OP1109. DON CARLOS, Live Performance, 16 June, 1956, w.Votto Cond. Maggio Musicale Fiorentino; Angelo Lo Forese, Cesare Siepi, Ettore Bastianini, Giulio Neri, Anita Cerquetti, Fedora Barbieri, etc. (E.U.) 3-Myto 00170. Long out-of-print, Final Sealed Copy! - 8014399501705
"A tenor who is molto forte is Angelo Lo Forese who, when I last checked, was still performing at the age of 91. Here he is from a long-ago recording with a convincing throb in his voice that might seem corny now but was plausible a couple of generations ago. This is what cultists look for when they try to hear what Toscanini might have heard.
Lo Forese was born in Milan in 1920. He began his studies in 1938 and stopped in 1941 when he fled Italy for Switzerland during World War II. He returned to Italy after the war and made his début, as a baritone, in PAGLIACCI as Silvio. He continued his studies, including lessons with tenor Aureliano Pertile who became a star at La Scala in 1916 and at the Met in 1921. Lo Forese’s tenor début was in the demanding role of Manrico, IL TROVATORE. It is music he still sings today. His rendition of ‘Di quella pira’ at the age of 90 is forceful, with impressive high notes and more fidelity to the score...."
- Fred Plotkin, WQXR, 17 Oct., 2012
“Mr. Siepi was a classic Italian basso cantante, or ‘singing bass’, with a warm, slightly dark voice that was ideally suited to Mozart. Yet his voice was so robust that he could easily summon the power for King Philip II in DON CARLO, Gurnemanz in PARSIFAL and the title role in BORIS GODUNOV. In his prime, the tall, handsome Mr. Siepi, a natural onstage, was a favorite at the Metropolitan Opera, where he gave nearly 500 performances, singing 17 roles during a 23-year association. Bing wrote in his 1972 memoir, 5,000 NIGHTS AT THE OPERA, [that Siepi] ‘made an overpowering debut and a well-deserved great career at the Metropolitan’. After his first Don Giovanni at the Met in 1952, Mr. Siepi became the Giovanni of choice in houses around the world, bringing a sly blend of vocal refinement and animal magnetism to his portrayal. Critics and audiences embraced him for a wide range of roles. Assessing an impressive Gurnemanz in a 1970 PARSIFAL at the Met, the critic Herbert Weinstock wrote in the British magazine OPERA that Mr. Siepi ‘really sang the role rather than growling it and acted with touching conviction’, articulating Wagner’s words ‘as if born to them’. He also excelled in broadly comic roles, like Don Basilio in Rossini’s BARBIERE.
At 18, urged on by friends, he entered a voice competition in Florence and won first prize. A manager in the audience quickly engaged him to sing the role of the hired assassin Sparafucile in Verdi’s RIGOLETTO for a production in Schio, near Vicenza. With the outbreak of war he moved to neutral Switzerland, returning to Italy when hostilities ended. He appeared in Verdi’s NABUCCO at La Scala in Milan in the first postwar production at the reconstructed theater, which had been damaged by bombs.
After his breakthrough Met debut, Mr. Siepi was in demand internationally. He scored triumphs at the Salzburg Festival during the 1950s and made several live recordings there, including a 1954 DON GIOVANNI conducted by Wilhelm Furtwängler, with Elisabeth Schwarzkopf and Erna Berger among the cast.
In his day Mr. Siepi was considered a natural successor to Ezio Pinza. Like Pinza, who had starred in SOUTH PACIFIC, Mr. Siepi appeared in a stage musical, BRAVO GIOVANNI. The critic Howard Taubman, writing in THE NEW YORK TIMES, praised Mr. Siepi for bringing ‘the richest and best cultivated vocal instrument to Broadway’ since Pinza. The show, however, unlike Pinza’s SOUTH PACIFIC, was a flop. Still, Taubman gave the famous bass credit for trying. ‘Happily’, he concluded, ‘Mr. Siepi is at ease in his new surroundings and his voice glorifies them’.”
