Product Description
V1523. WILLIAM MATTEUZZI: Arias from Otello, Tancredi, La Gazza Ladra, Zelmira, Cenerentola, Barbiere, L’Italiana in Algeri, Le Comte Ory & Ricciardo e Zoraide (all Rossini); I Puritani, Così, Il Matrimonio Segreto, Gianni Schicchi & Die Lustige Witwe. (Italy) Bongiovanni 1210, Live Performances, 1980-99. - 8007068121021
CRITIC REVIEWS: “Italian tenor William Matteuzzi had a unique voice. And if Pavarotti was haled as the ‘King of the High Cs’, Matteuzzi can rightfully be claimed the ‘King of the High Fs’ – high F above high C! His specialty was the high stratosphere of the 19th Century bel canto school of Rossini, Donizetti, and Bellini with throat-shredding tessitura and high notes….Matteuzzi sings everything full voice! – big, imposing, colorful in sound, with agility to spare and sensible musicality….Saving the best for the end, Matteuzzi roars through the incredibly difficult ‘Credeasi Misera’ from Bellini’s PURITANI. It must be heard to be believed.”
- Charles H . Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2009
"Matteuzzi has been widely admired, not least for the good taste and the stylistic refinement of his singing. This is evident from the first in the trio from Le comte Ory where phrases have a grace of tone and movement that momentarily call to mind the name of Tito Schipa. IL VIAGGIO A REIMS finds him achieving an agility over a wide vocal range...in passages of pure unforced lyricism he is most gratefully heard and the sighing semi-diseur style of Offenbach's ariette is enchanting.”
- GRAMOPHONE
CRITIC REVIEWS: “Italian tenor William Matteuzzi had a unique voice. And if Pavarotti was haled as the ‘King of the High Cs’, Matteuzzi can rightfully be claimed the ‘King of the High Fs’ – high F above high C! His specialty was the high stratosphere of the 19th Century bel canto school of Rossini, Donizetti, and Bellini with throat-shredding tessitura and high notes….Matteuzzi sings everything full voice! – big, imposing, colorful in sound, with agility to spare and sensible musicality….Saving the best for the end, Matteuzzi roars through the incredibly difficult ‘Credeasi Misera’ from Bellini’s PURITANI. It must be heard to be believed.”
- Charles H . Parsons, AMERICAN RECORD GUIDE, Nov./Dec., 2009
"Matteuzzi has been widely admired, not least for the good taste and the stylistic refinement of his singing. This is evident from the first in the trio from Le comte Ory where phrases have a grace of tone and movement that momentarily call to mind the name of Tito Schipa. IL VIAGGIO A REIMS finds him achieving an agility over a wide vocal range...in passages of pure unforced lyricism he is most gratefully heard and the sighing semi-diseur style of Offenbach's ariette is enchanting.”
- GRAMOPHONE