Let's face it!!! When I get started on a new diva, I get CRAZY!!!!! However, you already know about what I love...and this is the kind of singing I DIE FOR!!!!! This is my all-time favorite aria, and she is absolutely magnificent.!!!

   I just discovered a diva who reminds true opera lovers of the kind of singing so badly missing today...Elizabeth Blancke-Biggs lets it all "hang out" like a Caterina Mancini,Marisa Galvany, Maria Callas.   I went nuts!

   She is also a Facebook friend, and a sweetheart!!!! More to come!!!!

   Choruses from French operas, including Mireille, Romeo et Juliette (Gounod), The Pearl Fishers, La Jolie Fille de Perth (Bizet) w.Alfredo Kraus, La Damnation de Faust (Berlioz), Herodiade (Massenet), Hamlet (Thomas) w.Thomas Hampson and Gregory Kunde, and the Salve Regina from Poulenc's Dialgues des Carmelites.   (69 min.)

In 1955, Cappuccilli auditioned for La Scala in Milan, where the auditioners, deeply impressed, encourage him to enter the Viotti competition. After his first place award, he made his official operatic debut in 1957 at the Teatro Nuovo in Milan, singing Tonio in Pagliacci. In 1960, he made his debut at the Metropolitan Opera, singing Giorgio Germont in La traviata, which was to be

Cappuccilli spent most of his career singing in Europe, with only infrequent travels to North and South America. He made his debut at the Teatro alla Scala in 1964, as Enrico, at the Royal Opera House in London as Germont in 1967, and his Opéra de Paris debut took place in 1978, as Amonasro. He also appeared at the Vienna State Opera and the Salzburg Festival. He worked with the greatest European conductors of his time (Karajan, Gavazzeni, Abbado, Kleiber) and became one of the finest interpreters of the Italian repertoire.

Cappuccilli was highly respected as a "Verdi baritone", where his beautiful voice, fine vocal technique, musical elegance, and dignified stage presence, were shown to their best advantage.

He left an impressive discography, he recorded Lucia di Lammermoor twice, first with Maria Callas in 1959, and with Beverly Sills in 1970. Other notable recordings include; Rigoletto, opposite Ileana Cotrubas and Placido Domingo, under Carlo Maria Giulini, Macbeth, opposite Shirley Verrett, and Simon Boccanegra, opposite Mirella Freni and Nicolai Ghiaurov, both under Claudio Abbado. He also recorded Don Carlos, Il Trovatore and Aida under Herbert von Karajan

Cappuccilli sang until his mid-sixties; an automobile accident in 1992 ended his stage career. He died in his native Trieste, at the age of 78.^[2]

 Pagliacci,Zaza,Macbeth,Attila,Due Foscari,Forza,Trovatore,Do Carlo,Pearl Fishers, Chenier, Nabucco,Ernani,Roberto Devereux.

(68 min.)

In my efforts to keep you entertained, I mix audio and video clips along with my podcasts. I consider the Lehmann aria here as one of my top favorite commercial recordings of all time!!!

The final passages send me to heaven!!!!!!!!!!!

Edita Gruberova has a kind of "eccentric' vocal approach..but so exciting..and the way she goes up to the top (scooooops) is a thrill.  I really love her.... WE NEED HER!!!!!!!!!!!!!!!!!!!!!!

 A pretty good cast!!!!  Don Giovanni under the legendary Karl Boehm in Naples 1955, with early Birgit Nilsson,Sena Jurinac,Alda Noni, Giuseppe Valdengo, Sesto Bruscantini, Anton Dermota, Gottlob Frick, and a new guy as Masetto named Walter Berry.(He might make it some day!!)  (71 min.)

   I am sure that wherever you reside, you have experienced tragedies owing to Mother Nature, as we have this week on the Eastern Seaboard, owing to Sandy, a devastating example of what weather patterns can cause.

    I wish to express my sincere best wishes for anyone in my area, or in any land where you have suffered such tragedies. This is not the time to "Esultate" after a storm, but to reflect on how people must work with each other and come together, even in the face of such devastation.

    How unimportant our "trivial pursuits" appear, in the face of real tragedy, and I hope we will all pull together whenever we face such a heartbreaking situation, no matter where we live.

   Sincerely,   Charlie

From RAI Turino, 1951, under Arturo Basile, we present Cilea's "L'Arlesiana," with Ferruccio Tagliavini, Pia Tassinari (his wife), Paolo Silveri, Gianna Galli, and Loretta de Lelio (Mrs.Franco Corelli.)  (68 min.)

P.S. My brilliant (??) intro.did not come out, but the cast speaks for itself, so you can be spared my voice at least once.

 Born October 29, 1926, Vickers in some roles was absolutely a SENSATION. I was not a fan of his in Italian opera, but in Wagner,Grimes, and a few other roles he was one of the greatest singing artists EVER! I hear he is not well!!!! Bless a man who can achieve this incredible career!

  How fitting that the Met is presenting Ades' opera "The Tempest," when the East Coast is suffering in the midst of "Sandy," a horrendous storm. 

 For soprano Audrey Luna, her role makes the Queen of the Night seem like Sarastro by comparison.

