OP2561. MANON LESCAUT, Live Performance, 10 Dec., 1960, w.Cleva Cond. Met Opera Ensemble; Dorothy Kirsten, Carlo Bergonzi, Mario Sereni, Salvatore Baccaloni, etc. (E.U.) 2-Walhall 0363. - 4035122653632
"...one should never undervalue the appeal of a beautiful voice tastefully used, reliable in the extreme - all these assets Kirsten can claim. Indeed the honeyed tones of her upper octave bewitch the ear....Kirsten's tone is full-bodied and the expression urgent....One looks to Bergonzi to perform with finesse and vocal ease which are the hallmarks of his career. The high point of his performance is his somber rebuke of his beloved in 'Ah! Manon, mi tradisce'. Bergonzi turns the episode into a baleful exposure of self. He constantly modulates the intensity and line in accordance with textual content.
- Paul Jackson, SIGN-OFF FOR THE OLD MET, pp.239-40
"Dorothy Kirsten made her professional concert debut in a stage show at the New York World's Fair. She was also reunited with Grace Moore, who recommended her to the Chicago Grand Opera, where Miss Kirsten made her operatic début as Pousette in Massenet's MANON in 1940. Miss Kirsten sang 15 minor roles during her first season, and the following year shared the stage with Miss Moore in a Chicago performance of LA BOHEME, singing Musetta to Miss Moore's Mimi. In 1942, Miss Kirsten began to sing leading roles with the San Carlo Opera Company, in Washington and New York City. She made her New York City Opera debut in 1943, and by 1945 had performed with the San Francisco Opera, the New York Philharmonic and other major orchestras. Starting in September 1943, she had her own radio program, 'Keepsakes’, which ran for a year. Miss Kirsten's Metropolitan Opera debut, as Mimi in LA BOHEME on 1 Dec., 1945, was a critical success, and was the start of a 30-year association with that house. In 1971, when she celebrated her 25th anniversary with the company, she reminisced about that debut, and recalled that Miss Moore sat in the first box, at the side of the stage, and threw roses to her. When Miss Moore died in a plane crash in Denmark in 1947, Miss Kirsten sang Schubert's 'Ave Maria' at her funeral. Miss Kirsten's career was centered in the United States, but she did tour Europe and, in 1962, the Soviet Union. There, besides giving recitals, she sang Violetta in a Bolshoi Opera performance of LA TRAVIATA, to considerable acclaim, even though, as she said later, she had to go on without the benefit of a stage rehearsal. During her years at the Met, Miss Kirsten sang most of the important Puccini roles, including the title roles in MANON LESCAUT, TOSCA and MADAMA BUTTERFLY, and she starred as Minnie in a revival of LA FANCIULLA DEL WEST that helped restore the work to the repertory. She prepared for the title role in LOUISE by going to France to study it with the composer. She also worked with the composer Italo Montemezzi on L'AMORE DEI TRE RE before she performed it in San Francisco and at the Met. In addition to the Puccini heroines, her repertory included the female leads in Gounod's ROMEO ET JULIETTE and FAUST, Leoncavallo's PAGLIACCI and Verdi's LA TRAVIATA. She sang in the American premieres of Walton's TROILUS AND CRESSIDA and Poulenc's DIALOGUES DES CARMÉLITES, both in San Francisco. Miss Kirsten's voice was not huge, but she used it gracefully throughout her long career. When she gave her farewell performance at the Met, on 31 Dec., 1976, Allen Hughes wrote in THE NEW YORK TIMES that 'she sang and acted the part of Tosca with the vocal control and dramatic acuity of a prima donna in mid-career’."
-Zillah D. Akron
"Considered the foremost Verdi tenor of his age, Mr. Bergonzi sang more than 300 times with the Metropolitan Opera of New York from the 1950s to the '80s, appearing opposite a roster of celebrated divas that included Maria Callas, Zinka Milanov, Renata Tebaldi, Rise Stevens, Victoria de los Angeles and Leontyne Price.
A lyric tenor of some vocal heft, Mr. Bergonzi lacked the sonic weight and brilliance of tenors in the Wagnerian mold. But what he did possess was an instrument of velvety beauty and nearly unrivaled subtlety.
'More than the sound of the voice, it is Mr. Bergonzi's way of using it that is so special', Peter G. Davis, reviewing a 1978 Carnegie Hall recital by Mr. Bergonzi, wrote in THE NEW YORK TIMES. 'He is a natural singer in that everything he does seems right and inevitable - the artful phrasing, the coloristic variety, the perfectly positioned accents, the theatrical sense of well-proportioned climaxes, the honest emotional fervor. Best of all, Mr. Bergonzi obviously uses these effects artistically because he feels them rather than intellectualizes them - a rare instinctual gift, possibly the most precious one any musician can possess'. In the view of his many fans, this vocal elegance amply compensated for the fact that Mr. Bergonzi was no actor and, by his own ready admission, no matinee idol. 'I know I don't look like Rudolph Valentino', he told THE TIMES in 1981. 'I know what a proper physique should be for the parts I sing, but I have tried to learn to act through the voice. The proper, pure expression of the line is the most important thing'.
