OP1753. LA BOHEME (Leoncavallo), Live Performance, 15 Nov., 1958, Napoli, w.Molinari-Pradelli Cond. Teatro San Carlo Ensemble; Mafalda Masini, Rosetta Noli, Walter Monachesi, Ettore Bastianini, Doro Antonioli, etc. (E.U.) 2-Myto 00169. Final Sealed Copy! - 8014399501699
“Ruggero Leoncavallo (1857-1919) is, of course, best known as the composer of PAGLIACCI. He had the bad luck to write a pretty good opera, LA BOHEME, ( first performed in 1897) at about the same time as Puccini’s opera of the same title which first appeared in 1896. If Puccini’s masterpiece hadn’t been written, Leoncavallo’s opera would likely be at the frontier of the standard operatic repertoire.
His setting of Henri Murger’s novel SCÈNES DE LA VIE DE BOHÈME is well crafted, tuneful, and engaging from start to finish. It’s libretto (also by Leoncavallo) is not as good as the one Puccini received from Luigi Illica and Giuseppe Giacosa. The two operas clearly show the difference between talent and genius. Puccini’s LA BOHEME has swallowed the world leaving no room for Leoncavallo’s lesser effort.”
- Neil Kurtzman, 25 June, 2015
“While Ettore Bastianini's career was quite short, it was also distinguished. He was regarded as having one of the finest Verdi and verismo voices of his day, though his vocal gifts were not always matched by an equal musicianship.
Bastianini studied privately with Gaetano Vanni, and sang in the local choir. His professional solo debut was in a concert in Siena early in 1945, and his operatic debut was at the Ravenna opera as Colline in Puccini's LA BOHEME later that year. He sang at the smaller houses throughout Italy and even went abroad to Cairo with a touring company, still singing the bass repertoire, including Mephistopheles in Gounod's FAUST. His La Scala debut was in 1948 as Tirésias in Stravinsky's OEDIPUS REX. During these years, he began to wonder if he was truly a bass, and in 1951, he made his debut as a baritone early in 1951 at the Bologna Opera as Germont in LA TRAVIATA. However, the performance was not especially successful, and he resumed intense studies over the next few months, giving special attention to developing his upper register. When he returned to the stage that summer, he had achieved just that goal, and his high notes were now considered his vocal glory. In 1953 Bastianini performed opposite Maria Callas for the first of many times, as Enrico Asthon in LUCIA DI LAMMERMOOR at the Teatro Comunale Florence. That same year he sang the role of Carlo Gérard in Giordano's ANDREA CHÉNIER for the first time at the Teatro Regio di Torino. He made his Metropolitan Opera debut as Germont on 5 December, 1953, opposite Licia Albanese as Violetta and Richard Tucker as Alfredo. The following January he sang Enrico to Lily Pons' Lucia and Jan Peerce's Edgardo at the Met. On 10 May, 1954, he made his debut as a baritone at La Scala, in the title role of Tchaikovsky's EUGENE ONEGIN with Renata Tebaldi as Tatyana.
In the Fall of 1954, Bastianini joined the roster of the Metropolitan Opera where he sang regularly through May 1957. His roles at the Met during this time included Amonasro, Carlo Gérard, Count di Luna, Enrico, Germont, Marcello in LA BOHEME, Rodrigo in Don Carlo, and the title role in RIGOLETTO. He later returned to the Met in the Spring of 1960 to portray several roles including Don Carlo in LA FORZA DEL DESTINO. He returned to the Met again in January 1965 where he spent most of that year singing in several of his prior roles with the company, as well as performing Scarpia in TOSCA. His 87th and final performance at the Met was as Rodrigo on 11 December, 1965. It was also coincidentally the last performance of his career.
In 1956, he made his Chicago debut as Riccardo in Bellini's I PURITANI. In 1962, he made his Covent Garden debut as Renato in UN BALLO IN MASCHERA. Early in 1963, he left the stage for a few months, letting it be understood that he was resting, but in fact, he was undergoing treatment for throat cancer. His return performances and subsequent performances were poorly received, often with booing from the audience, as he was often hoarse, off-pitch, and under-powered. While he was deeply dismayed at this, he still did not speak of his illness; for all except family and close friends, it came as a complete surprise until after the announcement of his death. His last performance was in 1965 at the Metropolitan Opera.”
- Anne Feeney, allmusic.com