OP3022. LA FANCIULLA DEL WEST, Live Performance, 20 Feb., 1967, Venezia, w.de Fabritiis Cond. Teatro La Fenice Ensemble; Magda Olivero, Gian Giacomo Guelfi, Daniele Barioni, etc.; MAGDA OLIVERO, w.IRIS ADAMI CORRADETTI (Pf.): Opera Arias, Live Performance, 1971, Padova. (Italy) 2-Myto 933.83, w.Libretto-Brochure. In spacious stereo sonics. Very long out-of-print, Final Copy. - 8014399000833
“Olivero is a miracle - demonstrating a huge emotional range through the use of dynamic shading and remarkable tonal coloration. She is one of those singers who simply grabs you through the force of her vocal personality and brings you into the heart of the music. The appropriate word is ‘thrilling’.”
- Henry Fogel, FANFARE
“Often referred to as ‘the last verismo soprano’, Magda Olivero was an artist whose total immersion in her roles combined with astounding vocal longevity to earn her legendary status among lovers of expressive singing. Young Magda studied piano, harmony, counterpoint and then voice, auditioning at Turin’s EIAR radio for conductor Ugo Tansini, whose appraisal has become part of the Olivero legend: ‘She possesses neither voice, musicality nor personality!... She should look for another profession’. A second audition produced the same response, but also aroused the interest of voice teacher Luigi Gerussi, who offered to train her. After a period of arduous vocal study, Olivero made her major-role stage début in Turin as Lauretta in GIANNI SCHICCHI in 1933, the same year bowing at La Scala as Anna in NABUCCO. Her easy high notes and impeccable coloratura led to roles such as Gilda, Manon and Sophie, and she was encouraged by Tullio Serafin to specialize in bel canto repertoire. But Olivero’s heart was in verismo, and she had the opportunity to work closely with a number of composers, including Giordano, Alfano, Mascagni and Cilèa, sometimes creating roles for them, always gaining their admiration. (Thirty-one of the forty-four composers whose operas Olivero sang during her career were still alive when she began to study.) In 1938, Olivero sang Liù in the world-premiere recording of TURANDOT, one of her few commercial recordings, and in 1939 she sang her first Adriana Lecouvreur, the role with which she became most identified. Olivero married industrialist Aldo Busch in 1941, abandoning her career for a decade, singing only occasional concerts to aid charities during the war.
Francesco Cilèa, who considered Olivero the greatest interpreter of his Adriana, finally persuaded the soprano to return to the stage. Writing to her, Cilèa insisted it was Olivero’s duty ‘toward her public and her art’. The elderly composer was dying and wanted to hear Olivero as Adriana one last time. When she worked on the role with him, Cilèa declared Olivero had ‘gone beyond the notes’ to what he felt when he created Adriana. Two weeks after returning to the stage as Mimì, on 20 January, 1951, Olivero sang Adriana; sadly, Cilèa had died months earlier, but he was the catalyst for an astounding second Olivero career phase, lasting four more decades.
Although Olivero kept singing Manon and Violetta, this second career focused mainly on verismo heroines — Suor Angelica, Butterfly, Fedora, Manon Lescaut, Margherita (MEFISTOFELE), Iris, Minnie, Giorgetta (IL TABARRO) and Tosca. She also continued to participate in premieres of new works, by Renzo Rossellini, Ottorino Gentilucci, Flavio Testi and Gian Francesco Malipiero. Olivero won acclaim in Menotti’s MEDIUM and Poulenc’s DIALOGUES DES CARMÉLITES (Mother Marie) and LA VOIX HUMAINE, and as a hair-raising Kostelnicka in JENUFA at La Scala.
Her career expanded beyond Italy, and a U.S. début took place in Dallas in 1967, where, she was persuaded, after some hesitation, to sing Cherubini’s Medea. Her reticence, based on the success of Maria Callas in the role in that city, proved unfounded; the performances were a sensation. New York area performances began in 1969, in Hartford Connecticut, with her legendary Adriana. The enterprising Maestro Alfredo Silipigni then brought Olivero to his New Jersey State Opera; local opera lovers journeyed to Newark for unforgettable Olivero evenings of TOSCA, FEDORA and MEFISTOFELE. In the meanwhile, a Philharmonic Hall début in 1971 featured the soprano in a recital coupled with LA VOIX HUMAINE in the same evening.
But it was not until 1975, at the instigation of her great admirer Marilyn Horne, that the Met finally invited Magda Olivero for three performances as Tosca. She made her début soon after her sixty-fifth birthday. Although the audience was wildly demonstrative, this was no mere nostalgia event. After a few minutes to warm up and conquer nerves, Olivero’s voice was astonishingly fresh, shedding decades by Act II. At the second performance, this listener was treated to the most touching, spectacularly sung ‘Vissi d’arte’ of his experience. During Act III, Olivero’s ascent to a spectacular, lengthy high C and plunge down two octaves into chest voice on the line ‘Io quella lama’ earned her a spontaneous ovation. This old-school audience response was inspired by the artist’s old-school stage deportment; it was an evening that, in the best sense, turned back the clock whenever she was onstage. Olivero’s total belief in the reality of the drama prevented her performances from ever being reduced to shtick. And her prodigious technique and breath control spoke of a bygone era, but one in which she was unique among veristas, none of whom matched her vocal capabilities.