Mr. Bergonzi began his career as a baritone, and after becoming a tenor a few years later was careful not to push his voice past its natural confines. As a result, he largely escaped the vocal wear that can force singers to retire by the time they reach their early 50s; Mr. Bergonzi, by contrast, continued to sing on prominent stages - and, as critical opinion had it, sing well - into his late 60s.
During World War II, Mr. Bergonzi spent three years in a German concentration camp for his anti-Nazi activities. He returned home after the war, weighing 80 pounds, and resumed singing.
Mr. Bergonzi made his operatic debut in 1948 as a baritone, singing the title part in Rossini's BARBER OF SEVILLE in Lecce, in southern Italy. After coming to realize that tenor parts were better situated for his voice, he made a second debut, as a tenor, in the title role in Umberto Giordano's ANDREA CHENIER in Bari in 1951.
In 1955, Mr. Bergonzi made his United States debut with the Lyric Theater of Chicago (now the Lyric Opera of Chicago) as Luigi in Puccini's IL TABARRO. The next year, on 13 November, he made his Met debut as Radames opposite Antonietta Stella, also making her debut that night.
Mr. Bergonzi also appeared at La Scala, 1953, and at Covent Garden, where he made his debut in 1962 as Don Alvaro in Verdi's FORZA DEL DESTINO. At the Met, in March 1964, Mr. Bergonzi was a soloist (with Ms. Price, Rosalind Elias and Cesare Siepi) in an acclaimed performance of the Verdi REQUIEM in memory of President John F. Kennedy, under the baton of Georg Solti.
In 1994, Mr. Bergonzi, then 70, took the stage at Carnegie Hall for what was billed as his American farewell recital. The concert, a program of Italian art songs and arias, concluded with a 50-minute ovation and was warmly reviewed by critics. But as it transpired, that concert was no farewell. In 2000, two months shy of his 76th birthday, Mr. Bergonzi sang the one Verdi role he had never attempted: the title part in OTELLO, one of the most fiendishly demanding tenor roles in opera, in a concert performance with the Opera Orchestra of New York under Eve Queler. His performance - a high-wattage Carnegie Hall affair whose audience included Luciano Pavarotti, Placido Domingo, José Carreras, Sherrill Milnes, Licia Albanese and Anna Moffo - was, by wide critical consensus, an unreconstructed disaster. 'It was immediately apparent that there was something wrong', THE GUARDIAN wrote shortly afterward. 'A grainy tone in the voice inhibited everything. Bergonzi strained audibly in an unsuccessful attempt to reach the high A that caps the triumphant entry phrase'. Mr. Bergonzi withdrew from the performance after two acts, leaving his role in Acts III and IV to be sung by an understudy, Antonio Barasorda.
But the younger, supple-voiced Mr. Bergonzi endures on his many recordings, including several of AIDA (opposite Leontyne Price, Martina Arroyo and Montserrat Caballé; a BOHEME and a BUTTERFLY opposite Renata Tebaldi; Donizetti's LUCIA DI LAMMERMOOR with Beverly Sills; and a three-record set for Philips on which he sings all of the Verdi tenor arias."
- Margalit Fox, THE NEW YORK TIMES, 26 July, 2014
“Although he never achieved the star status of his some of his baritone contemporaries in the Italian repertory, Mario Sereni was an unfailingly sincere, intelligent artist of great commitment….Sereni, was a valuable member of the Metropolitan Opera’s roster for more than 27 seasons, beginning with his company debut, as Carlo Gerard in Andrea Chenier, in 1957. Sereni enjoyed a long and steady career at the Metropolitan Opera. In twenty-seven seasons, he sang most of the important baritone roles of the Italian repertory in opera such as Ernani, Luisa Miller, Il Trovatore, La Traviata, Un Ballo in Maschera, La Forza del Destino, Don Carlo, and Aida. He also sang in La Gioconda, Cavalleria Rusticana, Pagliacci, Manon Lescaut, La Boheme, and Madama Butterfly, as well as L'Elisir d'Amore and Lucia di Lammermoor. In 1964, Sereni was a memorable Ford in the first performances of Franco Zeffirelli’s beloved Met staging of Falstaff, conducted by Leonard Bernstein. He also appeared in the 1972 Met gala saluting Rudolf Bing. Sereni made his last appearance with the Met in 1984, as Schaunard in La Boheme.
Sereni was also a regular guest at the opera houses of Chicago, San Francisco and Dallas. He also enjoyed a successful international career appearing frequently at the Vienna State Opera, La Scala in Milan and the Teatro Colon in Buenos Aires.
Despite his success, Sereni always remained in the shadow of the more charismatic baritones of his time, principally Leonard Warren, Robert Merrill, Ettore Bastianini, Rolando Panerai and Piero Cappuccilli, yet Sereni’s many recordings reveal a singer and musician of considerable distinction, with a handsome voice, a solid technique, and a fine sense of style.”
- OPERA NEWS, 1 Aug., 2015