L'Amico Fritz   (Gavazzeni;  Raimondi, Freni, Panerai)   (2-Myto-065.336)
Item# OP1318
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Product Description

L'Amico Fritz   (Gavazzeni;  Raimondi, Freni, Panerai)   (2-Myto-065.336)
OP1318. L’AMICO FRITZ, Live Performance, 7 Dec., 1963, w.Gavazzeni Cond. La Scala Ensemble; Mirella Freni, Gianni Raimondi, Rolando Panerai, etc. (Slovenia) 2-Myto-065.336. Long out-of-print, final copies! - 608974503369

CRITIC REVIEWS:

“The Italian tenor Gianni Raimondi had a prestigious career lasting three decades. From 1956 to 1976 he sang frequently at La Scala, where his partner a number of times during the early years was Maria Callas. His voice, smooth and warm in tone with a good coloratura facility and very strong top notes, was ideal for 19th-century Italian opera from Rossini and Donizetti to Verdi and Puccini and he rarely sang anything outside that repertory, apart from a few French rôles and a couple of modern operas.”

- Elizabeth Forbes, THE INDEPENDENT, 27 Oct., 2008





"Mirella Freni made her operatic début in Modena in 1955, when 19 years old, as Micaëla in Bizet's CARMEN. She later married her teacher, the piano player and director Leone Magiera, resuming her career in 1958 when she performed Mimì in Puccini's LA BOHÈME at the Teatro Regio in Turin, and sang in The Netherlands Opera 1959-60 season. Her international breakthrough came at Glyndebourne, where she sang as Adina in Franco Zeffirelli's staging of Donizetti's L'ELISIR D'AMORE; in the Glyndebourne 1960-62 season she sang the Mozart comic rôles of Susanna in LE NOZZE DI FIGARO and Zerlina in DON GIOVANNI.

In 1961, Freni made her Royal Opera House début as Nannetta in Verdi's FALSTAFF, and in 1963, her La Scala début in another Zeffirelli production conducted by Herbert von Karajan; Freni went on to become one of Karajan's favourite singers, working with him in operas and concerts. In 1965 she made her Metropolitan Opera début as Mimì, and later appeared there as Liù in Puccini's TURANDOT and Marguerite in FAUST; her Juliette in ROMÉO ET JULIETTE ran for 139 performances. The following year she sang Mimì again for her Philadelphia Lyric Opera Company début, with Flaviano Labò as Rodolfo.

From the early 1970s into the 1980s Freni sang heavier Verdi rôles, particularly Elisabetta in John Dexter's production of DON CARLO, Desdemona in OTELLO (opposite Jon Vickers), Amelia in SIMON BOCCANEGRA, Elvira in the Luca Ronconi staging of ERNANI, Leonora in LA FORZA DEL DESTINO, and the title rôle of AÏDA. She also added the Puccini heroines of Manon Lescaut and Tosca to her repertoire, and recorded MADAMA BUTTERFLY and the three rôles of IL TRITTICO.

Freni starred in the 1975 film MADAMA BUTTERFLY opposite Plácido Domingo, with von Karajan conducting and Jean-Pierre Ponnelle directing, and in 1976, played Susanna in the Ponnelle film LE NOZZE DI FIGARO, which also featured Dietrich Fischer-Dieskau, Dame Kiri Te Kanawa and Hermann Prey.

In 1978 she married Nicolai Ghiaurov, one of the leading operatic basses of the post-war period. Together they helped to establish the Centro Universale del Bel Canto in Vignola, where they began giving master classes in 2002. Following Ghiaurov's death in 2004, Freni continued their work of preserving the Bel Canto tradition, and currently teaches young singers from around the world.

Freni extended her repertoire and style during the 1990s with Italian Verismo, taking on the title rôles of Cilea's ADRIANA LECOUVREUR in Milan, Paris, Barcelona and New York, and Giordano's FEDORA in London, Milan, New York, Torino, Barcelona and Zürich. In 1998, she performed Giordano's MADAME SANS-GÊNE in Catania. During this time she sang in the Russian operas of Tchaikovsky, appearing as Tatiana in EUGEN ONEGIN, Lisa in PIQUE DAME, and Ioanna in THE MAID OF ORLEANS.

Mirella Freni ended her professional career on stage with THE MAID OF ORLEANS at the Washington National Opera on 11 April 2005, performing the teenager Ioanna (Joan of Arc) at 70 years of age.”