- Anthony Tommasini, THE NEW YORK TIMES, 8 July, 2010
“While Ettore Bastianini's career was quite short, it was also distinguished. He was regarded as having one of the finest Verdi and verismo voices of his day, though his vocal gifts were not always matched by an equal musicianship.
Bastianini studied privately with Gaetano Vanni, and sang in the local choir. His professional solo debut was in a concert in Siena early in 1945, and his operatic debut was at the Ravenna opera as Colline in Puccini's LA BOHEME later that year. He sang at the smaller houses throughout Italy and even went abroad to Cairo with a touring company, still singing the bass repertoire, including Mephistopheles in Gounod's FAUST. His La Scala debut was in 1948 as Tirésias in Stravinsky's OEDIPUS REX. During these years, he began to wonder if he was truly a bass, and in 1951, he made his debut as a baritone early in 1951 at the Bologna Opera as Germont in LA TRAVIATA. However, the performance was not especially successful, and he resumed intense studies over the next few months, giving special attention to developing his upper register. When he returned to the stage that summer, he had achieved just that goal, and his high notes were now considered his vocal glory. In 1953 Bastianini performed opposite Maria Callas for the first of many times, as Enrico Asthon in LUCIA DI LAMMERMOOR at the Teatro Comunale Florence. That same year he sang the role of Carlo Gérard in Giordano's ANDREA CHÉNIER for the first time at the Teatro Regio di Torino. He made his Metropolitan Opera debut as Germont on 5 December, 1953, opposite Licia Albanese as Violetta and Richard Tucker as Alfredo. The following January he sang Enrico to Lily Pons' Lucia and Jan Peerce's Edgardo at the Met. On 10 May, 1954, he made his debut as a baritone at La Scala, in the title role of Tchaikovsky's EUGENE ONEGIN with Renata Tebaldi as Tatyana.
In the Fall of 1954, Bastianini joined the roster of the Metropolitan Opera where he sang regularly through May 1957. His roles at the Met during this time included Amonasro, Carlo Gérard, Count di Luna, Enrico, Germont, Marcello in LA BOHEME, Rodrigo in Don Carlo, and the title role in RIGOLETTO. He later returned to the Met in the Spring of 1960 to portray several roles including Don Carlo in LA FORZA DEL DESTINO. He returned to the Met again in January 1965 where he spent most of that year singing in several of his prior roles with the company, as well as performing Scarpia in TOSCA. His 87th and final performance at the Met was as Rodrigo on 11 December, 1965. It was also coincidentally the last performance of his career.
In 1956, he made his Chicago debut as Riccardo in Bellini's I PURITANI. In 1962, he made his Covent Garden debut as Renato in UN BALLO IN MASCHERA. Early in 1963, he left the stage for a few months, letting it be understood that he was resting, but in fact, he was undergoing treatment for throat cancer. His return performances and subsequent performances were poorly received, often with booing from the audience, as he was often hoarse, off-pitch, and under-powered. While he was deeply dismayed at this, he still did not speak of his illness; for all except family and close friends, it came as a complete surprise until after the announcement of his death. His last performance was in 1965 at the Metropolitan Opera.”
- Anne Feeney, allmusic.com
“Anita Cerquetti, a gifted Italian soprano who rose to instant fame in 1958 when she was called on to substitute for the mythic and sometimes mystifying Maria Callas in one of opera’s most dramatic episodes, and three years later surprised people again by ending her own career, died 11 October,in Perugia, Italy. She was 83. Her death was confirmed by Alfredo Sorichetti, a conductor who helps oversee an annual singing competition and academy named in Miss Cerquetti’s honor, in her hometown, Montecosaro. She had been hospitalized for several days after a heart attack, he said.
