Truck Month Textbook Trade In Amazon Fashion Learn more Discover it Sixx AM Tile Wearable Technology Fire TV with 4k Ultra HD Gifts for Mom to look and feel great Mother's Day Gifts Shop now Amazon Gift Card Offer seeso seeso seeso  Amazon Echo  Echo Dot  Amazon Tap  Echo Dot  Amazon Tap  Amazon Echo Fire, Only $39.99 Kindle Paperwhite AutoRip in CDs & Vinyl ReadyRide Bikes from Diamondback STEM
Customer Discussions > Classical Music forum

Singers (Volume II)

Sort: Oldest first | Newest first
Showing 5351-5375 of 1000 posts in this discussion
In reply to an earlier post on Jun 24, 2012 1:41:14 PM PDT
D. M. Ohara says:
John R.
It certainly is. Though I often thought it a pity that Schipa did not have Galli-Curci or dal Monte as his Norina, finding Saraceni's tone somewhat acidulated by comparison with theirs.
This was the first opera reissued by EMI on CD using the then-new CEDAR process. In the UK, at least, the opera was perhaps unique among Italian-made opera sets by being issued originally on the cheaper plum-label 78s.

In reply to an earlier post on Jun 24, 2012 3:36:55 PM PDT
Last edited by the author on Jun 24, 2012 7:19:22 PM PDT
John Ruggeri says:

I thing the Dulcet Lina Pagliughi would also have been a good Norina. Lina age 23 was younger tha Toti and Lita.


In reply to an earlier post on Jun 24, 2012 10:17:40 PM PDT
Last edited by the author on Jun 24, 2012 10:18:12 PM PDT
D. M. Ohara says:
Yes, I would have settled for Lina! But those duets Schipa recorded with Lita and Toti are firmly engraved in the memory.

In reply to an earlier post on Jun 25, 2012 1:11:18 PM PDT
John Ruggeri says:
Dan et al - Bellisimi - Recordings over 70 years old still at the A +++++ List

Amelita Galli-Curci & Tito Schipa, "Tornami a dir che m'ami," from Donizetti's Don Pasquale

Tito Schipa y Toti dal Monte (Don Pasquale)

Posted on Jun 25, 2012 4:06:32 PM PDT
Last edited by the author on Jun 25, 2012 4:07:13 PM PDT
Edgar Self says:
I have Tito Schipa's complete recording of "Don Pasquale". He is so stylish and natural in the best-known aria, and has one of the most naturally9 produced voices of any tenor. Juan Diego Florez is very good in his recent recital, but for true elegance, it's Schipa!

In reply to an earlier post on Jun 25, 2012 5:53:03 PM PDT
John Ruggeri says:
Magnificent in her own right.
Lina Pagliughi (May 27, 1907 - October 1, 1980) was an Italian-American operatic soprano, based in Italy for many years, one of the leading lyric-coloratura sopranos of her generation.

Pagliughi was born in Brooklyn, New York, to Italian parents and started singing while still a child. She was noticed by legendary soprano Luisa Tetrazzini who sensed her potential and encouraged her to study toward an operatic career. At age fifteen, Pagliughi and her family moved back to Italy where she studied with Manilo Bavagnoli in Milan and made her debut in 1927, at the Teatro Communale in Milan, as Gilda in Rigoletto.

Lina Pagliughi,soprano Auber-Fra Diavolo "Or son sola, alfin respiro"

In reply to an earlier post on Jun 25, 2012 8:58:18 PM PDT
John Ruggeri says:
From Verismo to Operetta a striking voice and vocal personna. She ain't on the Met's roster.

Rosetta Pampanini (September 2, 1896 - August 2, 1973) was an Italian soprano, particularly associated with Puccini roles, especially Madama Butterfly.

Pampanini was born in Milan. She began singing as a child, and later studied with Emma Malajoli. She made her stage debut in 1920, at the Teatro Nazionale in Rome, as Micaela, and in Turin in 1921, as Siebel. After further studies, she made her debut at the Teatro San Carlo in Naples, as Desdemona, in 1923, and sang the following year Elsa in Bergamo. Noticed by conductor Arturo Toscanini, she made her debut at the Teatro alla Scala in Milan, as Madama Butterfly, in 1925, and appeared there until 1937.

