V2313. VIRGINIA ZEANI: The Artistry of Virginia Zeani, studio recordings, 1956-71, incl. Arias & Duets (w.Agostino Lazzari & Nicola Rossi Lemeni) from I Puritani, Lucia, LElisir, La Traviata, Madama Butterfly & Cavalleria - recorded 1956-58, Hamburg & Torino; w.Gavazzeni Cond.Maggio Musicale Fiorentino Orch.: Arias from La Sonnambula, I Puritani, Lucia, La Traviata & La Boheme - recorded, 1956, Decca; w.Patané; Cond.Santa Cecilia Orch., Roma: Arias from Gianni Schicchi, Turandot (Liù), Madama Butterfly, La Boheme, Suor Angelica, Manon Lescaut, Tosca & La Rondine; recorded 1958, Decca; w.Annovazzi Cond.Hamburg Radio Ensemble: Arias & Duets (w.Giuseppe Savio & Paolo Gorin) from La Traviata; recorded 1960, Musica et Litera; w.Brediceanu Cond.Operei Romane din Bucuresti Ensemble: Arias from Don Carlos, Aïda, Manon Lescaut, La Boheme & Madama Butterfly; recorded 1971, Electrecord; w.Zedda Cond.Torino Ensemble: Duets (w.Ennio Buoso, Ottavio Garaventa, Gloria Foglizzo & Nicola Rossi-Lemeni): Excerpts from Otello (Rossini & Verdi), recorded 1964, Philips; w.Nicola Rossi-Lemeni (B); George Singer Cond.Hamburg Radio Orch.: LA SERVA PADRONA (Pergolesi), recorded 1960, Musica et Litera; w.Luigi Infantino, Antonio Boyer, etc.; Mario Rossi Cond.RAI Ensemble, Roma: LA TRAVIATA (Complete), recorded 1963, RAI; [1993 Interview with George Jellinek, WNYC - most informative, refined and inspiring, especially her comments on Callas, Albanese and Pertile]. (Canada) 9-Musique Aria 7648401, each CD in its own jacket, plus beautifully-produced brochure with many lovely photos, in slipcase & presentation box. Each CD jacket features facsimile of original Decca, Philips & Electrecord artwork, where applicable. Decca, Philips & Electrecord recordings reproduced here under license to Steven Smith, Musique Aria. Available exclusively through Norbeck, Peters & Ford. - 625989679322
This Romanian opera star was just one of a group of outstanding sopranos condemned to pursue their careers in the shadow of Callas, Tebaldi and Sutherland
.Zeani is revealed as a totally dependable singer. The voice is lovely, if slightly of occluded quality and the scale even and well balanced through a wide range. Her interpretations are finely judged and often quite individual
.Definitely an enjoyable experience.
- Vivian A. Liff, AMERICAN RECORD GUIDE, Sept./Oct., 2009
Virginia Zeani belongs to the singers who were almost ignored by the multi-national recording industry. She herself preferred her live recordings to those of the studio. This might be partly the reason why she is to be found on but a few commercial recordings. Hers is a voice of much flexibility, emitted with remarkable technical competence, extending from warm chest notes to high E. She sings with impeccable phrasing, with great intensity and dramatic conviction
- Andrea Shum-Binder, subito-cantabile
Virginia Zeani was immediately noted for her rare ability to bring precise meaning to her music, achieving that rare synthesis of bel canto and expression which drew praise for her interpretations, both for their dramatic sensitivity and intimacy and for her radiant singing. Beneath all this, however, there was something in Zeanis timbre which went straight to the heart: an aura of veiled melancholy, a nobly controlled passion which blended exquisitely with the bewitching color of her voice, dusky in the center and radiant at the top. Hers was a voice of fascinating femininity, capable of expressing both tenderness and sensuality, both elegy and tragedy.
- Davide Annachini
An exceptionally beautiful woman with dark, lustrous hair, Romanian-born soprano Virginia Zeani became one of Italy's most-appreciated artists during the 1950s. Initially specializing in lyric/coloratura roles, she moved in the 1970s to more dramatic parts, maintaining nearly all of her vocal allure while adding a dimension of larger-scaled authority. Celebrated most of all for her touching Violetta, she made her career primarily in Europe.
Beginning in the early '80s, however, she moved to the U.S. with her husband, Italo-Russian bass Nicola Rossi Lemeni, to become a faculty member at Indiana University and continued to teach there following his death in 1991.
Zeani, born Zehan, pursued her interest in singing despite parental opposition. Encouraged by an endorsement from her chorus director when she was 12, the girl located a teacher and paid for her own lessons with money earned from church performances and part-time work. By the following year, her family had capitulated and she was able to undertake lessons in earnest from a new instructor. It was not until she became a student of Russian coloratura soprano Lydia Lipkowska (who had sung Violetta at the Metropolitan Opera during the 1909 - 1910 season) that Zeani was prepared to sing in her correct range. After work on Violetta, Mimi, Massenet's Manon, and Gounod's Marguérite, Zeani left Bucharest in 1947 to study with the celebrated Italian tenor Aureliano Pertile in Milan. His response was highly favorable as he informed her that she needed only additional coaching in pronunciation and style. Zeani also sought the counsel of Luigi Ricci in Rome and several of Toscanini's former coaches at La Scala.
By the time of her début at Bologna in 1948, Zeani had been thoroughly prepared. The role, not surprisingly, was Violetta, the signature characterization that would carry her through several other important débuts: London (1953), Vienna (1957), Paris (1957), New York (1966), and Moscow (1969). In 1956, Zeani appeared for the first time at La Scala when her Cleopatra (Handel) appeared together with the Cesare of Rossi Lemeni. Zeani had encountered the bass several times before, beginning with her Milanese student days. On-stage, they had met previously in Florence during Zeani's debut in I Puritani when the soprano replaced Callas at a late hour. When Zeani and Rossi Lemeni connected in GIULIO CESARE, he proposed even before rehearsals were over and marriage followed three months later.
In 1957, Zeani created the role of Blanche in Poulenc's DIALOGUES DES CARMÉLITES at La Scala. In contrast to her involvement with works of the bel canto composers and later operas derived from the verismo movement, Zeani was keenly interested in contemporary works. In addition to Poulenc's DIALOGUES, she participated in the world premieres of Raffaello de Banfield's ALISA and Barbara Giuranna's MAYERLING. Zeani was assigned roles in notable revivals as well. In 1965, she took the title role in a Neapolitan production of Donizetti's MARIA DI ROHAN, in 1968 portrayed Desdemona in Rossini's OTELLO at Rome and in 1970 sang Verdi's ALZIRA also at Rome. By the 1970s, Zeani began to move to such spinto roles as Aïda, Tosca, Fedora, and Magda Sorel. There, her histrionic mastery and command of style matched the expertise that had made her earlier work in the coloratura repertory so distinctive."
- Erik Eriksson, allmusic.com