OP1652. AÏDA, Live Performance, 30 May, 1950, w.Picco Cond. Palacio de Bellas Artes Ensemble, México City; Maria Callas, Giulietta Simionato, Kurt Baum, Robert Weede, Nicola Moscona, etc. (Italy) 2-Accademia 23013. Long out-of-print, Final copy! - 803266841038
"Though Aïda's part in the second scene of Act II is not of pivotal dramatic importance, an extraordinary feat by Callas demands attention. Instead of the written ending for Aïda in the 'Triumphal Scene', Callas soars upward an octave and sustains a full-voiced E-flat in alt virtually through the end of the orchestral postlude....Baum was given as big a jolt as the audience when the moment arrived. He declared furiously that he would never sing again with Callas....It fits well with the scope and pagentry of the scene and is thrilling in sheer visceral excitement."
- John Ardoin, THE CALLAS LEGACY, pp.13-14
“Giulietta Simionato was the greatest Italian mezzo-soprano of her era, an artist whose singular career was shaped as much by her innate elegance as by her extraordinary musical and dramatic gifts. In an era before opera singers were pigeonholed as ‘specialists’, Simionato constructed a personal repertoire that stretched from the eighteenth-century graces of Mozart, Gluck and Cimarosa to the bel canto heroines (and heroes) of Bellini, Donizetti and Rossini to the formidable ladies of Verdi, Mascagni, Ponchielli and Cilèa. Today, it would be highly unlikely for an impresario to cast the same artist as Cherubino and Amneris, but Simionato sang them both - as well as Carmen, Octavian, Mignon, Berlioz's Didon, Valentine in LES HUGUENOTS and nearly one hundred other rôles.
Simionato's voice, brilliant in the upper register and luminous in mid-range, was not so large as those of her Italian contemporaries, but her arresting combination of verbal clarity and emotional honesty made her one of the most charismatic artists to emerge on the international scene in the 1950s. She was a petite woman, but her superb figure and perfect posture - to say nothing of the very high-heeled shoes she favored both on- and offstage - made her seem statuesque. Simionato's characterizations, unfailingly bold yet never broad, were charged with enormous compassion: audiences succumbed as much to her generous spirit as to the sheer beauty of her sound.
Born in Forlì, in Romagna, Simionato made her stage début at seventeen, in a musical comedy at the Teatro Sociale in Rovigo, and studied voice with Guido Palumbi in Padua. After a few professional appearances in small rôles, she won a singing competition sponsored by the Maggio Musicale that brought her a contract for her Florence début, in the world premiere of Pizzetti's ORSÈOLO, in 1935. The following year, Simionato began her professional association with La Scala, as a Flowermaiden in PARSIFAL. For the better part of the following decade, she was chiefly confined to comprimario rôles in Milan, a situation in part due to the seniority (and political connections) of other mezzos on the La Scala roster, such as Gianna Pederzini and Cloe Elmo. Simionato's luck began to change after she acquired new management and won good notices as Dorabella in Geneva, Octavian in Trieste and Cherubino at the Edinburgh Festival. A particularly successful 1947 engagement in Genoa as Thomas' Mignon, a character to which she was ideally suited, brought an invitation to repeat the rôle at La Scala. Simionato made an enormous hit, and her status as a major star was assured.
Simionato was active at all the principal theaters in Italy but remained especially beloved at La Scala, where her legendary triumphs included Rubria in Boito's NERONE under Toscanini (1948); Giovanna to Maria Callas' Anna Bolena (1957); Didon in the La Scala premiere of LES TROYENS (1957); Valentine in LES HUGUENOTS (1962); and Arsace to Joan Sutherland's Semiramide (1962). She appeared regularly at Salzburg, where she made memorable appearances as Orfeo (1959) and Azucena (1962) under Karajan's baton, and in Vienna, Paris, Mexico City and London, where her Covent Garden appearances included Adalgisa to Callas' Norma (1953) and Azucena in Luchino Visconti's staging of IL TROVATORE (1964).
Simionato made her U.S. opera début in 1953, as Charlotte to Cesare Valletti's Werther, at San Francisco Opera. San Francisco also heard Simionato as Rosina and as Marina in BORIS GODUNOV (in Italian) during her first SFO season, but she did not sing with the company again until 1962, when she returned as Azucena, Santuzza and Mistress Quickly.
Like many of the leading Italian artists of her generation, Simionato considered her artistic home in the U.S. to be Lyric Opera of Chicago (then known as Lyric Theatre of Chicago), where she bowed in 1954, as Adalgisa to Callas' Norma. Simionato sang thirteen rôles in her six seasons with the company, allowing Chicago to hear a more generous sampling of her great specialties than any other North American city. In October 1957, immediately after making her New York début as Giovanna in an American Opera Society concert of ANNA BOLENA, Simionato traveled to Chicago, where she sang two performances each of MIGNON, Santuzza, Laura in LA GIOCONDA, Cherubino and the Princesse de Bouillon in ADRIANA LECOUVREUR for Lyric Opera, all within the span of a month. Six days after her final Chicago ADRIANA - during which she injured her ankle and sang Act III seated in an improvised wheelchair - Simionato made another significant U.S. début, when she appeared in L'ITALIANA IN ALGERI during the inaugural season of Dallas Civic Opera. Two weeks after her final Dallas ITALIANA (on 24 November), Simionato opened the La Scala season, as Ulrica in a brand-new UN BALLO IN MASCHERA. Such a rigorous schedule was business as usual for the fiercely disciplined Simionato, who typically sang eighty performances a year during the 1950s - and rarely canceled.