A great Puccini interpreter, especially as Madama Butterfly, she also sang Manon Lescaut, La bohème, Tosca, and Liu in Turandot, also Mascagni's Il piccolo Marat and Iris, and Nedda in Leoncavallo's Pagliacci. Though essentially a lyric soprano, she occasionally sang a few spinto Verdi roles such as Leonora and Aida, and also Giordano's Maddalena and Fedora.

The great immortal soprano Rosetta Pampanini sings -
"Un bel di vedremo" from Madama Butterfly by Giacomo Puccini -
Orchestra of the Teatro alla Scala di Milano --Lorenzo Molajoli, conductor
Recorded 1929

"Rose Marie" (in Italian), Rosetta Pampanini, soprano Columbia 1930's. - I was totally floored when I
first heard this several months ago. I still need help to get back on my chair.
"Rose Marie" (in Italian), Rosetta Pampanini, soprano Columbia 1930's.

Posted on Jun 26, 2012 5:57:03 PM PDT
John Ruggeri says:
A new WOW voice to me and the music is new also. This old dog can still hear new things. Hope you all enjoy.

Ewa Bandrowska-Turska : Polish soprano - Karol Szymanowski
Born May 20, 1899, in Kraków. Polish singer (lyric coloratura soprano).

Bandrowska-Turska was an outstanding performer of vocal lyric chamber works (she sang in six languages). She was famous for her subtle interpretations of the songs of K. Szymanowski and the French Impressionists. Bandrowska-Turska made her debut in Warsaw in 1918. She appeared as an opera and concert singer in Europe and America (1926-60). She toured the USSR many times (the first time in 1934).

Bandrowska-Turska's best roles included Halka (in the work of the same name by Moniuszko), Lucia (Donizetti's Lucia di Lammermoor), Rosina (Rossini's The Barber of Seville), Marguerite (Gounod's Faust), Lakmé (Delibes's Lakmé), Violetta (Verdi's La Traviata), Gilda (Verdi's Rigoletto), and others. Since 1946 she has been a professor at the Kraków Conservatory; later she became a professor at the Warsaw Conservatory. In 1952, Bandrowska-Turska was awarded the State Prize of the Polish People's Republic.

"La Traviata - Sempre libera !" - Ewa Bandrowska-Turska, 1930 ! - What a soulful opening-BRAVA !!!!!
IMO a unique and wonderous interpretation.

"La Traviata - Sempre libera !" - Ewa Bandrowska-Turska, 1930 !

In reply to an earlier post on Jun 27, 2012 1:54:08 PM PDT
John Ruggeri says:
What a cast!!!!!

Gioachino Rossini --Il barbiere di Siviglia

Ferruccio Tagliavini.....Il Conte D'Almaviva
Tito Gobbi...............Figaro
Nelly Corradi............Rosina
Vito De Taranto..........Bartolo
Italo Tajo...............Don Basilio
Natalia Nicolini.........Berta
Nino Mazziotti...........Fiorello

Orchestra e Coro del Teatro dell'Opera di Roma -- Direttore; Giuseppe Morelli --Registrato, 1946, Roma.

In reply to an earlier post on Jun 27, 2012 2:22:49 PM PDT
Wonderful performance, JohnR ... and Nelly Corradi is a name, heretofore, UNknown to some of us. She does really well, despite a very-fast vibrato. Some of us might prefer Madama Callas in the role, but there are differing opinions, about the greatest "Rosina", on record. Thanks!

In reply to an earlier post on Jun 27, 2012 2:31:30 PM PDT
John Ruggeri says:
John H. Borders says:
Wonderful performance, JohnR


Thanks friend - RE: fast vibrato Most of what I heard is pitched up @ 1/4 to 1/2 tone even
Feruccio and Gobbi are higher than normal but still glorious singing.

Amazing how much is available to us GRATIS.


In reply to an earlier post on Jun 27, 2012 2:54:59 PM PDT
JohnR - Rossini was extraordinary. His melodic gift was so-enduring, and even his Overtures can survive, simply on their OWN. Youtube is GREAT, and includes Ms. Callas, in Rossini and much else. Of course, obviously ... could include the black-and-white TV clip, of Gobbi and Callas, in the conclusion to "Tosca"!

In reply to an earlier post on Jun 27, 2012 7:50:18 PM PDT
John Ruggeri says:
Eric Cedergren Sings "Old Man River" Remembering a Great Voice

I know that not many will recognize the name of Eric Cedergren, unless you happen to live in Chicago where you might possibly have heard him at one time or another.