  In 1972, after a Sills/Galvany Maria Stuarda, one of the greatest shows I ever saw, we went back to Ramey's house to hear my tape(I am the "bravoer.") We were hysterical counting how many measures Marisa held the E flat in the trio. Beverly was also phenomenal in music that you would not associate with her. The two ladies performed that Confrontation Scene like two madwomen, and the audience went ballistic!!!

 The ever-jaded crabby Charlie loves to go to the opera, BUT what you see here from dear Diana Soviero is a totally lost art...Like Carteri,Zeani,Scotto,Muzio,Favero,etc..THIS is the kind of emotional delivery that we collectors adore. When I fell out of the balcony on Mar.13, 1977 (OUCH!!) at her Mimi, and we became buddies for life...I thought Tebaldi was cloned. She did tell me Tebaldi once kissed her as a little girl...so it must have rubbed off!!!!!

 Dmitri Hvorostovsky told me how he adored Pavel Lisitsian,and he did know him personally. I always found Lisitsian,born Oct.24, 1911, to have an absolutely gorgeous voice, like Dmitri.

  Should I be ashamed that I "enjoy" crazy productions????  The singing is usually fine, and some ideas sort of work...but maybe I am so caught up in the craziness, I forget that many new directors  do have some novel ideas, but I am conflicted because I am "enjoying" this stuff...but not sure WHY!!!!

   How can singers participate in stuff like this??? Imagine Callas,Corelli,Melba,MOI, involved in this Eurotrash..some modern productions are quite interesting, but to me, this is a joke!!!!!

An early Renata Tebaldi performance from  Naples, 1951 under Gabriele Santini. Featured also are Giino Penno (loudest high notes I ever heard), and Ugo Savarese. ( 72 min.). Featured also is a bonus of Tebaldi, Campora, and Taddei in the finale of the Traviata Gambling Scene from Naples, 1952, where uncharacteristically, Tebaldi thinks she is Elektra.

  Look..the poor kid loses a brother, a baby, and has the devil after her. Don't you think that would make anyone a nutcase??????

  For my darling friend and great artist, Virginia Zeani, I wish a most happy birthday (Oct.21). I have known many artists over the years, but I must say that Virginia (along with Tebaldi) has made my life so happy. I hope you will be listening to many Youtube features, and I know you will enjoy them.  Bless you, my darling Virginia!!

Zeani was born Virginia Zehan, in Solovăstru, Romania. She studied first in Bucarest, with Lucia Anghel, then with famed coloratura soprano Lydia Lipkowska. Her singing for the Italian Cultural Society in Bucarest so impressed the Italian Ambassador, the Consul and the Press Attaché that they quickly arranged for her to study in Italy, and in March 1947 she travelled to Milan to work with the great tenor Aureliano Pertile.

Early career in Italy

With no previous stage experience, in May 1948 she made her professional debut in Bologna, deputising at short notice for Margherita Carosio as Violetta in La traviata, and was immediately offered a tour of thirty more performances. Violetta was a role she would sing an estimated 648 times around the world, during her career. Her partner that evening was tenor Arrigo Pola (Alfredo), the voice teacher of Luciano Pavarotti.

Her career was at first primarily focused in Italy, where she sang in many of the regional opera houses. She describes these years as "making the bones", singing many performances of big roles in smaller houses to gain strength and experience.

National and international recognition

In January 1950 she was invited to star in a three month "tournee", or season, in Cairo and Alexandria in Egypt, singing Violetta, Nedda, Michaela and most significantly Adina in L'elisir d'amore opposite the great Italian tenor Beniamino Gigli. She was 24, he was 60.

In 1952 came an important step when, again at short notice, conductor Tullio Serafin chose her to replace Maria Callas as Elvira in i Puritani in the Teatro Communale in Florence. Soon her growing reputation led to invitations to many of the major opera houses of Europe, and Violetta was her debut role in Vienna, and Paris. She made her debut at La Scala, Milan in 1956, as (Cleopatra) in Handel's Giulio Cesare, opposite Nicola Rossi-Lemeni, whom she married shortly afterwards.

Despite having appeared in several successful tours of Great Britain she had yet to appear at Covent Garden. Her debut eventually came in 1960, once again as an emergency replacement, but this time for the indisposed Joan Sutherland. She recalls arriving at the Royal Opera House at 4pm, after a sleepless night and flights from Vienna via Frankfurt. There was just time for costume fittings and a brief rest before she walked, for the very first time, onto the Covent Garden stage. She had never before met any of the cast and had to ask "Which one is my Alfredo?" That remarkable performance was broadcast world-wide and has been preserved on disc. Zeani also appeared in Barcelona, Leningrad, Moscow, Philadelphia, Bucharest etc. and eventually in New York's Metropolitan Opera, as Violetta, in 1966.

Repertoire

In her early career she won considerable success in bel canto roles such as Lucia di Lammermoor, (Gilda) in Rigoletto, (Elvira) in I Puritani, and the title role in Linda di Chamounix, and lighter lyric roles such as Massenet's ("Manon") and (Marguerite) in Gounod's Faust. As her voice matured she gradually turned to more dramatic roles including Puccini's Manon Lescaut, Madama Butterfly and Tosca, and verismo operas including Fedora and Adriana Lecouvreur. She tackled more Verdi roles including (Aida), (Desdemona), (Elisabetta), (Alzira) and (Lina) in Stiffelio, as well as two Wagnerian heroines, (Elsa) in Lohengrin and (Senta) in The Flying Dutchman.

