Il Trovatore  /  Pagliacci  (Cleva;  Corelli, Price, Dalis, Sereni, Stratas, Amara, Colzani)    (2-Myto 917.51)
Item# OP1363
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Product Description

Il Trovatore  /  Pagliacci  (Cleva;  Corelli, Price, Dalis, Sereni, Stratas, Amara, Colzani)    (2-Myto 917.51)
OP1363. IL TROVATORE, Live Performance, 4 Feb., 1961, w.Cleva Cond. Met Opera Ensemble; Leontyne Price, Franco Corelli, Irene Dalis, Mario Sereni, Teresa Stratas, etc.; PAGLIACCI - Excerpts, 11 April, 1964, w.Santi Cond. Met Opera Ensemble; Franco Corelli, Lucine Amara, Anselmo Colzani, Franco Ghitti & Calvin Marsh. [This is the first Met Opera Broadcast with Price & Corelli, shortly after their Met debuts the previous week, 27 January!] (Italy) 2-Myto 917.51, w.Libretto-Brochure. Very long out-of-print, Final Sealed Copy of this early Myto issue. - 8014399000512

CRITIC REVIEWS:

"[Price's] voice, warm and luscious, has enough volume to fill the house with ease, and she has a good technique to back up the voice itself. She even took the trills as written, and nothing in the part as Verdi wrote it gave her the least bit of trouble. She moves well and is a competent actress. But no soprano makes a career of acting. Voice is what counts, and voice is what Miss Price has."

- Harold C. Schonberg, THE NEW YORK TIMES, 28 Jan., 1961





"Price and Corelli are two of the greats. To hear Leonora's great moments sung with such beauty and Manrico's big moments sung with such passion (and, believe it or not, Corelli can sing softly and with sensitivity when he wants to) is truly something."

- Michael Mark, AMERICAN RECORD GUIDE, Jan./Feb., 2012





"With Manrico's offstage serenade, Corelli presents a representative calling card. Vocal size and rugged style mark him as an open-air tenor. The vibrancy of his timbre is unequalled among tenors, and often it holds a commendable warmth as well. For all Corelli's élan, the afternoon belongs to Price. Price's voice is in immaculate condition from the moment of her entrance. Most satisfying is the evenness of timbre throughout the range. One can only marvel at the incredible beauty of her voice, the surety of her technique, and the authority of her performance. What a pleasure it is to hear all the intricate tracery of Verdi's arias, including some quite scrupulous trills and, in the cadenzas, a pair of neat D-flats. Price confirms her greatness in the fourth act."

- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.374-75





"Irene Dalis, a versatile and fiery mezzo-soprano who starred at the Metropolitan Opera for two decades before building a second career as the director of Opera San Jose, an innovative company she founded in her California hometown, did not set out to be a singer or an impresario. She studied piano and music education at what was then San Jose State College before earning a master's degree at Columbia's Teachers College in Manhattan in the late 1940s. The plan was to go back home and teach. Yet her instructors in New York were struck by her voice and encouraged her to develop it. She began taking lessons with the mezzo-soprano Edyth Walker. Instead of returning to San Jose, she went to Italy to study voice on a Fulbright scholarship in 1951. Just two years later she made her operatic debut as Princess Eboli in Verdi's DON CARLO in Oldenburg, Germany. Four years after that, she performed the same role at the Met. Her debut at the Met, on 16 March, 1957, was 'one of the most exciting of the season', Howard Taubman wrote in THE NEW YORK TIMES. 'By the time she reached the second-act trio she showed she could sing with temperament', Mr. Taubman said. 'And in the third-act, 'O don fatale', one of Verdi's greatest dramatic arias, she was like a veteran. Her voice, which has range, security and brilliant top notes, was now under full control. She sang and moved with a total absorption in the emotion of the character. Her singing had color and fire. In terms of sheer quality there may be more sumptuous voices at the Met in the mezzo-soprano division; Miss Dalis uses hers like an artist'.

For the next two decades, Ms. Dalis was among the Met's most admired performers, appearing more than 270 times and singing virtually every major mezzo-soprano part written by Verdi, Wagner, Richard Strauss and others. She was nurtured by Rudolf Bing, the Met's formidable general manager, and performed with Birgit Nilsson, Jussi Bjorling, Robert Merrill, Leontyne Price, Placido Domingo and Leonie Rysanek.

She would perform for another decade, but in the mid-1970s she finally went home to California to teach voice, finding a position at San Jose State. Her work with students there led to her founding of Opera San Jose in 1984. It was modeled on a program in Oldenburg, which gave young performers like Ms. Dalis the chance to sing big roles early in their careers. 'In the old days, singers started singing major roles at a young age, and it didn't ruin their voices, did it?' she said in an interview with OPERA NEWS in 2007. The company, which performs at the California Theater, a restored 1927 movie palace, has its own costume and set shops, owns administrative buildings and provides apartments to some performers. Ms. Dalis ran it until this June. OPERA NEWS called Opera San Jose 'the only opera company in the U.S. entirely dedicated to developing the careers of emerging young artists'."

- William Yardley, THE NEW YORK TIMES, 18 Dec., 2014





"[Colzani] may never have quite entered the pantheon of great Italian baritones, but Anselmo Colzani was never that far off. He also had to contend with an era in which the likes of Tito Gobbi, Ettore Bastianini and Giuseppe Taddei bestrode the world’s opera stages….He was in demand internationally too, making his Metropolitan Opera début in 1960, where he played Simon Boccanegra. There was a great deal of pressure on the new arrival, as the Met’s favourite baritone, Leonard Warren, had died weeks before. If Colzani never became the next Warren, he did become a Met regular. He sang 272 performances there over the next 16 seasons."

- James Inverne, GRAMOPHONE, June, 2006





“Although he never achieved the star status of his some of his baritone contemporaries in the Italian repertory, Mario Sereni was an unfailingly sincere, intelligent artist of great commitment….Sereni, was a valuable member of the Metropolitan Opera’s roster for more than 27 seasons, beginning with his company debut, as Carlo Gerard in Andrea Chenier, in 1957. Sereni enjoyed a long and steady career at the Metropolitan Opera. In twenty-seven seasons, he sang most of the important baritone roles of the Italian repertory in opera such as Ernani, Luisa Miller, Il Trovatore, La Traviata, Un Ballo in Maschera, La Forza del Destino, Don Carlo, and Aida. He also sang in La Gioconda, Cavalleria Rusticana, Pagliacci, Manon Lescaut, La Boheme, and Madama Butterfly, as well as L'Elisir d'Amore and Lucia di Lammermoor. In 1964, Sereni was a memorable Ford in the first performances of Franco Zeffirelli’s beloved Met staging of Falstaff, conducted by Leonard Bernstein. He also appeared in the 1972 Met gala saluting Rudolf Bing. Sereni made his last appearance with the Met in 1984, as Schaunard in La Boheme.

Sereni was also a regular guest at the opera houses of Chicago, San Francisco and Dallas. He also enjoyed a successful international career appearing frequently at the Vienna State Opera, La Scala in Milan and the Teatro Colon in Buenos Aires.

Despite his success, Sereni always remained in the shadow of the more charismatic baritones of his time, principally Leonard Warren, Robert Merrill, Ettore Bastianini, Rolando Panerai and Piero Cappuccilli, yet Sereni’s many recordings reveal a singer and musician of considerable distinction, with a handsome voice, a solid technique, and a fine sense of style.”

- OPERA NEWS, 1 Aug., 2015