Caro Piso - do you know him?

In reply to an earlier post on Jun 29, 2012 3:10:08 PM PDT
John Ruggeri says:

Richard Wagner --Tannhäuser

Tannhäuser.....Sigismund Pilinszky
Venus..........Ruth Jost-Arden
Elisabeth......Maria Müller
Landgraf.......Ivar Andresen
Wolfram........Herbert Janssen
Walther........Geza Belti-Pilinsky
Biterolf.......Georg von Tschurtschenthaler
Reinmar........Carl Stralendorf
Heinrich.......Joachim Sattler
Hirt...........Erna Berger

Bayreuth Festival Chorus & Orchestra -Karl Elmendorff, conductor -Recorded, August 1930, Bayreuth.

In reply to an earlier post on Jun 30, 2012 12:03:35 AM PDT
This performance is not bad. I wonder why the critic in the Rough Guide to Opera dismissed all the singers in the performance. Herbert Janssen an adequate Wolfram? Ivar Andresen and Maria Muller not up to par. Downright rubbish when these two are among the best Wagner singers there were of all time and when Janssen is remembered as the greatest Wolfram and Kurwenal in the history of opera on record. Goes to show that one needs to be wary that critics are only human.

In reply to an earlier post on Jun 30, 2012 2:32:42 AM PDT
Last edited by the author on Jun 30, 2012 2:35:21 AM PDT

A simple fact of life is that is that all critics in all fields are always riding their own personal hobbyhorses. Read samples of the critic's works, then compare them with the things being criticized. If you consistently agree, it's well and good. If you agree sometimes and disagree about as often, then obviously that critic may be interesting but he or she is not of much use to you as a guide. If you consistently disagree, that's useful, too. I remember a movie critic on the old San Francisco Call-Bulletin. His taste was impeccable. If he liked something it was a surefure disaster. If he hated something, I would be enthralled by it. I used to love reading that guy's stuff!

And finally, never, never, never take the word of any critic on the otherwise respectable if stodgy Gramophone when it comes to an English composer, conductor or performance.


In reply to an earlier post on Jun 30, 2012 3:27:49 PM PDT
John Ruggeri says:
Kirsten at age 53. ENJOY

Richard Wagner -Tristan und Isolde -(highlights - Strähnchen - Extraits)

Tristan...........Set Svanholm
Isolde............Kirsten Flagstad
Brangäne..........Viorica Ursuleac
Kurwenal..........Hans Hotter
Marke.............Ludwig Weber
Melot.............Angel Mattiello
Ein Hirt..........Roberto Maggiolo
Ein Seemann.......Humberto di Toto
Ein Steuermann....Tullio Gagliardo

Orchestra & Chorus of -Teatro Colón di Buenos Aires -Erich Kleiber, conductor
Live recording, 20 August 1948 -Teatro Colón, Buenos Aires.

In reply to an earlier post on Jun 30, 2012 3:36:55 PM PDT
Last edited by the author on Jun 30, 2012 6:58:08 PM PDT
John Ruggeri says:
Maria Muller sounds grand to me in her big aria etc from the performance I posted. My ears are the
final judge for me.

1930. Tannhäuser: Act II excerpts - Pilinszky, Müller (Elmendorff, Bayreuth)

In reply to an earlier post on Jun 30, 2012 7:01:02 PM PDT
John Ruggeri says:
Stunning singer and MAMMA MIA she is younger than I.
Ewa Podleœ (Polish pronunciation: [ˈɛva ˈpɔdlɛɕ]; born on April 26, 1952 in Warsaw) is an internationally celebrated Polish coloratura contralto with a very wide vocal range (from a low A2 up to soprano high D) and great vocal agility

Ewa Podleœ: Handel - Giulio Cesare, 'Va tacito e nascosto'

In reply to an earlier post on Jun 30, 2012 9:40:05 PM PDT
Last edited by the author on Jun 30, 2012 9:40:26 PM PDT
I agree. I wonder if anybody noticed that the critic from the Rough Guide to Opera apparently has prejudices towards old-school singers before the 50s. The Melik-Pashayev Prince Igor loses out to the Gergiev Prince Igor? Balderdash! Maria Muller was one of the greatest Wagner sopranos before the War. Maybe that critic's comment was a one-off. What does everybody think about Sigismund von Pilinsky? He's said to be the weakest member of the cast. I personally found no problems with him. I've heard worse.

