Customer Reviews

Giuseppe Destefano: Historical Recordings 1952-63

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I purchased this recording when it first became available. It is an important for as a historical document on one of the greatest tenors in the history of opera. Yes, his voice has a very apparent decline. And yes track 18 (Una furitiva lagrima) has cracked notes and other obvious vocal flaws. What the other reviewer has missed (but the audience didn't - which is why the aria was greeted with such enthusiasm) was the passion, the emotion that Di Stefano put into his singing. I make no excuses, I am an ardent Di Stefano devotee. His early singing was glorious, pure beauty. His later singing lost it's pure beauty, but gained passion and emotion.

This disc is important because it traces this transition.

I have just listened to the whole CD and except for three tracks I think Pippo's singing is excellent.We have to listen to this CD for what it really is.A re-recording of live performances dating back almost 50 years.We can't expect today's digital quality recordings sound.On the first track,we hear Che Gelida Manina from a 31 year old Pippo who obviously was having a bad night,which is not uncommon with most singers.Tracks 18 & 19 definitely show Pippo in decline,but I didn't find band 18 as bad as another reviewer did.I counted only two vocal flaws.The rest of the aria is sung not that bad for a declining Pippo.Track 19 is sung well,but as in track 18 the voice sounds like it's getting tired.The rest of the singing on the CD,I enjoyed,especially the Addio Alla Madre.I would say that is my favorite on the CD.In my opinion,it's an ecellent CD for the price and it does contain some excellent singing and also is of historical value.

Pippo's Biggest Fan.

I picked up this CD on a whim. The liner notes are useful, and describe the meteoric rise and fall of DiStefano's career, his temperment and ego.

The CD covers a period of only 11 years, but the deterioration of his voice during that period is frightening. Track 1 (1962) 'Che Gelida Manina' showcases a much fresher voice, but he strains terribly for the high 'C' and never even gets close. Track 18 (1963) 'Una furtiva lagrima' is full of embarrassments- chokes, flat notes, etc. - yet the live audience eats it up.

Di Stefano had stopped singing by the time I became an opera fan. This disk clearly shows why. Being a famous operatic tenor is not always about vocal quality (James McCracken, anyone?), and Di Stefano was certainly an exciting siger. There is some beautiful music on this CD, but I find it to be of mostly historical interest.