Toti dal Monte, Vol. I       (Preiser 89001)
Item# V0013
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Product Description

Toti dal Monte, Vol. I       (Preiser 89001)
V0013. TOTI dal MONTE:  Arias from La Sonnambula, Lucia, La Fille du Régiment, Linda di Chamounix, Mignon, Les Pêcheurs de Perles & Falstaff;  Carnevale di Venezia (Benedict) & Lo, here the gentle lark (Bishop).  (Austria) Preiser 89001, recorded 1926-29.  Long out-of-print, Final copy! - 717281890014


“As we listen to dal Monte’s voice on the many admirable discs that were made when she was in her prime, it is not difficult to understand why she thrilled vast audiences all over the world with the astounding eloquence of her legato, and those breathtaking shakes and trills, for which she was so justly renowned.”

- Pier Luigi Holt, GRAMOPHONE, Sept., 1954

“Galli-Curci left the Chicago Opera, 4 January, 1924, after Giorgio Polacco, manger of the Company, refused to let her choose the operas in which she would sing. Her failure to dissuade Polacco did not deter her from threatening to leave the Metropolitan if Gatti-Casazza extended the contract of Italian coloratura Toti dal Monte, who sang rôles that Galli-Curci considered her own.”

- Richard W. Amero,

“Nicknamed ‘La Toti’ by her many admirers, Toti Dal Monte possessed a light coloratura voice whose delicate tone was often compared to the strains of a nightingale. She was thus cast in rôles of vulnerable heroines, best known for her Cio-Cio-San. She débuted at La Scala at the age of 23 (1916) in the challenging rôle of Biancafiore from the then-new opera FRANCESCA DA RIMINI by Riccardo Zandonai. She returned to La Scala in 1922 and made numerous appearances there over the next couple of decades singing a broad range of rôles. Her U.S. début took place in November, 1924, at the Chicago Civic Opera, and the following month she débuted to thundering applause at the Metropolitan Opera singing Lucia. Some might assert that her greatest legacy to opera came with her 1939 recording of MADAMA BUTTERFLY, featuring Beniamino Gigli as Pinkerton. Dal Monte's Cio-Cio-San is considered by many critics the finest ever, and the recording itself one of the greatest the work has received. Cio-cio-San is a much heavier part than Dal Monte would have undertaken normally, and her interpretation is notable for its youthful-sounding freshness, which fits with the character's age. In 1939 Dal Monte also appeared in her first film, CARNEVALE DI VENEZIA.”

- Robert Cummings,

“Toti was a scintillating person, and everything came alive onstage with her. Hers was a dark-colored kind of coloratura, and her technique was astounding.”

- Adelaide Saraceni, THE LAST PRIMA DONNAS, p.269