In reply to an earlier post on Jun 30, 2012 11:36:44 PM PDT
Piso, there's one way you can see a Boris with a good Russian bass.
(If you like Boris, this is one performance you must watch. This performance has some of the greatest Russian opera singers in roles they became remembered for. Maxim Mikhailov as Pimen, Georgi Nelepp as Dmitri, Ivan Kozlovsky as the Holy Fool and Alexei Krivchenya as Varlaam. You have the best Shuisky in Nikandr Khanaev and you've got one of the best interpreters of Boris from USSR in Aleksandr Pirogov. Reizen's said to be the greatest but Pirogov comes close)

Larry, have you tried Ermione or La Donna del Lago? Though I'm a Rossini fan, I find Otello and The Siege of Corinth a drag. There are some nice highlights but they don't do enough to sustain the listeners' attention. Guillaume Tell's too long. Do you have problems with the plot or with the singing? If you're talking about both, you might want to try Ermione and Semiramide. They have spectacular vocal writing. It's too much to expect a tightly-knit opera from this period but I'll say that dramatically, these 2 operas are more cohesive than the others and there's more action. Armida is the worst of them all.

Don't worry, Larry. You won't be disappointed. Anything by Donizetti after Anna Bolena's quite good, though I'm not saying that the pieces before that were bad. Most of the operas before that were okay. There were a number of disappointments like Elvida and Zoraida e Granata but there were a few good ones especially L'Ajo nell'Imbarazzo.

Since the retirements of Jose Luccioni and Cesar Vezzani, Sigurd has fallen out of the French repertory. There were a few revivals after the War but that was about it. One famous revival was the 1974 one with Robert Massard. I'd rather see more Mignons and Marthas than more Elektras and Ariadnes. It's a big pity that we hardly get to hear any German operas not by Mozart, Wagner or Richard Strauss outside Germany and Austria. Martha's a delightful piece. It's sad that it's fallen from the repertory. Mignon has a stupid plot but with the right singers, it can be quite charming.

John, interesting recommendations of Russian operas for beginners. How was the Tale of Tsar Saltan? I've not listened to it yet. You and Stasov seem to like Tsar's Bride very much. It's a good opera, I'm not surprised. Kitezh's not bad too. I'm glad that both operas are still performed every now and then in Russia. Kaschey's got an interesting story but it doesn't appear on record often. Have you tried Sadko?

In reply to an earlier post on Jun 30, 2012 11:46:34 PM PDT
John Ruggeri says:
Darren Seacliffe says:
John, interesting recommendations of Russian operas for beginners.


I am 68 so I cannot speak regarding the appropriatness of my opera picks for 18 year olds.

In reply to an earlier post on Jul 1, 2012 12:02:48 AM PDT
John, I think I chose my words wrongly. I was saying that I was impressed that you've managed to listen to these operas, particularly The Tale of Tsar Saltan. That one isn't easy to find on record. I've only seen 1 version thus far. Not a bad one I would say though I've yet to try it.

In reply to an earlier post on Jul 1, 2012 9:21:27 AM PDT
John Ruggeri says:

I got a copy of The Tale of Tsar Saltan listened and enjoyed it immensly.

In reply to an earlier post on Jul 1, 2012 10:01:47 AM PDT
John Ruggeri says:
Excellent singing-- Enjoy this OTHER Boheme


Marcello ( Angelo Lo Forese ( Loforese ) ), Rodolfo ( Guido Mazzini ), Schaunard ( Fernando Lidonni ), Barbemousche ( Giorgio Tadeo ), Visconte Paolo ( Osvaldo Scrigna ), Colline ( Osvaldo Scrigna ), Gaudenzio ( Walter Brunelli ), il signore del primo piano ( Antonio Petrini ), Musette ( Bianca Maria Casoni ), Mimì ( Florida Assandri Norelli ), Eufemia ( Maja Sunara ). Dir.Pietro Arge
[Add comment]
Add your own message to the discussion
To insert a product link use the format: [[ASIN:ASIN product-title]] (What's this?)
Prompts for sign-in

Recent discussions in the Classical Music forum


This discussion

Discussion in:  Classical Music forum
Participants:  52
Total posts:  7231
Initial post:  May 25, 2011
Latest post:  Jun 9, 2015

New! Receive e-mail when new posts are made.
Tracked by 8 customers

Search Customer Discussions