OP2022. LES CONTES D’HOFFMANN, Live Performance, 22 Dec., 1956, w.Schippers Cond. Met Opera Ensemble; Richard Tucker, George London, Laurel Hurley, Lucine Amara, Charles Anthony, etc. (E.U.) 2-Walhall 0305. - 4035122653052
“In the many performances I have appeared in, there were many wonderful colleagues who had me in raptures. There were those with magnificent voices, or great musicians, wonderful actors or great personalities. But George London had it ALL. He was as impressive on stage as he was the wonderful colleague and friend in his private life.”
- Birgit Nilsson, as quoted in Leonardo A. Ciampa’s THE TWILIGHT OF BELCANTO, p.130
“George London was a dramatic and very expressive singer. In many roles he sang like a demonic panther with a sound of purple-black in color. London was a singer favoring the drama in a piece, varying color to suggest shifts of mood. His acting on stage was described as overwhelming. The special magnetism of this artist is documented on his great recordings. Every role he sang was sung with utmost expression and unbelievable commitment, truly a singing-actor!”
- Andrea Shum-Binder, subito-cantabile
"...for some thirty years, until his sudden death in 1975, Tucker's vocal security, boundless energy, unceasing enthusiasm, and thorough professionalism ensured a level of popularity that necessitated comparisons to some of his greatest predecessors....Tucker sang thrillingly and delivered the goods, communicating his own joy in singing to all who would listen...."
- Marc Mandel, FANFARE, May/June, 1997
"Miss Amara is another of those American singers whose longevity astounds the opera chronicler….In her case, the record is particularly impressive. Probably more than any major soprano of the last fifty years, she was the classic house soprano, taking on an amazing variety of roles and maintaining in them a level of vocalism that demands respect…."
- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.111
"The Amara sound as first encountered was round, free, limpid, clear, flexible, youthful in the extreme, and had an incredible spin on it. The soprano maintained these characteristics longer than just about any other singer I’ve ever heard or known anything about. No wonder Rudolf Bing cast her as the Celestial Voice in DON CARLOS, the inaugural production of his regime as general manager of the Met. More than half a century went by between the time, a few years later, when Bing famously said: 'She is singing like an angel! An angel!' With awesome intestinal fortitude, she [subsequently] sued the Met for age discrimination in 1977. The company had offered her a contract she deemed to be demeaning when she was not only still in fine voice but producing a sound somewhat larger and richer than she had in earlier years, which wonderful performances of TOSCA, TURANDOT (and I do mean the title role, in which she was terrific), and Elsa in LOHENGRIN in particular proved. The mighty Metropolitan initially felt secure in its ability to prevail over a disgruntled, aging soprano, and in certain other quarters as well, her courage made her a pariah….those who mattered most stood by her and were present to rejoice when, after the suit was settled to her benefit (and the Met’s, though company spokesmen were for some time loath to admit that having her back was a boon), she returned to the Lincoln Center stage after almost three years’ absence as Amelia in BALLO IN MASCHERA. That was in 1981, and her Met farewell was not for another entire decade, a statistic that truly speaks for itself.”
- Bruce Burroughs, Zinka Milanov biographer