She created the role of (Blanche) in Poulenc's Dialogues des Carmélites in 1957 at La Scala, later performing his solo masterpiece for soprano La Voix Humaine.

In 1972 she enjoyed one of her greatest successes as Magda in Gian Carlo Menotti's The Consul.

In all she sang some 69 major roles and only ever cancelled two performances.

She sang with many famous colleagues including tenors Beniamino Gigli, Mario Filippeschi, Ferruccio Tagliavini, Carlo Bergonzi, Nicolai Gedda, Alfredo Kraus, Jon Vickers, Luciano Pavarotti, and Plácido Domingo, mezzo sopranos Giulietta Simionato, Fedora Barbieri, Shirley Verrett, Lili Chookasian, Grace Bumbry, baritones Gino Bechi, Tito Gobbi. Nicolae Herlea and basses Nicola Rossi-Lemeni, Boris Christoff, etc. A warm-voiced singer with stunning looks and an affecting stage presence, she made few commercial recordings, but many of her live performances exist as bootleg recordings and YouTube postings.

Teaching

Virginia Zeani, "Teacher of the Year 2010" at home in her music room in Florida

Zeani retired from the operatic stage in 1982, but, together with her husband, Nicola Rossi Lemeni, in 1980 began to teach singing at the music school in Indiana University in Bloomington, Indiana. The couple were later both honored as "Distinguished Professors". After her husband's death in 1991 she taught at IU for many more years before moving to Florida where she continues to teach talented young singers, In 2010, having now taught for thirty years, the magazine Classical Singer named her Teacher of the Year.

Amongst Zeani's most famous pupils are Sylvia McNair, Susan Patterson, Angela Brown, Stephen Mark Brown, Elizabeth Futral, Marilyn Mims, Vivica Genaux, Mark Nicolson, Heidi Klassen, James Valenti Elīna Garanča and Ailyn Perez.

Awards

She was the recipient of many major awards including Commendatore of the Italian Republic. In 2010, King Michael of Romania awarded her his highest honour, "Nihil sine Deo",^[1] and in May 2011 she travelled to the Elisabeta Palace in Bucharest where he invested her with the award.

References

  Since my adopted sister Virginia Zeani celebrates a birthday (87) on October 21, I am starting early to give you some samples of her greatness. I have told you enough about her and you know what I feel for her as both singer and friend.Here is the first one.

Callas did it...Galvany did it..Guleghina did it....and NOW...Dimitra Theodossiou takes the fabulous interpolated high E flat at the end of the Nabucco duet w.Nucci.

  But the Met probably would not like her..too exciting!!!!!!!

Anita Cerquetti had to retire very soon. She had a magnificent voice,as you will hear, in arias from Ernani, Agnese di Hofenstaufen (Spontini), Oberon, Vespri Siciliani, Forza del Destinmo.William Tell, Aida,and Ernani. (63 min.)

Anita Cerquetti (April 13, 1931) is an Italian dramatic soprano who had a short career in the 1950s.

Cerquetti was born in Montecosaro, near Macerata, Italy. She was originally a student of the violin and trained eight years with Luigi Mori. After a mere one year of vocal study at the Conservatory of Perugia she made her operatic debut in Spoleto in 1951 as Aida. She sang all over Italy, notably in Florence as Noraime in Les Abencérages, under Carlo Maria Giulini in 1956, and as Elvira in Ernani, under Dimitri Mitropoulos in 1957. Her Teatro alla Scala debut was in 1958 as Abigail in Nabucco. She also sang on RAI in a wide variety of roles such as Elcia in Mosè in Egitto, Mathilde in Guglielmo Tell, Elena in I vespri siciliani, etc.

Cerquetti made headlines in January 1958, when she replaced "in extremis" the ailing Maria Callas in Norma, at the Rome Opera House. She was already singing the role at the San Carlo in Naples. She commuted between the two cities to honor both engagements for several weeks. This "tour de force" won her great acclaim but had serious effects on her health. Shortly after she started withdrawing little by little from the stage until her complete retirement in 1961, aged only 30.

Cerquetti sang relatively little in America. Her debut there was at the Lyric Opera of Chicago in 1955, as Amelia in Un ballo in maschera, opposite Jussi Björling, with Tullio Serafin conducting.

Cerquetti made only two commercial recordings, both for Decca in 1957, a recital of Italian opera arias and a complete La Gioconda with Mario del Monaco, Ettore Bastianini, Giulietta Simionato, Cesare Siepi. Among her "pirated" recordings is a 1958 Aida, from Mexico City, with Flaviano Labò, Nell Rankin, Cornell MacNeil, Fernando Corena and Norman Treigle. The Rome Norma of 1958 with Franco Corelli is also available. In 1996 she sang and talked in Jan Schmidt-Garre's film Opera Fanatic. A recording of Don Carlo from Florence 1956 featuring Cerquetti as Elizabetta is available from Melodram.

