May I extend a happy birthday to one of the great singers in my opera experience. Johanna Meier was born on Feb.13, 1938, and I was so pleased to make her some live tapes a few years ago.She was superb in operas like Ariadne,Walkure, Tosca,etc. and this Liebestod is an example of her absolutely gorgeous voice.

Gianna Pederzini (February 10, 1900 - March 12, 1988) was an Italian mezzo-soprano.

Pederzini was born in Trento. She studied in Naples with Fernando de Lucia, and made her stage debut in Messina, as Preziosilla, in 1923. She sang widely in Italy, notably as Mignon and Carmen, and made her debut at the Teatro San Carlo in Naples, as Adalgisa, in 1928, and at the Teatro alla Scala in Milan, in 1930.

Abroad, she appeared at the Royal Opera House in London in 1931, the Opéra de Paris in 1935, the Teatro Colón in 1938, and the Berlin State Opera in 1941.

She defended a wide repertoire, she took part in the 1930s in revivals of rare operas by Rossini and Donizetti, while singing the standard mezzo roles; Azucena, Ulrica, Amneris, Laura, but also a few dramatic soprano roles such as Santuzza and Fedora, etc.

In the 1950s, she began concentrating on "character roles" such as the Countess in The Queen of Spades, Mistress Quickly in Falstaff, Madame Flora in The Medium, and took part in the creation of Dialogues of the Carmelites at La Scala, in 1957. She died, aged 88, in Rome.

Arias by this superb mezzo from: Trovatore, Carmen, Mignon, Forza, Favorita,F igaro, Italiana, Werther  (65 min.)

ELISABETH CARRON - Opera Singer

"Radiantly communicative" "Singing and acting with the authority of a great artist" "A transcendental artist" Such laudatory comments from critics and public alike have followed Elisabeth Carron's appearances throughout her career. With a repertoire of astonishing versatility, this superb American-born and trained singer has captivated scores of audiences with her exceptional vocal range and theatricality.

Elisabeth Carron made her sparkling debut in the role of Cio-Cio-San in New York City Opera's Madama Butterfly in 1957, immediately establishing herself as a ranking Puccini stylist. "Visually and vocally she has made the role her own." (Musical America). Other reviewers deemed it "an exquisite performance", pointing out that "Miss Carron's voice is assured, pure and in perfect control... a poignant and utterly believable creation".

Adding the roles of Mimi, Liu and Suor Angelica to her repertoire gained further acclaim and the ringing applause of appreciative audiences. An early career highlight was her appearance as Glauce in the Dallas Civic Opera's historic production of Cherubini's Medea, co-starring Maria Callas, Jon Vickers and Teresa Berganza. Her San Francisco Opera debut was made in the demanding role of Konstanze in Mozart's Abduction from the Seraglio, which, coupled with a stunning first-ever performance as Violetta in Verdi's La Traviata, earned her the designation of "the opera discovery of the year" and a reviewer's opinion that "She is a splendid actress, with the kind of petite, delicate, hothouse beauty that can make such a character as Camille come to life, and that she possesses an extraordinary singing voice".

Her mad scene in the title role of Donizetti's Lucia di Lammermoor was hailed as a masterpiece of rare dramatic intensity. She received more accolades as a Strauss specialist during a string of memorable performances as Zerbinetta, Daphne and Aithra. The New Yorker magazine singled out her portrayal of Aithra, observing that she sang the "extraordinarily difficult high passages with ease and brilliance."

Miss Carron is equally at home interpreting contemporary works. She appeared in the original cast of the New York City Opera Company's revival of Marc Blitzstein's Regina in the role of Birdie Hubbard. Musical America magazine added to her laurels with verbal bouquets for her "beautiful voice and touching portrayal of Regina's poor, broken, driven-to-drink sister-in-law." Her stand-out performance is a highlight in the Columbia Records production of Regina. Raymond Ericson, the distinguished New York Times music critic, included the Columbia recording in his "Best of Opera" discography. Miss Carron also won praise for her rich evocation of Anna Maurrant in Kurt Weill's Street Scene and her sensitive interpretation of Maria Corona in Giancarlo Menotti's The Saint of Bleeker Street, another dynamic role subsequently recorded.

Miss Carron was a respected member of the Vocal Faculty of the famed Manhattan School of Music. She has been instrumental in the development of many outstanding young talents. Her students have won major singing competitions and have gone on to productive careers. She is frequently called upon to serve as a judge in prestigious vocal competitions.

Though Miss Carron's career included performances with nearly every major American opera company as well as international appearances, she is one of a generation of American singers whose artistry is not adequately documented by recordings. Elisabeth Carron - Opera Singer

The great maestro and the NBC Symphony in 1950 Falstaff rehearsals, featuring Herva Nelli, Giuseppe Valdengo,Frank Guarrera (Ford),Cloe Elmo (Quickly), Nan Merriman, Teresa Stich-Randall, and Norman Scott.  (65 min.)

Note:The original podcast was flawed, and I am repeating it.

Adelina Patti had a warm, crystalline, and very agile high soprano voice.^[10] Her vocal emission was of perfect equality and her vocal range was wide, from low C to high F (C₄ - F₆).^[10] Regarding her technique, critic Rodolfo Celletti said, "Her voice was a technical marvel. The staccatos were marvels of accuracy, even in the trickiest intervals, her legato was impressively smooth and pure; she connects the voice from note to note, phrase to phrase, lifting and gliding with an exceptional virtuosity. Her chromatic scale was deliciously sweet, and her trill was wonderful and solid."^[11]

Adelina Patti 1905 recordings. A sensational singer,even at age 62.

The selections are as follows:

Voi lo sapete, Pur dicesti, Old folks at home,Batti,batti, Jewel song,Il Bacio, Last Rose of Summer, Ave maria (Bach-Gounod), Robin Adair, Home sweet home, Si vous n'avez rien a me dire, Comin' thrpugh the rye, Banks of Allen Water, On parting, 'Twas within a mile, New Year message to her hisband, Baron Rolf Cederstrom, Kathleen, La Serenata, Casta Diva, Connais tu le pays, Ah non credea.  (65 min.)

This sensational basso was born on Feb.10, 1923. Siepi had a voice of pure velvet.I saw him countless times, and he remains one of the greatest singers EVER!!!!

Maria Callas as Kundry in act two of Parsifal under Vittorio Gui, Rome 1950. Africo Beldelli and Giuseppe Modesti complete the cast. Collectors all wish to have the rumored complete Tristan und Isolde, but I have added an early recording of the Liebestod  (60 min.)

The remarkable Christa Ludwig selections from:

Cenerentola (1959) from Vienna, under Alberto Erede

Lohengrin (1967) with Ingrid Bjoener,Walter Berry, under Karl Boehm

Don Carlo (1967)  under Berislav Klobucar

Aida (1970) with Richard Tucker, under Fausto Cleva

Mahler's Kindertotenlieder (1967) under Loren Maazel

                               (73 min.)

The legendary Licia Albanese, now over 100 years of age, sings one of her great roles, a Mme.Butterfly from 1941 under Gennaro Papi. Completing the cast are Armand Tokatyan, Lucille Browning, John Brownlee, and Allesio de Paolis. Bless this great artist!  (73 min.)

What can be more heartwarming than to see the retirn, in Genoa, of the wonderful Aprile Millo in "Il Tabarro."?  She has retained the beauty of tone, and the kind of Italianate style that is rare today.(Not to mention the optional high C in the aria.).

 All these years,she has been so loving and kind to me and I am so happy for her!!!!!