OP2811. LUISA MILLER, Live Performance, 11 Jan., 1976, Parma, w.Kobayashi Cond. Emilia Romagna Ensemble; Mara Zampieri, Giorgio Zancanaro, Gianfranco Cecchele, etc. (Slovenia) 2-Myto 071.340. Long out-of-print, Final Sealed Copy! - 608974503406
“Mara Zampieri began her career with performances at the major theatres in Rome, Trieste, Palermo, Naples, Bologna, Catania, and Milan, where she appeared at the Teatro alla Scala in IL TROVATORE, DON CARLO, I MASNADIERI, IL BALLO IN MASCHERA and in 1991 in LA FANCIULLA DEL WEST with Plácido Domingo. Since 1976 she has appeared at the opera houses of Europe: London. Berlin, Hamburg, Munich, Brussels, Paris, Lisbon, Zürich, Madrid, Barcelona and Vienna. She has sung in San Francisco, New York, San Paulo, Buenos Aires and Tokyo. She lent her voice to the parts of Teresa Stolz in the film LA VITA DI VERDI by Castellani, and Ildebranda Cuffari in the film E LA NAVE VA by Federico Fellini. In 2003 she inaugurated the Festival do Estoril in Lisbon and the Symphonic Season in Prague (Smetana Saal) with two concerts dedicated to Hector Berlioz on the bicentenary of his birth.”
- Zillah Dorset Akron
“Giorgio Zancanaro has had a solid European career despite a complete lack of formal training. He was a policeman when he began singing. His major roles are Rigoletto, Escamillo, Germont Pére, Enrico Ashton (LUCIA), the High Priest (SAMSON ET DALILA) and Renato in UN BALLO IN MASCHERA. He was particularly known for his Verdi roles, and for EMI recorded RIGOLETTO, ATTILA, LA FORZA DEL DESTINO, and LES VESPRES SICILIENNE."
- Joseph Stevenson, allmusic.com
“Gianfranco Cecchele was born in 1938 in Padua, Italy. Even as a child he showed a precocious interest in opera and operatic singing. His interest was steadfast, and by 1963, when he was 25 years old, he decided to take some voice lessons. His teachers were impressed with his vocal potential, and in the same year he won a singing contest organized by the Teatro Nuovo in Milan. His début followed quickly, and in the following year he débuted at the Teatro Bellini in Catania, in a relatively obscure work, a one-act pastoral poem by Giuseppe Mulè entitled LA ZOLFARA. Possessed of a heroic voice, however, he quickly (within the same year, actually) moved on to La Scala to sing no less than the leading role in Wagner's RIENZI! Next—and this is all in 1964—on to Rome and AÏDA. Clearly, this young tenor with a stentorian voice was making a quick and powerful impression on audiences and critics alike. In rapid succession he accumulated a repertoire that included, in addition to Rienzi and Radamès, Don Carlo, Turridu, Don Alvaro and Calaf. In the following year he appeared at the Paris Opéra, with Maria Callas, in NORMA. It is hard to imagine a more rapid rise in a very demanding repertoire, and that of course was a double-edged sword. He was, after all, only in his 20's! He reputation spread throughout Europe and he gave 241 performances between 1964 and 1969. Of course, the inevitable happened, and toward the end of the period, around '67 and '68, he seriously strained his voice, causing vocal inflammation. Too many big roles too quickly. He had to quit singing entirely at that point, at least for a while, to undergo a long and painful recuperation from swollen and seriously strained vocal musculature. After a few years, however, he was re-establishing himself, and adding some less demanding roles to his repertoire and singing less often, having learned the lesson that many tenors do. Had he displayed that wisdom earlier on, there would likely not have been an interruption in his career. Also, the fact that he sang very largely in Italy made him an opera singer who, while enormously popular there, was not much known in America. This is also the case with two other fine Italian tenors, Mario Filippeschi and Salvatore Fisichella.”
- Edmund St Austell