OP1883. LUCIA DI LAMMERMOOR, recorded 1959, w.Sanzogno Cond. La Scala Ensemble; Renata Scotto, Giuseppe di Stefano, Ettore Bastianini, Ivo Vinco, etc. (E.U.) 2-Myto 00207. Long out-of-print, Final Sealed Copy! - 8014399502078
“Better voices sing these parts with more body and security, but they are dull; they could easily feed their voices onto computer tape and let technology sing for them. Parceling out the notes as each score reads, for only Scotto takes the trouble to distinguish….Scotto is the last of the mad-genius sopranos….When she goes, opera is [will be, and is] in a lot of trouble. Above all, she is mistress of the traditions, with a grasp on authenticity.”
- Ethan Mordden, DEMENTED, THE WORLD OF THE OPERA DIVA, p.99
“Renata Scotto's long and successful operatic career was marked by a rare combination of dramatic intensity and vocal flexibility, which allowed her to traverse a wide variety of styles. She believed strongly in the theatrical elements of performing and always focused her energies on the meaning of a text. She also felt much of the standard verismo performing tradition to be exaggerated and vulgar, and strove to keep her performances as close to the composer's marked intentions as possible, especially with respect to subtleties of dynamics. Many speak of her as ‘the last of the divas’.
She began vocal studies when she was 14, and moved to Milan when she was 16. In 1952, when she was just 19, she made her debut as Violetta (LA TRAVIATA) at the Teatro Nuovo, followed by her La Scala debut as Walter in LA WALLY. However, only a few years later she had a vocal crisis, losing most of her upper range; she now credits her recovery to Alfredo Kraus (himself renowned for a solid technique and vocal longevity), who introduced her to his teacher, Mercedes Llopart. After completely restudying her technique, she re-began her career as a coloratura, making her London debut at the Stoll Theater as Adina in L'ELISIR D'AMORE. She returned to La Scala, and in 1957, replaced Maria Callas (whom she had greatly admired) as Amina in LA SONNAMBULA.
In 1960, she debuted at the Chicago Opera as Mimi (LA BOHEME), followed by her Covent Garden debut in 1962 as Puccini's Cio-Cio san (MADAMA BUTTERFLY). Her Metropolitan Opera debut was in 1965 was also as Butterfly; during the next two decades, Scotto was one of their major stars, appearing in several telecasts.
She began to add the heavier roles to her repertoire again, including Verdi's Lady Macbeth, which was to become a signature role, as well as verismo parts such as Fedora, La Gioconda, Francesca in Zandonai's FRANCESCA DA RIMINI and Maddalena in ANDREA CHENIER. In all of these roles she was applauded for her committed acting and stylistic fluency. While no recording can fully recreate the impressions of a stage performance, her first recording of MADAMA BUTTERFLY, under John Barbirolli, is one of her most vivid.”
- Anne Feeney, allmusic.com
“The young Scotto is a delight to hear….it is difficult to fault her for anything….Scotto in her 20s also had a more velvety, less harsh sound….The ‘Mad Scene’ isn’t a Sutherland-like tour de force, but it is certainly moving.”
- Michael Mark, AMERICAN RECORD GUIDE, May/June, 2010
"Renata Scotto is a musician. She is a studious woman who is devoted to her career. I have seen her at work and her dedication to opera is complete, profound, and remarkable. She will finish singing only to return to the score and study again. She has given herself to opera, body and soul; and she never stops learning. That is why her characterizations are always so fresh."
- Plácido Domingo, SCOTTO, MORE THAN A DIVA, p.xii
“Giuseppe di Stefano possessed an especially beautiful voice. It was impossible not to be moved; he truly had the sound of tears in his voice, without being over sentimental. His wonderful piano – and his stirring voice – moved his audience almost beyond endurance.”
- Birgit Nilsson, LA NILSSON, p.116
“…there is much amazingly gorgeous, heartfelt singing [from di Stefano] and a joy in performing….It can be pure unadulterated joy for a sometimes jaded reviewer to listen to...."
- Michael Mark, AMERICAN RECORD GUIDE, Nov./Dec., 2009
“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