OP1562. SIBERIA (Giordano), Live Performance, 5 Feb., 1974, w.Belardinelli Cond. RAI Ensemble, Milano;
Luisa Maragliano, Amedeo Zambon, Walter Monachesi, Franco Pugliese, etc.; Scaglia Cond. Teatro Donizetti Ensemble, Bergamo; MAGDA OLIVERO, AMEDEO ZAMBON, etc.: Arias from La Wally & Adriana Lecouvreur – Live Performance, 9 Oct., 1972. 2-Opera d'Oro OPD 1375. Very long out-of-print, Final Copy! - 723724517721
“Maragliano’s 1959 début 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 rôles included ATTILA , AÏDA (over 500 times),IL TROVATORE , NABUCCO , ANDREA CHÉNIER and TURANDOT (Liù). Almost inexplicable is that such a talent of this vocal type has been ignored by the recording industry.”
- Z. D. Akron
“Amadeo Zambon (1934-2000) was an Italian tenor in the mold of Mario Del Monaco. This no surprise as he was taught by Mario’s brother Marcello Del Monaco. Marcello, in his turn, was taught by Arturo Melocchi who also taught Mario. Melocchi was known for his advocacy of the ‘lowered larynx’ method of singing which was credited with producing the stentorian vocal production that made Mario famous.
Zambon had a creditable career, but not the one his obvious gifts would seem to have merited. He sang mainly in second tier houses. He made a solitary appearance at the Met in 1978 as Manrico in IL TROVATORE; he substituted for an ill Giorgio Merighi. He sang in AIDA in Dallas, but as far as I know never sang at La Scala. He was in the 1969 New York concert performance of Bellini’s LA STRANIERA that featured Montserrat Caballé. He did appear a number of times at the San Carlo in Naples. For many years he was the leading tenor at the Istanbul Opera where he sang roles in Turkish. All the documents of his singing were made in performance, often by audience members with smuggled tape recorders. .
As you will hear, Zambon had a powerful spinto or even dramatic tenor. Subtlety was not his forte – forte and more…like an intercontinental ballistic missile – stunning. He could really sing very loud. His high notes had squillo…I think if a voice like this appeared today that it would be in demand at all of the great opera houses.”
- Neil Kurtzman