Olivero continued to sing, albeit with less frequency, until 1983, when the death of her husband caused her to retire with no fanfare or farewells. However, in 1993, at eighty-three, Olivero recorded excerpts from her beloved ADRIANA LECOUVREUR, making a final artistic statement on the role, still able to offer passages of ethereal beauty and expression. Her art is extensively documented in live-performance audio recordings and a handful of video documents — every one a lesson.”
Ira Siff, OPERA NEWS, 8 Sept., 2014
“Daniele Barioni is an Italian opera singer who had a prolific career during the 1950s through the 1970s. Early on in his career he rose to fame as a leading tenor at the Metropolitan Opera between 1956 and 1962. Afterwards he worked primarily in opera houses and concerts throughout the United States, although he did make numerous appearances in both Europe and South America as well. Barioni was particularly associated with the operas of Giacomo Puccini and the roles of Turiddu in Mascagni's CAVALLERIA RUSTICANA and Alfredo in Verdi's LA TRAVIATA.
Barioni began his singing studies in 1949 in Milan with Attilio Bordonali, initially studying the baritone repertoire. He made his professional singing début that same year at the Circolo Italia, Milan, in a concert with the Chilean soprano Claudia Parada. Not too long after, his teacher became convinced he was actually a tenor and began training Barioni in the tenor repertoire for the next five years. His operatic début was in 1954 as Turiddu in CAVALLERIA RUSTICANA at the Teatro Nuovo, Milan.
In 1956 Barioni came to the United States to join the roster at the Metropolitan Opera where he sang for seven seasons for a total of 54 performances. During his tenure at the Met, Barioni sang opposite some of the world's finest sopranos including Lucine Amara, Maria Callas, Mary Curtis Verna, Victoria de los Ángeles, Dorothy Kirsten, Zinka Milanov, Leonie Rysanek, Giulietta Simionato, Antonietta Stella, and Renata Tebaldi, among others. He made his début with the company on 20 February 1956 as Mario Cavaradossi in TOSCA with Delia Rigal in the title role and George London as Scarpia. Just two days later he sang his first Rodolfo in Puccini's LA BOHÈME opposite Licia Albanese, his most frequent leading lady at the Met, as Mimì. His last performance at the Met was on 27 November, 1962 as the Italian Singer in Richard Strauss' DER ROSENKAVALIER.
Though for many years his career was mostly developed in the United States, he sang in Italy in different cities and theaters, and also in Brazil, Mexico, Argentina, Canada, Portugal, France, Germany and Ireland. In 1958 he appeared in an Italian film, CAROSELLO DI CANZONI. Though he was a favorite in Rome where he sang for many years at the Opera and Caracalla, he sang at the famous La Scala only in 1966, as Pinkerton and Turiddu. Though his repertory was basically that of a spinto tenor and he was always asked to repeat his well-known roles in TOSCA, LA FANCIULLA DEL WEST or CAVALLERIA RUSTICANA, he also obtained acclaim in NABUCCO, MACBETH, FEDORA, ANDREA CHÉNIER, TURANDOT and LA GIOCONDA.
Barioni married in 1957 the Italian-American pianist Vera Franceschi. In 1958 their son Giulio Barioni was born. She died prematurely of leukemia in 1966. Her death also meant the decline of Barioni's career as a singer. From 1975 to 1980 he appeared in opera and concerts, but not so often as in previous years. His last appearance was in a concert with Renata Tebaldi at the Teatro Comunale, in Ferrara, in 1981, to receive the Premio Frescobaldi 1980.
He made some recordings for the Metropolitan Opera Club, available by subscription on a limited basis only.”
- Ned Ludd
“Giangiacomo Guelfi [not to be confused with Carlo Guelfi, a younger baritone] studied at the Centro Lirico in Florence, as well as with legendary Italian baritone Titta Ruffo, and made his opera début in the title role of Verdi's RIGOLETTO in 1950, an exceptionally young age for such a work. He won the Spoleto Experimental Theater Prize and made his La Scala début in 1952 as The Visitor in Castro's PROSERPINA Y EL EXTRANJERO. He made his London début two years later at Drury Lane as Gérard in Giordano's ANDREA CHÉNIER. Though he drew considerable acclaim in a 1957 performance of Verdi's I DUE FOSCARI in Venice, and he was considered a rising star during the late '50s and early '60s, it was not until his 1964 performance of Verdi's MACBETH at La Scala that he was acknowledged as a full-fledged star. He made his Metropolitan début in 1970 as Scarpia. He was particularly admired during his prime for his powerful voice, but like many possessors of such voices, occasionally indulged in bellowing and, toward the end of his career, relied excessively on extra-musical vocal effects.”
- Anne Feeney, allmusic.com