Highlights from an exciting Fidelio from Vienna, 1953 under Herbert Von Kareajan. It features Martha Moedl, Wolfgang Windgassen, Josef Metternich, Otto Edelmann (Rocco), Rudolf Schock, Elizabeth Schwarzkopf, and Hans Braun (Don Fernando.)  (65 min.)

  Not the typical Lucia voice (like Callas), but very exciting!!!!!  By the way, anyone who can guess all her fake names and the real one, I will send you all my Maria Malibran tapes.(WHO???)

 Oslo Norway recent La Boheme.....Do not ask what it means!!!!!!!!!!!!!!!!!!!!!!!!!!!!!  (Good singers anyway,but.......)

OK......My buddy James Jorden (La Cieca) repaired the podcast problem, and they will be back tomorrow..Thanks for your patience!!!!!  I will still provide video clips as a bonus!!!!

One of my favorite operas. King is superb here, and I recommend this opera to all.

Funny joke on Birgit Nilsson during the Solti Gotterdamerung recording session....From the documentary,"The Golden Ring."

Anna has such a great personality, to accompany a fabulous voice. How many singers today would be great in any era? LUV HER!!!!!

In the event you are new to this site, here is a repeat of the wildest stage happening we ever taped. I think it might have been a jealous diva, since it took place at Ashley Putnam's City Opera debut in 1977. When I told the tenor, Henry Price, that I was there,he said, "So was I!!!"...How did he go on?????

   There were many rumors, but we really never found out what this was all about,but at least we have this for posterity. I covered some music classes once, and the kids made me play this every day!!!!!!

Born October 12, 1935, Pavarotti remains as one of the greatest singers in opera history. Yes, the "hype' could be a bit much, but let us remember the sensational voice!!!!!!

   Glorious Elisir tonight.....How often do we have FOUR singers of top quality all together??They rarely can do it with Verdi, but the cast tonight was simply a delight. Polenzani,Netrebko, Kwiecen, Maestri.    I had a ball!!!!!!!!!!!!!!!!!!!!! (but did not see the Yankees win)

 The gorgeous basso voice of Met basso Morris Robinson. I saw him last night in Trovatore, and he was superb. Do not ever mess with him, as he is an ex-football star!!!!!!

In blessed memory of the great Leyla Gencer, born October 10, 1928.How we adored her...she sang a HUGE repertory.Yes,she could sometimes be variable, but in all, one of the greats. I always said that if there was no Callas, "She would be Callas."

Echoes of Cornell MacNeil!!! Fabulous sound last night as De Luna..What a true Verdi baritone, and you know jaded me!!! BRAVO!!!!!!!!!!!!!!!!!

Nice to make new diva discoveries!!  Last night Mme.Giannasstasio  sang a superb Leonora. It is a big,opulent tone and she was superb in her fioratura. I would like more chest voice (You know me.) I really loved her and hope we  hear more of her!!!

Hi again,

     In my effort to acquaint you with some of the special voices in the history of the vocal art, especially until my podcasts return, I am presenting one of the most remarkable voices, Eva Turner.This legendary soprano had a steely voice that could probably be heard across the English Channel.   Enjoy!!!!

 Imagine being able to sing this aria (1993) at 83....One of the most incredible artists in opera history.

 My  darling friend of over 35 years and the last of the great Verismo sopranos gives a New York Master Class Wednesday at the Manhatten School of Music. Diana's classes are so interesting and vibrant. I have rarely seen singers in my life I love more.

  I was in the Met lobby last week, and i heard this SOUND!!! I got so upset, thinking someone was being murdered....and look what happened to me.

NO MEZZO I ever heard thrills me more than the sensational Ebe Stignani, who sings the Don Fatale in a live 1938 San Francisco broadcast..and she never came to the Met...Well,what else is new??Want a list???

A sample of the Borgia I just reviewed. ENJOY!!!!!!!!!!!!!!!!!

  I showed you Elizabeth DeShong in my review page of the Borgia. Here is the young marvelous tenor, Michael Fabiano, whom I mentioned in my review. He is truly superb!!!

  Dear buddies and buddiettes,

    I wish to review the SF Lucrezia Borgia broadcast, although as I have said a few times (??),it was on RADIO,not in my physical presence. The most telling element was that I made three marvelous discoveries in one show, Vitalij Kowaljow,Michael Fabiano, and Elizabeth DeShong.
     Fabiano,who appeared in the telecast called "The Audition," has a gorgeous lyric tenor voice. His style reminds me of Alfredo Kraus, but with a more glowing tone. I look forward to his Cassio, and hopefully a lot more. His Gennaro (here comes the pun) was not "generic" as many singers today seem to be.
    Elizabeth DeShong, in the lower register (my favorite area of the female voice), reminded me of a kind of  a lyric "Clara Butt" or maybe a lyric Obratsova. The voice is so exciting, and she gets up to high C easily.
     Vitalij Kowaljow was the STAR, as far as I believe; his is a gorgeous bass-baritone voice, and I also liked the decorations in the repeat of the Act One cabaletta. (unlike Chaliapin, who sings the most eccentric descending phrases imaginable in "La mia vendetta."), Did he not appear as Wotan in the Kirov visit?
       Renee has always posed an enigma for me; in music with "quiet orchestration" as in Arabella act one or Traviata act two, the lady is sublime. Today,had I been there as i was at Carnegie several years ago for Borgia, I would not have been as impressed, since her voice lacks enough squillo to rise over an orchestra. On the broadcast she was thrilling, and at least there is ONE diva around today who is not afraid to sound like Lina Bruna Rasa in the low register.(well,sort of.). Although she avoided taking a high E flat in the final cabaletta, she sang beautifully and with her usual enthusiasm. I only  wish she was more than a "radio voice" in the Met.
        I hope to hear more of my three "discoveries' real soon. I feel warm and fuzzy when I realize that there are still some fine artists with us who can excite jaded old me.                     
                                                               Lovingly,   Charlie

