Callas and Gianni Raimondi in 1958.
I admire the beauty and warmth of his voice and his phenomenal breath control. It is a pity that he was not able to record before 1939! He had to compete with baritones like Viglione-Borghese, Stracciari, Urbano and Galeffi! Very important his participation in two of icomplete recordings of IL TROVATORE (Previtali) and LA FORZA DEL DESTINO (Marinuzzi).”
- Andrea Shum-Binder, subito-cantabile