La Straniera (Bellini)  (Sanzogno;  Renata Scotto, Renato Cioni, Domenico Trimarchi)  (2-Arkadia 566)
Item# OP0435
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La Straniera (Bellini)  (Sanzogno;  Renata Scotto, Renato Cioni, Domenico Trimarchi)  (2-Arkadia 566)
OP0435. LA STRANIERA (Bellini), Live Performance, 10 Dec., 1968, Palermo, w.Sanzogno Cond. Teatro Mássimo Ensemble; Renata Scotto, Renato Cioni, Domenico Trimarchi, Elena Zilio, Maurizio Mazzieri & Enrico Campi. [Without question, this offers one of Scotto's most radiant and persuasive performances!] (Italy) 2-Arkadia 566, w.19pp. Libretto-Brochure. Very long out-of-print, Final Copy! - 8011571566826


“Better voices sing these parts with more body and security, but they are dull; they could easily feed their voices onto computer tape and let technology sing for them. Parceling out the notes as each score reads, for only Scotto takes the trouble to distinguish….Scotto is the last of the mad-genius sopranos….When she goes, opera is [will be, and is] in a lot of trouble. Above all, she is mistress of the traditions, with a grasp on authenticity.”


“Renata Scotto's long and successful operatic career was marked by a rare combination of dramatic intensity and vocal flexibility, which allowed her to traverse a wide variety of styles. She believed strongly in the theatrical elements of performing and always focused her energies on the meaning of a text. She also felt much of the standard verismo performing tradition to be exaggerated and vulgar, and strove to keep her performances as close to the composer's marked intentions as possible, especially with respect to subtleties of dynamics. Many speak of her as ‘the last of the divas’.

She began vocal studies when she was 14, and moved to Milan when she was 16. In 1952, when she was just 19, she made her debut as Violetta (LA TRAVIATA) at the Teatro Nuovo, followed by her La Scala debut as Walter in LA WALLY. However, only a few years later she had a vocal crisis, losing most of her upper range; she now credits her recovery to Alfredo Kraus (himself renowned for a solid technique and vocal longevity), who introduced her to his teacher, Mercedes Llopart. After completely restudying her technique, she re-began her career as a coloratura, making her London debut at the Stoll Theater as Adina in L'ELISIR D'AMORE. She returned to La Scala, and in 1957, replaced Maria Callas (whom she had greatly admired) as Amina in LA SONNAMBULA.

In 1960, she debuted at the Chicago Opera as Mimi (LA BOHEME), followed by her Covent Garden debut in 1962 as Puccini's Cio-Cio san (MADAMA BUTTERFLY). Her Metropolitan Opera debut was in 1965 was also as Butterfly; during the next two decades, Scotto was one of their major stars, appearing in several telecasts.

She began to add the heavier roles to her repertoire again, including Verdi's Lady Macbeth, which was to become a signature role, as well as verismo parts such as Fedora, La Gioconda, Francesca in Zandonai's FRANCESCA DA RIMINI and Maddalena in ANDREA CHENIER. In all of these roles she was applauded for her committed acting and stylistic fluency. While no recording can fully recreate the impressions of a stage performance, her first recording of MADAMA BUTTERFLY, under John Barbirolli, is one of her most vivid. After making a name for herself in the standard repertoire, Renata Scotto devoted a good deal of her energies to exploring forgotten operas, like ZAIRA. Sadly ZAIRA was not able to capitalize on this revival and has since languished in obscurity. I say sadly because it has all of the traits that make operas like NORMA and I PURITANI so compelling: vocal writing displaying the highest understanding of the human voice, coupled with exciting dramatic momentum. Renata Scotto gives a nuanced and beautifully sung performance and demonstrates that she was the queen of Italian style of her day. The sound is excellent.”

- Anne Feeney,

"Renata Scotto is a musician. She is a studious woman who is devoted to her career. I have seen her at work and her dedication to opera is complete, profound, and remarkable. She will finish singing only to return to the score and study again. She has given herself to opera, body and soul; and she never stops learning. That is why her characterizations are always so fresh."

- Plácido Domingo, SCOTTO, MORE THAN A DIVA, p.xii