I wish the Met would be able to stage the Gotterdamerung finale as beautifully as this from Valencia under Zubin Mehta....yes, I know, her costume is not really flattering (She is Jennifer Wilson.)..but look, who said you need Lindsay Lohan as Brunnhilde...who would probably steal the Ring anyway.

Here is more of Marco Berti. Please remember that you must BE THERE to totally appreciate what SQUILLO is. I almost fell out of my seat last night... I think Berti is now the ONLY "heroic tenor" for Manrico,Radames,Calaf, etc. You know how fussy I am....but I really found him special.(and just spent money on Amazon.)

Not since the old "Corelli days" have I been as thrilled as I was last evening when Marco Berti sang Calaf in the Turandot. The voice is brilliant from middle to top;the SQUILLO in that tone made me CWAZY!! I also so much appreciate what he wrote to me after i wrote to him.(Below). We need him so much!!!!

Mio caro signore....BRAVISSSSSIMO per Calaf.... Ho visto Corelli......ma non importa Lei e MAGNIFICO...Io gridava molto ieri sera..Carlo Handelman Lei segue la tradizioni dei tenori SQUILLANTI!!!!!!!

Marco Berti
7 hours ago
Marco Berti

Dear Charles, I was very touched to read his words, I have always tried in all the years of his career to give my best and my best, sometimes I could sometimes not. What you are saying is the culmination of a lot of sacrifices and hard work, Thank you very much for giving me understood and supported. Grazie davvero. Marco

I think this will amuse you!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I know this is not operatic (unless it is two tenors fighting over a cab ride to the Met), but I wanted you who live in so many countries to understand the great maturity and kindness that New York businessmen exhibit.

However, do not let this clip prevent you from visiting our beautiful city..just wear armor!!!!

He left us too soon. Wunderlich, born Sept.26, 1930 was to have made Met debut, but tragically died, and we are still not totally sure of the circumstances. This was a great man and we treasure his memory;no wonder Piotr Beczala loves him...there are many similarities.

Until I get those delightful podcasts going again, I am giving you some special material most of you have heard, but it is worth a repeat!!!!!!!!!!!!!!!

 This familiar clip of my all-time favorite singer is re-played for anyone who might have been living on another planet, where they never heard of a pianissimo!!!!!

Opening Met Elisir tonight with the great Annna Netrebko. I know it will be a great success.

 This GREAT singer can do comedy as well sing some of the most difficult opera roles!!!!!!!

Those of you who do not see some of the "innovative" productions of operas might be shocked at this Calixto Bieito concept of Parsifal. I wonder if I "enjoy" some of these productions because of  sheer "entertainment" or do I find some real value in the concept. Some of what we call "Eurotrash" can be quite interesting, but some of the productions are so bizarre, I cannot understand what the director is doing.

   The excellent tenor, Andrew Richards, makes his Met debut this season as Don Jose. I wrote him that I enjoyed his Parsifal a lot, even the singing.(gggg).

NOTE: Some NUDITY AT THE END!!!! ( Andrew's END)

JUST KIDDING!!!!!!!!!!!!!!!!!!!    This is the La Puma Opera and now you know why we ppppp'd in our pantaloni..Note the tenor does not know how to sing the vowel "A" but instead sings " IIIII". Is there anyone out there who would be able to contain their laughter???Note,whoever was taping had trouble not getting totally hysterical. I must say, we did have fun, in a sick way, but remember, they were SERIOUS!!!!!

   For me, the most gorgeous voice in the middle register I EVER heard, was Daniele Barioni. He did not last long, but he thrilled us from his debut in 1957 in Tosca,Boheme, Butterfly,Fanciulla,Traviata,etc. In Rondine, he is joined by PRIME Anna Moffo, who is simply exquisite here. This music is some of Puccini's greatest.

The audience was so ASTOUNDED at Cornell MacNeil's last note of the Ernani aria, they screamed before it ended. It was awesome.He was born on Sept.24, 1922, and we lost him recently. I always thought Warren's top was huge...MacNeil's top was SCARY!!!!!!

How sad that Ettore Bastianini, born September 24, 1922, passed away of throat cancer so young. He had a fabulous,dark voice and was a premiere baritone in opera history.

