Reviews for CD 2291-92 Pagliacci Quartararo Memorial
Quartararo - a voice to set alongside the giants of the 20th century.
I suggest lovers of fine singing go out and buy while stocks last. Once the word
gets out copies will surely fly off the shelves. . . Robert Farr - MusicWeb
International
MusicWeb –November 2004
DISCOVERY OF THE MONTH
Ruggero
LEONCAVALLO
(1858-1919)
Pagliacci - Opera in Two Acts. Plus appendix, Florence Quartararo
Memorial
Canio, Ramon Vinay (ten); Nedda, Florence Quartararo (sop); Tonio, Leonard
Warren (bar); Silvio, Hugh Thompson (bar); Beppe, Lesley Chabay (ten)
Chorus and Orchestra of the Metropolitan Opera New York/Giuseppe Antonicelli
Live broadcast performance. 28 February 1948
Appendix of Florence Quartararo in excerpts recorded
1945-1950
George Frideric HANDEL (1685-1759)
Atlanta, Care Selve
Umberto GIORDANO (1867-1948)
Andrea Chenier, La mamma morta
Giuseppe VERDI (1813-1901)
Il Trovatore, Tacea la notte placida
Otello, Act 1 duet (abridged) with Joseph Laderout (ten)
Giacomo PUCCINI (1858-1924)
Tosca, Perche chiuso with Ramon Vinay
Tosca, ‘Vissi d’arte’
Landon RONALD (1873-1938)
Cycle of Life, Love I have won you
Georges BIZET (1838-1870)
Carmen, Parle-moi de ma mère. With Ramon Vinay
Pietro MASCAGNI (1863-1945)
Cavalleria Rusticana, Voi la sapete
Madama Butterfly, Un bel di vedremo
Wolfgang Amadeus MOZART (1756-1791)
Le nozze di Figaro, Dove sono
Don Giovanni, Taci inguisto core. With Ezio Pinza (bass),
Salvatore Baccaloni (bass)
Jules MASSENET (1842-1912)
Thais, Mirror Song
Franz SCHUBERT (1797-1828). Ave Maria
GUILD HISTORICAL / IMMORTAL PERFORMANCES SERIES GHCD 2291-92 [72.08 + 79.10]
I didn’t
approach this reviewing project with any particular enthusiasm although the 1948
date for the Pagliacci promised at least reasonable sonics. The expectation
regarding the sonics is fully realised with a good body of sound. What I didn’t
expect was the vitality of the performance under the baton of Giuseppe
Antonicelli or the strong open-toned singing of Leonard Warren as Tonio.
Although he does force his tone on occasion, his singing and characterisation
are better than on the EMI/Naxos re-mastering with Jussi Björling as Canio under Cellini. To balance matters out, Björling’s
Canio on that studio recording is infinitely preferable to Ramon Vinay’s
baritonal tenor with its squeezed climaxes. Also I did not expect, to be bowled
over by the Nedda of Florence Quartararo. Had I been a little more observant of
the cover, or read Richard Caniell’s usual comprehensive essay, I would have
realised something was afoot. Quartararo’s well-coloured voice, fine legato and
characterisation point new insights into the role of Nedda. Her singing reveals
greater depths in the part than that of sadistic promiscuous bitch.
I didn’t
venture to the second of the two discs, which is wholly devoted to Florence
Quartararo, until I had read the essay. In it Mr Caniell reveals how, as a young
boy in 1946, he had heard her at the Met as Micaëla. He met her again for a
series of interviews in 1982 when she passed to him private recordings of
various broadcast performances she had made. An American of Italian parentage,
Quartararo had been discovered nearly by accident when singing as an untrained
twenty-three year old. Two years later she was on the stage of the Met. She
spent four years at the theatre singing nine roles of which this Pagliacci was
the only performance broadcast. Having met and married the bass Italo Tajo she
left singing to bring up their daughter. She also left a studio legacy of four
78rpm discs the contents of which form the first tracks of the second disc (CD 2
trs. 1-5). These well-reproduced recordings include a beautifully coloured and
expressive 'Care Selve ' from Handel’s Atlanta (tr. 1). Most notable, however, is
her ;Tacea la notte; from Il Trovatore (tr. 3). This is lyric soprano singing of
the very highest order. The voice soars with clarity whilst words, expression,
legato and colouration combine to give superb characterisation.
