Cosi fan Tutte  (Busch;  Jurinac, Thebom, Lewis, Noni, Kunz)  (Testament SBT 1040)
Item# OP0013
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Cosi fan Tutte  (Busch;  Jurinac, Thebom, Lewis, Noni, Kunz)  (Testament SBT 1040)
OP0013. COSÌ FAN TUTTE ­ Excerpts, Complete, as recorded, 1950, w.Busch Cond. Glyndebourne Ensemble; Sena Jurinac, Blanche Thebom, Alda Noni, Richard Lewis, Erich Kunz & Mario Borriello; Süsskind Cond.: several previously unreleased rehearsal sequences. (England) Testament SBT 1040. Long out-of-print, Final Copy! - 749677104023


“For the ideal melding of metal and warmth, Sena Jurinac is the Fiordiligi who has defined the rôle for our time….with typically high Glyndebourne standards, this is a set to treasure.”

- Tully Potter, Classical Record Collector, Winter, 2009

“With her graceful bearing and a voice both rich and penetrating, Sena Jurinac was a star of the first generation of European singers to emerge after World War II. She made her début in Vienna on 1 May, 1945 — in the company’s first performance in a liberated Austria — as Cherubino in Mozart’s NOZZE DI FIGARO, a rôle she sang 129 times there. Though she made her first mark in Vienna, which became her artistic home, her radiant Mozart performances at the Glyndebourne Festival in the 1950s catapulted her to international stardom. She also made lauded appearances at the Salzburg and Bayreuth Festivals, the Royal Opera House in London, the Teatro Colón in Buenos Aires, La Scala in Milan and the San Francisco Opera.”

- Zachary Woolfe, THE NEW YORK TIMES, 26 Nov., 2011

“The Jurinac voice was capable of a gleaming fortissimo, but it also commanded a wide range of shadings of colour and dynamic. The top notes could be floated with an ethereal purity; the middle and lower registers had a very human warmth….We owe her a great deal – and history has already judged her to be one of the immortal sopranos of the twentieth century.”

- Tully Potter

"In a field long dominated by Europeans, Ms. Thebom was part of the first midcentury wave of American opera singers to attain international careers. Associated with the Met from the mid-1940s to the mid-1960s, she was praised by critics for her warm voice, attentive phrasing and sensitive acting."

- Margalit Fox, THE NEW YORK TIMES, 28 March, 2010