Georgy Vinogradov, II       (Immortal Performances IPCD 1008)
Item# V1603
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Product Description

Georgy Vinogradov, II       (Immortal Performances IPCD 1008)
V1603. GEÖRGY VINOGRADOV, Vol. II: Songs by Shaporin, Glinka, Tchaikovsky, Taneiev, Rimsky-Korsakov, Blanter, Listov, Shostakovich, Khrennikov, Vilbois, Terentiev, Sheremetiev, etc.; Arias from Sadko & Manon; w.Rachevskaya, Korolyov & Tyutyunnik, w.Samosud Cond.: Excerpts from Philémon et Baucis. (Canada) Immortal Performances IPCD 1008. Transfers by Richard Caniell. - 625989620225


"…it is a pleasure to encounter this single-disc to that award-winning set, [Vol. I, V0344]....Vinogradov is a sensitive musician with a most attractive vocal Schipa, he recorded much lightweight material - indisputably suitable for its day, but to contemporary ears perhaps representing opportunities missed....Purchasers of the earlier set [V0344] are unlikely to need further recommendation to add this new arrival to their collections."

- Vivian A. Liff, AMERICAN RECORD GUIDE, July/Aug., 2010

“ Georgi Vinogradov was one of a baker’s dozen of outstanding Soviet tenors who could be heard in the 1940s and 1950s. Only Lemeshev and Kozlovsky developed international reputations, and that really hasn’t changed over the years. Yet arguably, Vinogradov possessed the most beautiful voice of the lot, or shared that distinction with a young Ognevoi. He was essentially a radio singer who made his first recordings in 1938, and continued enjoying the prominence that comes with both broadcasts and commercial recordings through the mid 1950s. His many recordings reveal a remarkably sweet lyric voice, excellent enunciation, and an easy production that never displayed vocal strain. He was also a first-rate interpreter in intimate Russian romances, where his endless resources of color and natural, speech-like rhythms created a string of successes.

Many different sources were used for these recordings, with attendant variations in quality. On all of these, Caniell has worked his usual magic, removing ticks, adjusting variable pitches, and improving frequency response. Friedman’s liner notes are very detailed and excellent. It only remains to state that this is a very welcome release, and requisite for all fans of the great Russian lyric tenors.”

- Barry Brenesal, FANFARE