You do not have to sing Otello to be a great great tenor.Born Sept.24, 1927, Kraus is a perfect example of "How to sing." This is an adored man!!!!!   Una leyenda!!!!!!!!!!!!!!

My dear ma used to love Nicolai Gedda's rendition of "Dein ist mein ganzes herz," so at a little party, accompanied by my dear late buddy,Bob Fazio, I decided to try it..with a really inappropriate high A flat at the end.(but look, I am a big HAM!). This is several eons ago, but you know it is still there...but I do not intend to make a comeback.  BE KIND!!!!!!!!!!!!!!!!!

This was the very first Met telecast, and Scotto was on the "chubby" side(she didn't like that)..but who cared??? She was treated badly at times, but as we listen to her and what she does with words, coloring the voice,etc...she emerges as one of the very last of the "verismo" sopranos.

Yes, he was a nervous wreck(with that wife!!!!) and could drive us crazy..but NO ONE could thrill more than this man!!!! I saw him 40 times and I will never forget him.Rest in Peace, Franco!!!!!!!

 My latest discovery!! How does he do it??? Really an  amazing talent, and when you have an artist like this, opera companies can revive rare works!!!!!

A DISCOVERY!!!!!!!!!!!!!!!!!!!!!! Michael Spyres has a range from low N to high Z......I will put a few more clips on of this amazing man!!!! They should revive operas just for him!!!!!

 Sometimes a singer comes along who reminds you of the great artists you have heard for so many years. Such an artist is the Polish tenor, Piotr Beczala (pronounced "Bechawa"). I have already played material with Piotr, one of the sweetest guys you could meet, but I wanted to show you something I treasure in the "Nicolai Gedda' tradition. Piotr also loves Gedda, and there are some elements of Gedda, and another tenor Piotr admired, Fritz Wunderlich in his voice, but he is still a totally unique artist.

     I note that at this moment,there are 2454 downloads from Poland, and I am sure he is a celebrity there, as he is throughout the opera world. I hope you enjoy my 2012 favorite singer.

When I told a friend I do not always know what you might enjoy, he told me that since there is so much out there, I am a kind of "curator" as if I decided to show various paintings in a museum. However, you can still send me comments and suggestions to: Placido21@aol.com. Hopefully, the regular podcasts will return soon, but meanwhile, I seem to be able to discover (by racking my brain), what might please you.

Anyone living in a country where they never heard of the great hilarious Anna Russell, I present her phenomenal Ring Analysis...The best line is, "I'm not making this up,you know." She is a LEGEND!!!!

    I bet you thought you would get away without hearing my darling Marisa Galvany in the Bolena. This is 1974 from City Opera, but when we did it she held the last E flat for about an hour.

Since I am the only one here who "knows where to go" to find things you will love, especially until the podcasts return, here is another treat for you. This is one of my favorite scenes, and I am very nostalgic about it, since I sang Rochefort in Bolena with Marisa Galvany and Sam Ramey.To rehearse with Galvany and look down her throat as those fabulous D's and E Flats came forth was a thrill for me.  Have fun..but do not try this at home!!

In the temporary absence of my podcasts, I offer you some repeats of the favorite selections you have enjoyed.This Lotte Lehmann recording makes me CRAZY!!! I rank it way up there with the most ravishing recordings i ever heard. ENJOY!!!

One of the VERY FEW divas who "lets it all hang out" is Lauren Flanigan, one of the most exciting and dedicated artists. She not only a great artist, but does amazing charity work for the poor, and I just wish I had seen her even more in her great City Opera days; however,I did happily catch her in Macbeth, Mother of us All, Atilla, Vanessa, and Tote Stadt, and was always thrilled with her total committment to the role. Here is a scene from Nabucco, and I know you will like it.

 Despite all my stupid and often insulting Rita Hunter jokes, she was one of my favorite singers..Brilliant tone, great feeling, pianissimi,chest voice..Last wonderful Aida and Brunnhilde i saw. I really recommend the ENOC Ring, if you can take Goodall's slow slow tempi.  She died really too soon.

Her famous long hair once got caught in Del Monaco's boot in Samson et Delilah..We loved dear Blanche!!!!

Blanche Thebom (September 19, 1915 – March 23, 2010^[1]) was an American operatic mezzo-soprano, voice teacher, and opera director. She was part of the first wave of American opera singers that had highly successful international careers.^[2] In her own country she had a long association with the Metropolitan Opera in New York City which lasted 22 years. Opera News stated, "An ambitious beauty with a velvety, even-grained dramatic mezzo, Thebom was a natural for opera: she commanded the stage with the elegantly disciplined hauteur of an old-school diva, relishing the opportunity to play femmes du monde such as Marina in Boris Godunov, Herodias and Dalila."^[3]

While Thebom sang a broad repertoire which encompassed everything from Handel and Mozart to Verdi and Debussy, she was best known for her performances in the operas of Richard Wagner. Two Wagner roles with which she was particularly associated were Fricka in Die Walküre and Brangaene in Tristan und Isolde.^[4] She notably sang the latter role in a famous 1952 recording made in London with Kirsten Flagstad, Ludwig Suthaus, and conductor Wilhelm Furtwängler. In addition to several other recordings, she also appeared in two feature films during her career: Irish Eyes Are Smiling (1944) and, with Mario Lanza, The Great Caruso (1951).^[5]