In 1954, the Met announced that Simionato would make her company début that season, as Orfeo, but she canceled her scheduled appearances, ceding the run of Gluck's opera to Risë Stevens. Simionato finally arrived at the Met on the opening night of the 1959–60 season, when she was Azucena in a new TROVATORE, directed by Herbert Graf. Despite her acclaim from the New York press and a significant number of devoted fans in Manhattan, Simionato sang just twenty-eight performances in four seasons with the Met - twelve as Amneris, six as Azucena, five as Santuzza and two as Rosina in BARBIERE, plus three 1965 tour performances of SAMSON ET DALILA, in which she sang Dalila in Italian, while the rest of the cast sang in French. The SAMSON presented during the 1965 spring tour's stop in Detroit marked Simionato's final Met performance and her final opera performance in the U.S.
The following season, when her second marriage, to the celebrated Italian physician Cesare Frugoni, was about to take place, Simionato decided to retire from the opera stage. She chose the thirtieth anniversary of her La Scala début – 6 February, 1966 - as the date. When she learned that the opera on the Scala schedule that night was Mozart's LA CLEMENZA DI TITO, Simionato learned the soprano rôle of Servilia in a few days and did a single performance of the opera at Piccola Scala. She did not sing in public again, save for a 1979 gala in honor of Karl Böhm, the maestro who had paced her first Cherubino, some thirty-two years earlier; in tribute to him, Simionato sang ‘Non so più’, transposed down an octave. Simionato enjoyed a long and comfortable retirement, frequently serving as a competition adjudicator and relishing the opportunity to comment on the state of singing in the years after she left the stage. After Frugoni's death, in 1978, Simionato married industrialist Florio De Angeli, who died in 1996.
Thanks to the impressive number of recordings she made during her great years, Simionato's artistry remains present and persuasive. Other artists may have filled Verdi with more sheer power or charged Rossini with a higher degree of virtuosity, but more than seventy-five years after her début, Simionato still sounds fresh and modern and natural in every measure. One cannot resist the spontaneity of her phrasing, the unerring simplicity with which she weights every word and reveals her profound connection to her music. It is a gift that will always set her apart from her rivals - if one chooses to accept that she had any.”
- F. Paul Driscoll, OPERA NEWS, May, 2010
“Zinka never paused to consider the effect her ‘Milanovisms’ might have on others. She once saw very religious Kurt Baum crossing himself before the third act of TROVATORE. Zinka just looked at him and said, ‘If you don’t know it Baum, Gott ain’t gonna help you.”
- Anna-Lisa Björling, JUSSI, p.261
“A dramatic tenor alternately gauche and exciting, Kurt Baum filled a crucial spot for the Metropolitan Opera and other houses without ever quite having attained star status. Long after his nominal retirement from the stage, he continued to make concert appearances. Noted throughout his career for stentorian top notes, he later wrote several treatises on preservation of the voice and singing well in old age. Whatever his deficiencies as an artist, he was an exemplar of longevity. Baum spent his high school and college years in Cologne, Germany, before entering medical school at Prague University in 1927. During this period, Baum engaged in a number of athletic activities, becoming the amateur boxing champion of Czechoslovakia. He also evinced a strong interest in music. Urged by friends to sing professionally, Baum left medical school and enrolled at Berlin's Music Academy in 1930. By 1933, Baum was sufficiently well prepared to win the Vienna International Singing Competition, taking first prize among 700 contestants. Heard by the Intendant of the Zurich Opera, Baum was engaged for that company and made his début there in 1933 singing in Alexander von Zemlinsky's DER KREIDEKREIS. After singing a variety of lyric roles at Zürich, Baum was engaged the following year by the Deutsches Theater for a succession of more dramatic roles. Feeling the need for further study, Baum traveled to Italy to work with Eduardo Garbin in Milan and with faculty at Rome's Accademia Santa Cecilia. Fortified with additional technical expertise, Baum sang in many of Europe's leading houses in Paris, Vienna, Budapest, Monte Carlo, and at Salzburg. Heard in Monte Carlo by the director of the Chicago Opera, Baum was engaged and made his American début in Chicago on 2 November, 1939, singing Radames to the Aïda of Rose Bampton. He was heard in subsequent seasons as Don José and Manrico. Meanwhile, Baum joined the Metropolitan Opera, making his début on 27 November, 1941, as the Italian Singer in DER ROSENKAVALIER. In this short but memorable part, his talents were well matched to the role's requirements. For the next quarter century, Baum sang the spinto repertory at the Metropolitan to reviews both complimentary and critical. When the company mounted WOZZECK for the first time in 1959, Baum found a highly congenial role in the preening Drum Major. After WWII, Baum returned to Europe and made his début at La Scala as Manrico and re-established relations with several other major companies.”
- Erik Eriksson, allmusic.com