Andrea Chenier (Cleva;  Zinka Milanov, Mario del Monaco, Leonard Warren, Frank Valentino)  (2-Nuova Era 2364/65)
Item# OP1869
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Product Description

Andrea Chenier (Cleva;  Zinka Milanov, Mario del Monaco, Leonard Warren, Frank Valentino)  (2-Nuova Era 2364/65)
OP1869. ANDREA CHÉNIER, Live Performance, 4 Dec., 1954, w.Cleva Cond. Met Opera Ensemble; Zinka Milanov, Mario del Monaco, Leonard Warren, Frank Valentino, Salvatore Baccaloni, etc. (Italy) 2–Nuova Era 2364/65, w.Elaborate 67pp. libretto–brochure. Long out-of-print, Final Copy!

CRITIC REVIEWS:

"It was always a given that del Monaco possessed a remarkably powerful, steady voice with unsurpassed brilliance and power. He was, however, often criticized for singing with little finesse, for using his power unrelentingly. That was never true (his many live broadcast recordings give even stronger evidence of his ability to sing with light and shade). I found myself thrilling to the sheer sound of the voice and to the commitment and passion with which he sang. What will surprise many is the variety of dynamics and color that the tenor did bring to his singing. It is easy for critics to comment on the method of a singer and to forget the most important element - the sound of the voice....His diction was a model of clarity and crispness, his intonation was almost always centered, and his rhythmic pulse was extremely strong. In many cases one listens to this kind of singing and longs for the days gone by when there were singers like this....old-timers...reminisce over one of the great operatic tenor voices to be heard in the 1950s and 60s, and younger listeners discover what a great 'tenore di forza' sounds like. We have nothing like him today."

- Henry Fogel, FANFARE





“Maddalena was a triumph of Milanov’s late career. She would choose it for her farewell in 1966 when she could still sing it with relative ease….In the second-act encounter with Chénier, her emotional involvement with the heroine’s plight is palpable; she is mistress of the swiftly changing moods, and the quieter phrases in particular are beautifully set forth. Her opulent chest voice is startlingly effective at the opening of ‘La mamma morta’, and the piece is splendidly declaimed and spaciously deployed.”

- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.158