After retiring from the stage in 1967, Thebom worked as an opera director in Atlanta for 6 years. She then taught singing both privately and on the music faculties of the University of Arkansas and San Francisco State University. She also co-founded the Opera Arts Training Program of the San Francisco Girls Chorus and served on the board of the Metropolitan Opera for nearly four decades.^[3]

We LOVED HER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

There are examples of either arias, phrases, or even a single WORD that exemplify the great talent of an artist; note the way Mme.Malfitano PLUNGES into this music.There are so few today who can do this. Lauren Flanigan, Renata Scotto, Diana Soviero,etc.KNEW how to do this..I love this scene!!!!

 I guess that I am guilty, on the Jewish New Year, for posting this, but look....I did light a candle for Sue's voice. You know I have posted her great high E flat in the Aida I was in, but did not realize what a GESCHREI it was until I saw the tape. I was too busy singing the RE to pay attention.

    If you happen to be one of those people who are not into S/M, do NOT listen!!!!

  HEY!!! Despite his not being at the Met this year... I will attend Joe Calleja's recital at the New York Winery on Oct.11 at 8 P.M.  I am glad to see Joe..he is missed...but he is singing 67 Otellos in Italy so he has no time for us.....Look forward to this with our great guy!!!!!   Here is the song from his new album..If only Lanza had his style!!!!

Still awaiting new software to get those podcasts back. Thanks for your patience.(I have lost mine!!)

  In my efforts to select material that is special to me (and to you), while the podcasts have to be delayed a while longer, I am selecting some material you will like (and in some cases have heard). Remember that I seem to know what you like, no matter if you have Youtube or not, with its jillions of videos.

    I am sure that you have thought of certain "moments' that sum up the greatness of a particular artist, and here is my "Franco moment," with the fabulous High C on the "Eh" vowel which drives me (and the Scala audience) totally crazy!!!!!

  The magnificent Tatiana Troyanos, who passed away too soon. She was one of the truly great singers.Born Sept.12, 1938, she will always be missed, but never forgotten.

My  friend is off to La Fenice to hear what Verdi originally wrote!!!!!!!!!!!!!!!!!!!!!!!

Yma Sumac had a range of 587 octaves..well,almost....She was born on Sept.10, 1927...she gets MADDDDDD here!!!!!!

A very happy birthday (Sept.8) to dear Linda Strummer, wife of another darling person, Peter Strummer.  I wish we had her around today!!!!!!!!! (well,she is "around' on Facebook)

TRAGIC death at only age 33, Seinemeyer was a great singer and was born on September 5, 1895. What a loss to opera!!!!!!!!

Catching up on birthdays...The GREAT Rene Pape, born September 4, 1964. I hope someday he will do Wotan.This man is absolutely a sensation!!!!!!!!!

HIYA ALL,

      When my computer buddy returns from seeing Verdi's original Traviata at La Fenice, I will be able to do podcasts again.We had to re-install things and so there will be a delay.Meanwhile,I will send you some videos.

     Thanks for your PACENZA!!!!!!

                                                        Carlitos  ( a name given me by Rolando Villazon)

  Our dear Facebook buddy, Larry Brownlee, who has one of the most amazing vocal techniques in our opera universe. He is also an avid sports fan and a "regular dude." We love him so much!!!!!!

                          
            My dear opera-loving friends,

                    It is a special occasion indeed when we are fortunate to celebrate the life and career of a great artist. On August 30th, Regina Resnik will celebrate her 90th birthday, and I invite you to pay tribute to one of the great icons in the world of music.
                     Whether or not one has personal knowledge of an artist's reputation as a friend or colleague, those of you who are devoted opera aficionados have studied the careers of various important artists, and appreciate their immense contributions in the world of music.
       Mme.Resnik is a totally unique figure in the world of music, having successfully achieved highest praise in a double career as both soprano and mezzo. In addition, her world-wide recognition as teacher, coach, filmmaker, television producer ( the popular "Regina Resnik Presents" series.) and her highly praised Broadway appearances in "Cabaret" and   "A Little Night Music" are examples of her great versatility; in addition, the vast number of opera productions she has directed, along with the aforementioned achievements, have resulted in having her stand totally alone in the world of opera. I am sure that those of you who are well-informed as to the achievements of various artists will understand my praise.
         Mme.Resnik's many vocal achievements are well-documented in both commercial and live recordings of such roles as Dame Quickly, Eboli, Amneris, Klytaemnestra, Carmen, Sieglinde and Fricka, and a vast number of both soprano and mezzo roles from stages in opera theatres world-wide.
          How refreshing it is to be able to thrill to a role she "owned' like Klytaemnestra, that mean lady in Elektra, and then cause utter hilarity in the audience at the Rudolf Bing Farewell Gala with her "Chacun a Bing's Gout!"
            I hereby declare August 30th "Regina Resnik Day" for all to celebrate with me, and all of our love and best wishes to one of music's greatest treasures.
                                          With all my love and appreciation,

                                                                           Charlie        

Now LOOK!  I know you sort of like me, but PLEASE do not stop belonging to this site, just because I wanted to show you something of what we saw at the La Puma Opera Company when we thought opera was serious.

