V2532. BIDU SAYAO: Songs by Costa & Flotow; Arias from Il Guarany, Nozze, Don Giovanni, Carmen, Faust, RomÚo, Manon, La Traviata, La Boheme, Manon Lescaut & Madama Butterfly. (France) Malibran 138, recorded 1930-48, incl. several Live Performances [which include a most heavenly rendition of Micaela's 'Je dis que rien ne m'Úpouvante' from a live 1948 broadcast]. Lovely issue features an 8-face brochure of lovely photos & notes in French. Long out-of-print, Final Copy!
´┐ŻSay´┐Żo's technical mastery appeared not to include a well-knit trill, but superb phrasing, splendid diction, acting ability and a svelte figure made her a compelling artist both on stage and on the recital platform....What further eulogies can be written about this charming, mid-century songbird? A Jean de Reszke pupil and the worthy successor to the delicious Lucrezia Bori at the Met, she enjoyed a long career in the lighter French repertoire and is remembered with deep affection by all who had the good fortune to hear her in her prime.´┐Ż
- Vivian A. Liff, AMERICAN RECORD GUIDE, May / June, 2011
´┐ŻOne of the most important elements that made Bid´┐Ż Say´┐Żo such a unique artist among other singers and frankly among most instrumentalists was that she was a musician first´┐Ż.In 1923, Teodorini introduced Bid´┐Ż to her former professor, Jean de Reszke, who concentrated on teaching her the French opera repertoire. After de Reszke´┐Żs death in 1925 Say´┐Żo continued her studies with Cotogni´┐Żs own disciple, Luigi Ricci (1893-1981), who worked with great opera composers such as Giordano, Leoncavallo, Mascagni, and Respighi, as well as coaching celebrated singers such as Ezio Pinza, Tito Gobbi, Benjamino Gigli and Fyodor Chaliapin´┐Ż.What makes her so unique even among the greats is that she found a way to combine, in perfect harmony, two naturally contradicting qualities rarely found in one artist: technical perfection and passion in abundance.´┐Ż
- Mordecai Shehori, CLASSICAL RECORDINGS QUARTERLY, Winter, 2010