V0097. GIANNA PEDERZINI: Arias from Nozze, La Favorita, L'Italiana in Algeri, Werther, Carmen, Mignon, Il Trovatore & Forza. (Italy) Phonographe PH 5102, recorded 1928-42. Very long out-of-print, Final Copy! - 8010984051020
"Paolo Tosti's 'Dopo' is but one of the many beautiful songs by the Italian Schubert. And there are many fine versions of it....It is this earthier and more evocative version...by the young and beautiful Gianna Pederzini that I will take with me [to my desert island]. The later Cetras of this fine mezzo are readily encountered, but her voice is more appealing on the earlier LVDPs and South American Victors, if they can be found. It is worth the search, if only for 'Dopo' alone."
- Jim Stevens, THE RECORD COLLECTOR, 2011
"Pederzini's private life excited considerable attention. Breaking up with her husband she became the mistress of a fascist bigshot, the notoriously brutal Roberto Farinacci, before whom all Italy trembled. On July 28, 1945, he was shot to death by partisans and, according to newspaper accounts, so was she. For a time she continued her career in Argentina, to huge acclaim. In Italy she took up with a professor who wanted to marry her but couldn't because she was still married. He married another and raised a family but continued with Pederzini.
Gianna Pederzini was celebrated not only for her singing but also for her acting and for her allure. A student of Fernando De Lucia, Pederzini was noted for Carmen (she was buried in her fourth-act costume), Mignon, Amneris, Santuzza, Rosa (ARLESIANA), Charlotte, Fedora, Madame Flora (THE MEDIUM), also for the trouser roles Cherubino and Octavian. She defended a wide repertoire, she took part in the 1930s in revivals of rare operas by Rossini and Donizetti, while singing the standard mezzo roles. She also often sang Charlotte in Massenet's WERTHER with Tito Schipa. A live recording exists of one such performance. Although she said she was 'born for verismo', she was renowned for the leads in ITALIANA, BARBIERE and CENERENTOLA. In the 1950s, she began concentrating on 'character' roles such as the Countess in PIQUE DAME, Mistress Quickly in FALSTAFF, Madame Flora in THE MEDIUM, and took part in the creation of DIALOGUES DES CARMELITES at La Scala, in 1957. She sang in many radio broadcasts and made a considerable quantity of records. Her career, which lasted from 1923-1960, was based at the Rome Opera and extended to Milan, London, Berlin and Buenos Aires."
- Stefan Zucker, OPERA FANATIC
"...Pederzini [was] one of the best mezzos of my whole experience. Hers was not perhaps one of the greatest vocal organs, but she used it splendidly and had a beautiful vocal intensity onstage which made her performances riviting."
- Tito Gobbi, MY LIFE, p.156
"Gianna Pederzini had personality and charisma and was a great artist. Her voice was beautiful: round and dark. When I sang CARMEN with her, in 1953, she was no longer young, but she still had an exceptional figure. She had strong eyes, green, the color of steel. She was a beautiful woman - beautiful face, beautiful nose, the most beautiful legs in opera. She knew how to be beautiful and to impose her beauty in the theater. She was a real woman. I was lost in her arms."
- Franco Corelli, OPERA FANATIC, 20 July, 1991