The drama that brought Miss Cerquetti worldwide attention began on 2 Jan., 1958, a Thursday, the opening night of Bellini’s NORMA at the Teatro dell’Opera in Rome. After Callas, the glamorous American-born prima donna in the lead role, received a few derogatory whistles amid much applause for the first aria, ‘Casta Diva’, she began to appear tense. She never emerged for the second act, locking herself in her dressing room. Boos, hoots and foot-stomping shook the cheap seats. In the royal box, the president of Italy, Giovanni Gronchi, and his wife waited nearly an hour before leaving, and the show never resumed. Callas retreated to her hotel, insisting she was ill, and stayed there for five days. She could hear chants in the street below: ‘Down with Callas!’. By Saturday, there was a new chorus: ‘Long live Italian women!’.
Those were the words that met Miss Cerquetti, a rising star who happened to be performing the same role in Naples, when she stepped in for Callas at the Teatro dell’Opera for the first time on that Saturday night. The audience loved her, roaring at her version of ‘Casta Diva’.
Callas apologized for her absences and offered to return to the stage the following week — to sing two performances free. The manager of the opera house declined, and the Italian government, which subsidized the opera house, ordered her replaced. The role now belonged to Miss Cerquetti, who had a powerful, dramatic voice that audiences adored. Miss Cerquetti, who was just 25, had already impressed opera lovers in the United States, making her début with the Chicago Opera in 1955, singing the role of Amelia in Verdi’s UN BALLO IN MASCHERA. But while replacing Callas thrust her to a new level, it also took a toll. She went on to noted performances at La Scala in Milan and elsewhere, and on Italian radio broadcasts, but just three years after those tumultuous days at Teatro dell’Opera, she abruptly retired and all but disappeared. This time, it was Miss Cerquetti who faced questions. Had her voice failed? Did she have neurological issues? Heart problems? She blamed fatigue. ‘It got to the point where I had absolute need of physical rest. Above all, I needed to sleep. This was from stress. But, thank God, my vocal cords remained intact and have remained so until today. This is the truth’.
‘Miss Cerquetti’s recorded performance of arias by Verdi, Bellini, Spontini and Puccini leaves no doubt that her voice is a remarkable instrument’, John Briggs wrote in The New York Times in 1957 in a review of an Operatic Recital by Anita Cerquetti, one of a small number of commercial recordings she made. ‘Whether it is being used with skill is another question’.
‘I received many offers to return. There were moments when I almost accepted. But then I thought, what’s the point? I’ve already found my peace, my serenity. To return under the gun? Basta! And so I closed the door’.”
- William Yardley, THE NEW YORK TIMES, 16 OCT., 2014
“The career of Anita Cerquetti was all too brief. She withdrew from the scene in 1961 after establishing herself as one of the leading artists of the world. It was a stupendous instrument, to my ears a more natural voice than either Callas’ or Sutherland’s. Cerquetti recorded very little, though there is a good deal of live material. Her recording of ‘Casta diva’ from Bellini’s NORMA is singing to be treasured.”
- Michael F. Bott, THE RECORD COLLECTOR, 2011
“In a career that lasted barely a decade, dramatic soprano Anita Cerquetti established an immense reputation that survives into the twenty first century. Why did she retire at age 30? Countless explanations have been advanced to justify Cerquetti's early departure from the stage, ranging from heart problems to ennui, impending motherhood to an instrument about to collapse owing to overuse. Yet not one seems satisfactory. Spasms in the facial nerves were an initial cause cited by the singer. After retiring for a period to rest, she returned to the stage. Why, then, did she permanently retire shortly after her reappearance? Cerquetti has suggested that she was tired and looking forward to giving birth to a child. That child, however, made her appearance some years after Cerquetti's retirement. The real truth may never be known and is perhaps unknown even to the diva herself. Despite the mystery surrounding the closing of Cerquetti's career, those ten years were of an undeniable magnitude. The soprano's voice -- large, bright, firmly supported up to an E flat above high C, searing in its penetrative power -- would have been a phenomenon in any age. Although its agility stopped short of the rapid-fire precision demonstrated by Maria Callas or Joan Sutherland, its keen focus was of the sort that stopped listeners in their tracks. Like other such densely compacted voices with fast vibratos, it sometimes veered sharp on top and was sensitive to dry acoustics. Cerquetti's was an instrument that required open spaces to fully unfold. Following a mere year of vocal study at the Conservatory in Perugia, Cerquetti made her début in Spoleto singing the title rôle in Aïda. From the very beginning, she was exposed to intense pressures to help fill the critical need for sopranos who could sing the dramatic repertory. For her début, she was also asked to assume the rôle of the High Priestess for a singer who had fallen ill. From that point through her final great year in 1958, she expended herself coming to the aid of those who had pressing need of her. When she was called upon to take over the rôle of Norma from Callas during a January 1958 production in Rome, she sang the rôle both there and in Naples, where she was already contracted. America heard too little of her, but she made an unforgettable impression in Chicago when Tullio Serafin (a mentor to the artist) brought her to the Lyric Opera for Verdi's UN BALLO IN MASCHERA, which also starred Jussi Björling and Tito Gobbi. When the soprano returned two years later, she was in less-glowing voice, but her Elisabetta in DON CARLO was well received. Despite her considerable size, Cerquetti learned to move with poise on-stage; with advice from both Serafin and coach Mario Rossi, she likewise learned to phrase with eloquence and beauty of sound. Though lacking a true pianissimo, she achieved the effect of softness and reflection by keeping her instrument truly and gently on the breath.”
- Erik Eriksson, allmusic.com
"Fedora Barbieri, a dramatic mezzo-soprano celebrated for Verdi interpretations that were extensively preserved on records and film, was gifted with a large, opulent voice. Miss Barbieri was of the same generation as Cesare Siepi, Giuseppe di Stefano, Boris Christoff and Jussi Bjorling. A favorite with European audiences from the 1940s on, she later won acclaim in New York, particularly for her appearances as Azucena in IL TROVATORE, AMNERIS in AIDA, ADALGISA in BELLINI'S NORMA, and in the Verdi REQUIEM.
Her 1950 New York debut itself entered opera history, coming on the night Rudolf Bing first faced his audience as the general manager of the Metropolitan Opera. He opened an era with a boldly ambitious revival of DON CARLO in which Miss Barbieri sang the role of Princess Eboli.
The Immigration and Naturalization Service had turned Bing's entire inaugural season into a cliffhanger days before the curtain rose on it. Acting under the 1950 Internal Security Act, it confined shiploads of arriving aliens on Ellis Island on the grounds that they could be threats to the United States; Miss Barbieri, Christoff and Zinka Milanov were among them.
Miss Barbieri's offense was attending school in Fascist wartime Italy, a circumstance that she stated in her visa application. She and the other soloists were freed just in time for the show to go on.
Miss Barbieri, Mr. Bjorling (in the title role) and Mr. Siepi, making his debut as Philip II, appeared in what Olin Downes of THE NEW YORK TIMES described as an occasion that revealed afresh 'the melodic opulence and dramatic power of Verdi's genius'. Miss Barbieri, he said, was a 'superb mezzo from Italy, with a kindling dramatic temperament'.
Fedora Barbieri made her professional debut in 1940 as Fidalma in Cimarosa's MATRIMONIO SEGRETO. She sang her first Azucena the next night and repeated Fidalma the night after that, a feat that quickly established her reputation in Europe as a masterly interpreter of the Italian repertory at its most demanding.
She sang in Rome, made her debut at La Scala in 1943, sang in South America and went to London with La Scala in 1950. She made an immediate impression at Covent Garden, singing Mistress Quickly in FALSTAFF, and giving one of her stirring performances in the REQUIEM.
She remained a regular at La Scala and sang at the Metropolitan primarily in the 1950s and 60s. Of her many Verdi roles, she favored Eboli in her earlier years, but later leaned toward the lower registers of Azucena and Amneris. She finally found Mistress Quickly best attuned to her voice. Her repertory included 109 roles."
- Wolfgang Saxon, THE NEW YORK TIMES, 7 March, 2003