A Brilliant 1970 Scala Vespri

This is a magnificent Vespri Sicilani from Scala 1970 under Gianandrea Gavazzeni. It features Renata Scotto, Piero Cappuccilli, Ruggero and Gianni Raimondi (no relations) and I know you will enjoy it. The more I hear Scotto, the more I am captivated by her feeling for the line and the style.  (71 min.)

Direct download: Vespri_Scala_1970.mp3
Category:podcasts -- posted at: 1:00pm EDT

The Great Norman Treigle, Born 3/6/23

Treigle was born in New Orleans, the fifth and final child of a poor carpenter and his wife. Following his 1946 marriage to the former Loraine Siegel, the bass-baritone began vocal studies with the contralto Elisabeth Wood. In 1947, he made his operatic debut with the New Orleans Opera Association, as the Duke of Verona in Roméo et Juliette.

Between 1949 and 1951, he attended Loyola University of the South's College of Music, while performing various roles with the local opera company.

In 1953, Treigle made his New York City Opera debut, as Colline in La bohème. Three years later, the bass-baritone scored his first significant success, as the tormented Reverend Olin Blitch, in the New York premiere of Floyd's Susannah. He made his European debut in this same opera, at the Brussels World's Fair, in 1958.

In succeeding seasons, Treigle became one of the top bass-baritones in North America, and was acclaimed as one of the world's foremost singing-actors. He sang in many experimental productions and participated in several important premieres, in operas by Einem, Copland, Moore, Floyd, Orff, Dallapiccola and Ward (The Crucible). Perhaps his greatest roles were in Faust (as Méphistophélès), Carmen (as Escamillo), Susannah, Il prigioniero, Les contes d'Hoffmann (the four Villains), Boris Godunov and, especially, Mefistofele.

Strange Child of Chaos: Norman Treigle.

In the autumn of 1974, Treigle made his London debut at Covent Garden in a new production of Faust. On February 16, 1975, Treigle was found dead in his New Orleans apartment. He had been diagnosed as a chronic insomniac and it was determined that he had consumed an accidental overdose of sleeping pills. By his first wife, he had a son (who died in 1993) and a daughter, Phyllis. He had also adopted the daughter of his second wife, from whom he was separated at the time of his death.

Category:general -- posted at: 10:32am EDT

Saving $$$$$$$$$$$$$$$$$$$$ at the Met

Mr.Gelb MUST cut corners at the Met since he spent 500 zillion dollars on the new Ring...so he has to cut down on the chorus...He will therefore use a new chorus for some spectacles.

Will the audience know??????

Direct download: Bad_Puma.mp3
Category:podcasts -- posted at: 10:32pm EDT

VIVA LATONIA!!!!!

So,we had the Talmud, the Koran, War and Peace, Don Quijote (I had to read ALL of it), but now comes my review of the wonderful Latonia Moore's Met debut!!! (Do not worry,it will be somewhat shorter than the above.).For me, the most important element of the Aida was that the DUMB theory, totally dispelled by the marvelous low register of Latonia, that you cannot sing chest because "it shortens the top range."  Just take the phrase in act three " O patria,patria,quando mi costi,etc.) or the opening of "Ritorna Vincitor" where unlike every Aida I have heard in recent years cannot say "parola" like a true Italian. (Sweet said, "parowwwwwlah).
           Will Gelb understand the importance of someone who today joined "minor" artists like Varnay,Flagstad, and te Kanawa in making a fabulous debut on the eadio? Is it possible that perhaps he will decide that this was a special event and do some cast changing for next season?
            Latonia has a luscious voice, with all the elements of a great soprano, as I thought years ago at the "Elgar" performance at Carnegie. I am so happy for her...and did you ever hear such a prolonged ovation after "Ritorna Vincitor," which was in some ways "Zeani-like" in temperament and the lower register (and Virginia loved it, by the way.)
              Blythe sang magnificently, but I hate when Armiliato rushes the very end of the Judgement Scene, not allowing the kind of thrills that,for example, Antonino Votto gives with Simionato. Morris is getting on,but he surely has paid his dues. Ataneli sounded excellent with Madama Moore in the duet, and of course Marcello sang as brilliantly as always, with the "squillante" sound I love so.
                 So you see, the review was not as long as you thought,but at least I expressed what I felt about the "new star" who might end up as famous as that guy on the Knicks...that could be very Linteresting.

                                                                    VIVA LATONIA!!!!!!!!!!!!!!!!!!!!!!!!!!!

                                                                                       Chesty Charlie

Category:general -- posted at: 10:05pm EDT

Latonia Moore to make Met debut as Aida

        At a Licia Albanese gala years ago, and then in the complete Puccini  "Edgar" at Carnegie Hall, I heard the magnificent voice of Latonia Moore,who brought the house down, and when I met this sweet and lovely lady, I threatened to picket the Met if they didn't grab her up!!!!
         Well, now she joins Astrid Varnay,Kirsten Flagstad, Kiri te Kanawa and others I cannot think of now, making a Met debut on a broadcast (March 3). I am wishing this superb lady all my best for the Aida, and hope and pray the Met will learn something and give her more material over the years.
         I have some arthritis these days, so I am glad I do not have to walk around at Lincoln Center with my "Latonia Belongs at the Met" sign.
          I wish this beautiful diva all my best!!!!!!!!!!
     
                                                       Sincerely,

                                                                    Charlie

Category:general -- posted at: 8:08pm EDT

Rigoletto with Alfredo Kraus

This is the Met debut (1966) of the fabulous Alfredo Kraus (including a D natural). Francesco Molinari-Pradelli conducts, with Cornell MacNeil, Roberta Peters, and Ruza Baldani. (71 min.)

Direct download: Rig.Kraus_deb..mp3
Category:podcasts -- posted at: 3:17pm EDT

The Art of Geraldine Farrar

One of the world's most popular divas was Geraldine Farrar  (1882-1967). I present highlights from La Boheme, Mme.Butterfly, Tosca, and Il Segreto di Susanna (Wolf-Ferrari). In the duets we have Enrico Caruso, and in the Boheme quartet we have Caruso,  Antonio Scotti, and Gina Viafora

(55 min.)

Direct download: Farrar.mp3
Category:podcasts -- posted at: 11:21pm EDT


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