La Boheme   (Sodero;  Grace Moore, Jagel, Valentino, Pinza, Greer)   (2-Walhall WHL 5)
Item# OP1972
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Product Description

La Boheme   (Sodero;  Grace Moore, Jagel, Valentino, Pinza, Greer)   (2-Walhall WHL 5)
OP1972. LA BOHEME, Live Performance, 12 Dec., 1942, w.Sodero Cond. Met Opera Ensemble; Grace Moore, Frederick Jagel, Frank Valentino, Frances Greer, Ezio Pinza, Salvatore Baccaloni, etc. (England) 2-Walhall WHL 5. Very Long out-of-print, Final Sealed Copy! - 5019148003519


"[Moore's voice's] chief glory is a highly individual timbre which gleams with a diamondlike hardness, but at the same time is sensuously suggestive."


“Frederick Jagel began his education with William Brady and Vincenzo Portanova in New York and concluded with Corace Cataldi-Tassoni in Milan. He made his début in 1924 at the Teatro in Livorno under the name Federico Jeghelli as Rodolfo in LA BOHÈME. He guested at different Italian operatic stages and sang during a season at the Italian Opera in Holland. In 1927 he was engaged by the Metropolitan Opera in New York where he appeared longer than twenty years (under his own name Frederick Jagel). He made his début as Radames. At the Metropolitan Opera he was highly acclaimed especially as an interpreter of the Italian repertoire, however, he also sang Wagner roles (Lohengrin, Tannhäuser, Tristan) and in 1930 the role of Gritzko in the Met première of Mussorgsky’s THE FAIR AT SOROCHYNTSI. His special star role was Herod in SALOME. In 1948 he sang the title role in the Met première of PETER GRIMES. From 1930 he guested regularly at the San Francisco Opera, in 1928 and in the 1939-1941 seasons at the Teatro Colón in Buenos Aires. In 1943 he appeared at the Chicago Opera‘ as Lohengrin, in 1942 at the City Center Opera as Herod.”

- Ashot Arkelyan

"Frank Valentino was an American baritone (actually born Frank Valentine Dinhaupt in the Bronx) who was re-christened Francesco Valentino by an Italian impresario who thought he would have more success if he appeared to be Italian). He had a major two-decade career at the Met, one of a long line of American Verdi baritones (Tibbett, Warren, Merrill, Milnes) who made that company their main homes. We cannot pretend that Valentino had the vocal distinction of those others; the voice lacked the sheen and individual sound of importance that they all had. But he was at the very top of the second level, singing with a real presence and understanding of the idiom and an admirable vocal security. He is a real asset to the whole."

- Henry Fogel, FANFARE, Nov./Dec., 2015