OP3036. TOSCA, Live Performance, 10 April, 1963 [not a broadcast], w.Moresco Cond. Philadelphia Grand Opera Ensemble; Birgit Nilsson, Ferruccio Tagliavini, Ramón Vinay, etc.; LA TRAVIATA – Excerpts, 1963, w. Moresco Cond. Philadelphia Grand Opera Ensemble: Vinay & Todeschi. (Italy) 2-Melodram CDM 270112. Very long out-of-print, final ever-so-slightly used copy. - 761193411225
“Nilsson made so strong an imprint on a number of rôles that her name came to be identified with a repertory, the ‘Nilsson repertory’, and it was a broad one. She sang the operas of Richard Strauss and made a specialty of Puccini's TURANDOT, but it was Wagner who served her career and whom she served as no other soprano since the days of Kirsten Flagstad.
A big, blunt woman with a wicked sense of humor, Ms. Nilsson brooked no interference from Wagner's powerful and eventful orchestra writing. When she sang Isolde or Brünnhilde, her voice pierced through and climbed above it. Her performances took on more pathos as the years went by, but one remembers her sound more for its muscularity, accuracy and sheer joy of singing under the most trying circumstances.
Her long career at the Bayreuth Festival and her immersion in Wagner in general, began in the mid-1950s. No dramatic soprano truly approached her stature thereafter, and in the rôles of Isolde, Brünnhilde and Sieglinde, she began her stately 30-year procession around the opera houses of the world. Her United States debut was in San Francisco in 1956. Three years later she made her début at the Metropolitan Opera, singing Isolde under Karl Böhm, and some listeners treasure the memory of that performance as much as they do her live recording of the rôle from Bayreuth in 1966, also under Böhm. The exuberant review of her first Met performance appeared on the front page of The New York Times on 19 Dec., 1959, under the headline, ‘Birgit Nilsson as Isolde Flashes Like New Star in 'Met' Heavens’."
- Bernard Holland, THE NEW YORK TIMES, 12 Jan., 2006
“Nearly any time opera lovers discuss inherently beautiful voices, Tagliavini's name is sure to come up. His smooth lyric tenor had a luxurious timbre, reminiscent of Tito Schipa's, and was also warm and extremely expressive. In another resemblance to Schipa, he had a particular gift for vocally caressing a phrase without making it sound like a studied effect, and could sing piano and pianissimo without crooning. He excelled in the lighter, lyric repertoire, and for many was the definitive Nemorino, Nadir (LES PÊCHEURS DE PERLES), Ernesto (DON PASQUALE), and Fritz (L'AMICO FRITZ) of his generation, or for some, even the century. He and composer Pietro Mascagni became close friends, and Mascagni claimed that Tagliavini was instrumental in making L'AMICO FRITZ a success. During his early years, he focused on this lyric repertoire, but as his career advanced, he added heavier roles, such as Loris Ipanov in Giordano's FEDORA, Riccardo in Verdi's UN BALLO IN MASCHERA, and Cavaradossi in Puccini's TOSCA.
His opera début was in Florence as Rodolfo in LA BOHÈME in 1938. After World War II, he gathered a wide following among American GIs still based in Italy. His La Scala début was in 1942, also as Rodolfo, as was his United States début in Chicago in 1946, and his Met début in 1957. In addition to his stage performances and recordings, he also appeared in many popular films, mostly of the light and sentimental type. He retired from the stage in 1965, but gave annual performances at Carnegie Hall through 1981. He was married to soprano Pia Tassinari, whom he met in 1940, (they later divorced), and during their marriage they frequently appeared together, as their repertoire was very often complementary. Their recording of L'AMICO FRITZ, conducted by the composer is a classic.”
- Anne Feeney, allmusic.com
"Chilean-born Ramón Vinay began his operatic career as a baritone (Mexico City, 1938), singing many of the major baritone roles…, but after study with tenor René Maison, he began a second career as a tenor (Mexico City, 1943), and after a long, distinguished career as a tenor, returned to the baritone repertoire in the 1960's, retiring in 1969 with a final Iago. He was most noted for tenor roles requiring great heft and power….His services were in demand everywhere."
- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006