Aida   (de Fabritiis;   Maragliano, Corelli, Mastromei, Ferrin)    (2-Myto 064.333)
Item# OP1305
Regular price: $39.90
Sale price: $19.95
Availability: Usually ships the same business day

Product Description

Aida   (de Fabritiis;   Maragliano, Corelli, Mastromei, Ferrin)    (2-Myto 064.333)
OP1305. A�DA, Live Performance, 18 July, 1972, Fabritiis Cond. Arena di Verona Ensemble; Franco Corelli, Luisa Maragliano, Luisa Bordin Nave, Gian Piero Mastromei, Agostino Ferrin, etc. (Slovenia) 2-Myto 064.333. Long out-of-print, Final Copy! - 608974503338


"Maragliano's 1959 debut at the Arena di Verona in LA FORZA DEL DESTINO, at the age of 28, was as a replacement for the indisposed Antonietta Stella. Her success ensured her presence there until the early '70s. The wide vocal range, the solid technique and great dramatic temperament soon made Luisa Maragliano a great favorite who sang in all the major theaters of the world (La Scala, San Carlo, Rome Opera, the Metropolitan (with the Rome Opera), Chicago, Vienna Staatsoper, etc.). In a broad repertory that ranged from Handel's GIULIO CESARE to Zandonai's FRANCESCA DA RIMINI, her roles included ATTILA , AIDA (over 500 times),IL TROVATORE , NABUCCO , ANDREA CHENIER and TURANDOT (Liu). Almost inexplicable is that such a talent of this vocal type has been ignored by the recording industry."

- Ned Ludd

"Franco Corelli had been singing for well over a decade when he made his Met debut in 1961 at the age of 40. The first attraction in any Corelli performance is the voice itself. Solid and evenly produced from bottom to top, with no audible seams between registers. The middle and lower parts of the voice are dark and richly colored. The top is stunningly brilliant, and never thins out or turns hard. It is a once-in-a-generation kind of voice if your generation is lucky, and in the four decades since his retirement in 1976 we have had nothing like it for visceral power. Some critics complained because Corelli would hold high notes well beyond their value in the score. But if we listen to singers from the past whose careers overlapped with the great Italian opera composers, and who often worked with them, we can easily conclude that the composers expected it. (A recording of an aria from Francesco Cilea's ADRIANA LECOUVREUR by tenor Fernando de Lucia, with the composer accompanying at the piano, exposes liberties that go far beyond anything Corelli ever did, and Cilea echoes those 'distortions' at the keyboard.)"

- Henry Fogel, FANFARE

“Italian tenors are notoriously susceptible to self-love, but Corelli's resistance is well below the average.”

- Irving Kolodin, the Saturday Review, December, 1965