Rosetta Pampanini;  Dino Borgioli, Ciniselli          (Preiser 89063)
Item# V2166
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Product Description

Rosetta Pampanini;  Dino Borgioli, Ciniselli          (Preiser 89063)
V2166. ROSETTA PAMPANINI: Arias & Duets (w.Dino Borgioli & Fernandino Ciniselli) from La Wally, Andrea Chénier, Faust, L'Amico Fritz, Giuliano, Maristella, Iris, Manon Lescaut, La Boheme, Madama Butterfly, Turandot, Aïda & Lohengrin. [This is a treasure of unadulterated delight of exquisite singing!] (Austria) Preiser 89063, recorded 1927-40. Very long out-of-print, Final Sealed Copy! - 717281890632


“Rosetta Pampanini was taught by the couple Emma and Lorenzo Molajoli and made her début in 1920 at the Teatro Nazionale in Rome as Micaela. Subsequently she appeared at numerous Italian opera houses. In the first years of her career she built up her repertory under Tullio Serafin’s guidance. Of great importance was her association with Pietro Mascagni who often conducted her in his opera IRIS. Pampanini’s success in the rôle re-established the piece from 1898 in the contemporary repertoire. Another significant mentor was Arturo Toscanin i. He conducted the revival of Puccini’s MADAMA BUTTERFLY at La Scala in 1925, with Rosetta Pampanini in the title rôle. The 12 performances turned out to be a complete triumph - not least because of the heroine whose artistry ensured that MADAMA BUTTERFLY soon became one of the most popular operas. Not only did Pampanini help to establish MADAMA BUTTERFLY, the rôle of Cio-Cio-San also made he into one of the most splendid Italian artists of the time. She remained at La Scala as long as Toscanini stayed there (until 1930), appearing in a number of world premieres of then contemporary operas as well as in her Puccini repertoire. She also toured with the Scala ensemble. Toscanini invited her to Berlin to sing Manon Lescaut and Madama Butterfly (1929). From 1926 she was a regular guest at the Teatro Colón in Buenos Aires. In the season 1931/32 she was engaged as Butterfly, Nedda and Mimì at the Chicago Opera. Further performances at the opera houses of Vienna (1930-1932), Oslo (1933) and Prague (1935) followed. A special occasion was her performance of Mimì in a performance of LA BOHÈME, conducted by Pietro Mascagni in Puccini’s home town, Torre del Lago. From 1937 she turned to more dramatic rôles such as Leonora in LA FORZA DEL DESTINO, Aida and Maddalena . Rosetta Pampanini bade farewell to the stage in 1946. After her retirement she worked as a singing coach and died in 1973.

Rosetta Pampanini was one of the most interesting and prolific Italian sopranos of the veristic period. The operas by Puccini, Giordano, Cilea, Leoncavallo, Mascagni, Montemezzi and Zandonai demand for singers who are able to perform with strong sensitivity and rhetorical ability. Sopranos like Poli-Randaccio, dalla Rizza, Cobezzi, Oltrabella, Bruna Rasa, Favero, Cervi Caroli, Melis, Cigna, Zamboni, Scacciati, Tassinari etc. had much personality, but unfortunately, many of them lacked a sufficient singing technique. There was little conception of legato, enunciation was affected and often unclear, the registers were not fully equalized, the chest register was carried up to G, the middle register remained comparatively weak, and to compensate for this they had a tendency to use too forceful an attack. Rosetta Pampanini, like so many of her contemporaries, could not always resist the temptation to hoist the chest too high, but however, her singing had character with a variety of color and expression. She was one of the few sopranos of her generation who resisted the emphatic delivery including sobs and sighs.”

- Andrea Shum-Binder, subito-cantabile