“Rolando Panerai, an Italian baritone who sang more than 150 roles at leading international opera houses, made many classic recordings and appeared frequently with the celebrated soprano Maria Callas in her prime, was widely admired throughout a 65-year operatic career for his full-bodied sound and the elegance of his singing. Steeped in the Italian vocal heritage, he sang with supple phrasing and evenness throughout his entire vocal range. If not the most charismatic presence onstage, he readily conveyed authority and dramatic depth and brought a light comedic touch to the title roles of Puccini’s GIANNI SCHICCHI and Rossini’s THE BARBER OF SEVILLE, among many other characters. Though his repertory was extensive, Mr. Panerai focused closely on Italian opera. Earlier in his career, he sang several German roles in Italian translation, like Amfortas in Wagner’s PARSIFAL.

Outlining the requisite qualities of a true ‘Verdi baritone’ in an interview earlier this year with Classical Singer magazine, Mr. Panerai essentially described his own voice: ‘a dark brownish tint like bronze’ coupled with ‘the quality of the metal, which reminds us of the power and strength’. In a 1996 interview with Bruce Duffie for WNIB, a former classical music radio station in Chicago, Mr. Panerai cautioned younger singers about being ‘dragged into’ the characters they portray. ‘I am used to acting with a certain detachment or coldness’, he said. By acting that way ‘you can act better’, he asserted, and more effectively convey ‘what the composer has to say’.

Famous from his recordings and busy in Europe, Mr. Panerai had a lower profile on American opera stages. Mr. Panerai singing Figaro in a production of THE MARRIAGE OF FIGARO at the San Francisco Opera in 1958. Famous from his recordings and busy in Europe, Mr. Panerai had a lower profile on American opera stages. His performances sounded anything but detached. On a 1955 live recording of Donizetti’s LUCIA DI LAMMERMOOR, a production at the Berlin State Opera conducted by Herbert von Karajan starring Callas, Mr. Panerai holds his own in every gripping moment of the confrontation between his character, Enrico, the head of a Scottish estate in severe decline, and Callas’ Lucia, Enrico’s tormented sister, whom he is trying to force into an advantageous marriage to save the family from ruin. Callas sounds frantic and dazed by her brother’s bullying. Yet below the surface bluster of Mr. Panerai’s Enrico, you hear the panic of a prideful young man who needs his fragile sister to rescue him. Mr. Panerai sang often with Callas during the 1950s, the most important decade of her career, and made several treasured opera recordings with her, including versions of Bellini’s I PURITANI, Verdi’s IL TROVATORE and Puccini’s LA BOHÈME. He called Callas ‘the greatest singer I ever listened to or worked with’ in the 1996 interview.

In 1972, 16 years after the BOHÈME with Callas, Mr. Panerai recorded the role of Marcello, this time with Mirella Freni as Mimì, Luciano Pavarotti as Rodolfo and Karajan conducting the Berlin Philharmonic. It is the BOHÈME of choice for many Puccini-lovers.

He sang one of his signature roles, Ford in FALSTAFF, on three acclaimed recordings: with Karajan conducting the Philharmonia Orchestra of London in 1956; with Leonard Bernstein leading the Vienna Philharmonic in 1966; and again with Karajan, in 1980, also leading the Vienna Philharmonic. The critic Peter G. Davis, reviewing the last version for THE NEW YORK TIMES, wrote that Mr. Panerai’s ‘dark, vibrant, firm, slightly dry tone has changed remarkably little with age, nor has his characteristic nobility of expression, incisive diction and elegant feeling for Verdian phrases deserted him’.

Rolando Panerai was born the youngest of three brothers on Oct. 17, 1924, in Campi Bisenzio, near Florence. His father, Oreste, ran a shoe factory. His mother was Ada (Paoli) Panerai. Rolando was drawn to music early. He studied at the academy in Florence, continued his training in Milan and made his stage debut in 1946 as Enrico in “Lucia di Lammermoor” at the theater in his hometown.

He never appeared at the Metropolitan Opera, though he was offered some engagements early in his career. But by then he had a family and wanted to stay closer to home. He continued to sing, as well as coach and, in later years, direct operas, through his 70s. In 2011, at 87, he sang the title role of GIANNI SCHICCHI in Genoa. Mr. Panerai attributed his longevity to sensible work habits, giving up smoking in his 20s and eating a Mediterranean diet. He advised younger singers to focus on their artistry and not obsess about a career. ‘It is best to sing well and not become bigheaded’, he said in 1996. ‘The rest comes all by itself’.”

- Anthony Tommasini, THE NEW YORK TIMES, 30 Oct., 2019