OP2750. AIDA, recorded 1928, w.Molajoli Cond.La Scala Ensemble; Giannina Arangi-Lombardi, Aroldo Lindi, Maria Capuana, Armando Borgioli, Tancredi Pasero, Salvatore Baccaloni & Giuseppe Nessi. 2-VAI 1083. Transfers by David Lennick. Long out-of-print, Final Sealed Copy! - 089948108320
"Arangi-Lombardi's account of the title-role...has seldom if ever been surpassed on disc. If you think that is a bold claim, I suggest that you listen to her absolute mastery, vocally and in phrasing, of Aïda's two big arias....she is matched worthily by Borgioli's magnificent Amonasro, one of the most compelling on disc. Here is a baritone who has the range, fire and imagination for this short but demanding part. The voice simply pours out unstintingly."
- Alan Blyth, GRAMOPHONE, April, 1996
“Arangi-Lombardi is my favorite Italian lirico-spinto soprano. Hers is a voice with a fantastic upper, an eminent middle, a full deep register and she sings with a perfect ‘voix mixte’. An excellent high register requires a well-trained middle register, and Arangi-Lombardi illustrates this basic rule! The dark color of her voice reminds me of Rosa Ponselle and Anita Cerquetti.
Giannina Arangi-Lombardi is an under-estimated singer nowadays. At a time when ‘veristic’ singers were highly favored, she concentrated instead on exquisite vocal artistry, musical phrasing and rich tonal shading. Her voice never possessed the shrillness of some of her contemporary colleagues. Listen to her AIDA in an integral recording conducted by Lorenzo Molajoli. Her ’O Patria mia’ is magic. A great artist and singer!
She was born in Naples and studied first the piano, then voice with Beniamino Carelli. He trained her as a mezzo. She made a relatively late début at the age of thirty as Lola in CAVALLERIA RUSTICANA at the Teatro Costanzi in 1920. During the next three years she sang as a mezzo-soprano in various Italian theatres. In 1921 she appeared as Amneris, and also as Brangäne! She discovered that she felt more comfortable in soprano range, and restudied with Adelina Stehle (the first Nanetta in Verdi’s FALSTAFF to become a soprano. She appeared thereafter as Santuzza. In 1926 she was engaged at La Scala, where she made a strong impression as Aïda and Gioconda. The following season she was Santuzza under Toscanini and Leonora in IL TROVATORE under Panizza. In 1929 she enjoyed such a success as Aïda under Toscanini (at La Scala) that she was invited by him to sing in guest performances of the Scala in Berlin. There she sang with Aureliano Pertile and Giacomo Lauri-Volpi. She opened the 1929/30 season as Donna Anna, again at La Scala, and in 1935 she sang Donna Anna at the Salzburg Festival. Bruno Walter was the conductor, the cast included Luise Helletsgrüber, Lotte Schöne, Dino Borgioli, Ezio Pinza, Virgilio Lazzari and Emanuel List.”
- Andrea Shum-Binder, subito-cantabile
"Giannina Arangi-Lombardi began her career in Rome as a mezzo in 1920 but four years later, after further study, emerged again as a soprano, making her second début in Milan. Born near Naples in 1891, Arangi-Lombardi was one of the most admired 'classical-style' sopranos of her day, basing her career at La Scala; she appeared in South America and throughout Europe in a number of spinto rôles and her portrayals of Lucrezia Borgia, Aïda and La Gioconda were specially successful. In retirement she taught in Milan and Turkey and died in Italy in 1951."
- Paul Campion
“[Lindi’s] career lasted over 28 years and was a truly international one [singing] alongside colleagues who could be numbered among some of the very best singers of his generation. Gustav Harald Lindau [Lindi] sang with success as a leading dramatic tenor in many of the most important European opera houses….From 1932…he continued to sing as a principal tenor in every major operatic centre in the USA.”
- Alan Bilgora, THE RECORD COLLECTOR, 2001
"[Pasero] engraved into me something I have never forgotten: opera can be, and should be an exciting event, and if you like exciting bass voices - listen to Tancredi Pasero....give him some of your time - he is worth it, and you will not be disappointed."
- Joe Winstanley, CLASSIC RECORD COLLECTOR, Autumn, 2009
"The shadowy figure of Lorenzo Molajoli is a mystery in the annals of opera. Nothing seems to be known of his career other than that he conducted many recordings in the 1920's and 1930's, mostly for Columbia in Milan. From the evidence of those discs he was clearly a very competent musician, experienced at handling large orchestral and vocal forces - and yet where? What can be established is that he served with considerable distinction as the house conductor in Milan for Italian Columbia, recording complete operas and accompanying a large number of singers, in addition to making recordings of a number of operatic overtures. Molajoli conducted twenty complete or abridged operas for Columbia between 1928 and 1932.”
- Paul Campion