    Note how the tenor sings all of his high vowels on "III" ("Tosca' becomes "TEEEEESCA" in the aria. Also, how unkind of the guy taping to keep laughing..I NEVER laughed at La Puma....I held it in until I ran hysterical out of the place nd almost had a serious accident....

     I wonder if,in your city, you have anything like this..but please be KIND to these people who just wanted to perform. OH!!I wish we had them around today. There a few decent singers (the Scarpia) but essentially it was a RIOT!!!

  Continuing my 90th birthday Regina Resnik tribute, here is a role that she performed in  such a way that the audience was absolutely riveted.(It did not hurt to have Nilsson and Rysanek in the show.) Her famous scary laughter is not heard in the film as it was at the Met. This is the film with Gladys Kuchta.

It may be in English, and I prefer to hear "Reverenza" from Regina. She OWNED this role and Geraint Evans was also wonderful. Remember, this is her 90th birthday week, so you will get a bit more of Regina.

Paul Plishka was born on August 28, 1941. This video tribute to him at a Met Tosca on the occasion of his retirement after a Met career of  45 years is surely well-deserved. When I made my opera debut as Marchese/Melitone in 1960, young Paul was the Guardiano. As good as he was, we never could imagine that he would enjoy such an incredibly long and successful career, despite several personal family tragedies. I am so happy for dear Paul, a wonderful artist and lovable guy.

  In advance of dear Regina's 90th birthday on August 30, here is a non-operatic treasure!!!!!!! She could do EVERYTHING!!!!!!

   There is so little of Virginia Zeani on video that is live, I thought you might enjoy a sample of her great work. What a thrill for me to be able to learn first hand about some of the great singers with whom Virginia worked. These older artists serve as valuable links to the past, and there are precious few of them left. I know you will enjoy Virginia.

I expect my computer expert soon, so you can again enjoy my podcasts, but i know you like the videos.

    Hi all,
         On Tuesday, August 28, we will celebrate the birthday of my all-time favorite tenor of those whom I saw live..Richard Tucker, born in 1913, 99 years ago.  Yes, I loved the excitement of Corelli and del Monaco, but like caruso, Tucker could excell in both lyric and dramatic roles, and he was one of the most consistent performers in my experience. Quoting Regina Resnik in an Opera News article, "He left his blood all over the stage!"
          When Tucker "hooked' into his passaggio, the effect was absolutely amazing;he had a ringing top that echoed throughout the house, and once Carreras was heard to have remarked, regarding the B flat in Ballo before the last scene,that "the note remained on stage even when he left it."
       We know of the negative criticism of Tucker, as he could chop a phrase, let out a Cantorial sob (Gigli sobbed also), and sometimes he might be considered 'over the top"( something we WISH FOR today), but who is perfect? Also,some people do not realize that he could sing a gorgeous legato line (one of my examples is Act two Chenier at "Credo al destino.")
          As Alvaro in Forza, at the end of the "Sleale" duet, he would drop the sword, come to the prompter's box, and let out a mighty high B natural that I can still hear in my ear!  He was a moving Samson, a cute Ferrando, a brilliant Dick Johnson, and had he not passed away too soon, he would have lasted for many more years. His heart condition did not stop him for giving 1000% every night, and I recall how George Jellinek wrote him that he should ease up, but that was NOT what Tucker was all about.
            On his birthday, let us remember one of the greatest singers in opera history and a beloved family man as well.

                                                                                  Sincerely,

                                                                                                Charlie
                                                                                      

What words  are adequate to describe the remarkable genius, Leonard Bernstein, born Aug. 25, 1918?  Yes, sometimes he needed to be "choreographed."  A good friend of mine worked with him (I did not say "under"),and said that he would be conducting "even if the roof fell in," such was his involvement in the music. He surely contributed so much to the world of music!!!!

 August 25, 1940 was the birthday of one of the GREATEST artists I have ever heard!! Jose Van Dam for me is an ICON in the music world.

  How about a little "goo," as Dmitri and Jonas sing this gorgeous Pearl Fishers duet!!!  Nice to know there are still singers like this around today!

  If I had to choose ONE commercial recording in my experience that thrills me the most, it is the Lotte Lehmann "Ich ging zu ihm" from Korngolds' "Die Wunder der Heliane."

    I recall that Rise Stevens, at one of our club meetings, described how she as a young student saw Lehmann as Eva in Die Meistersinger. It seemed that Rise was almost in a kind of trance over what she beheld. How wonderful that she became Octavian to Lehmann's Marshallin!

    As I have said, in the absence of my podcasts for now, I will regale you with some treasured material. I thank you for your patience!

You have heard me praise my friend Ta'u Pupu'a whom I "discovered" when we sang in Rigoletto together several years ago;as good as he sounds here, he has come along to the point where is has been engaged for difficult roles like Bacchus in Ariadne,Radames,etc....and you already have heard samples of his work. Since Saturday, Aug.25 is his birthday, I wanted to present this clip.It is my pleasure to know this great guy.