These are words
and descriptions that I do not use lightly about any singer. Why then is her
name not on every opera enthusiast’s list of all-time greats? The answer can
only be familiarity, or more likely lack of it. Florence Quartararo was invited
by Toscanini to sing Desdemona in his broadcast Otello . Many critics believe the
recording from that broadcast to be one of the monuments of recorded opera.
Guild recently issued a new re-mastering from better sources than that used by
the RCA issues of the performance which have long dominated the catalogue. Unfortunately for opera lovers, the Met management refused to release Quartararo
for the detailed rehearsals that Toscanini demanded and the great maestro turned
to his favourite Herva Nelli for the role. I suggest that if Quartararo had sung
the Desdemona on that recording she would not have been allowed to leave the
stage forever when she did and the history of recorded opera on LP would have
been very different than that which we now inherit on CD. I write that sentence
in full realisation of its implications. On the evidence of the recordings on
this second CD Quartararo’s is a voice to set alongside the giants of the 20th century. Colleagues and other contemporaries likened her voice and vocal skills
to that of Ponselle. There can be no greater recommendation.
The
remaining tracks of CD 2 lack the sonic immediacy of those derived from the 78s.
They are, however, sufficient to further illustrate and support the claims I
have outlined. The phrasing, tonal beauty and support for the voice in 'Dove Sono'
(tr. 11) and the colouring and expression in the Otello duet (tr. 14)are
particularly fine. At that I will rest my case and suggest lovers of fine
singing go out and buy while stocks last. Once the word gets out copies will
surely fly off the shelves. Richard Caniell promises another issue derived from
the singer’s private recordings but it seems that these sources do require quite
a lot of work.
Robert J
Farr
International Record Review – November 2004
Ruggero Leoncavallo - PAGLIACCI
Florence Quartararo (soprano) Nedda; Ramón Vinay (tenor) Canio; Leonard Warren
(baritone) Tonio; Hugh Thompson (baritone) Silvio; Leslie Chabay (tenor) Beppe;
Chorus and Orchestra of Metropolitan Opera.
New
York/Giuseppe Antonicelli.
Bizet: Carmen - Parle-moi de ma mèreb.
Delibes: Les filles de Cadix .
Giordano:
Andrea Chenier -La mamma morta.
Handel: Atalanta -Care selve.
Mascagni:
Cavalleria Rusticana -Voi lo sapete. Massenet: Thaïs -O mon miroir fidèle.
Mozart: Don Giovanni -Taci ingiusto corecd. Le nozze di Figaro - Dove sono.
Puccini: Madama Butterfly - Un bel dì, vedremo. Tosca -Perchè chiusob;
Vissi d’arte.
Ronald: Cycle of Life - Love, I have won you.
Schubert: Ave Maria .
Verdi: Otello - Già nella nottea. II trovatore -
Tacea la notte.
Florence
Quartararo (soprano) with aJoseph Laderoute (tenor); bRamón
Vinay (tenor); cEzio Pinza. dSalvatore Baccaloni (basses);
various accompaniments.
Guild
mono GHCD2291/2 (budget price, two discs, 2 hours 29 minutes, AAD).
Producer: Jonathan Wearn. Engineer: Richard
Caniell. Dates: February 28th, 1948 (Pagliaccl), 1945- 50
(recitals).
Around 1971 I acquired a tape of this broadcast of Leoncavallo’s most famous
opera. Its main attraction for me was the presence of American soprano Florence
Quartararo (1922-94) as Nedda. I had heard her duets with Ramón Vinay on 78s and
had been impressed by her voice. (Her other two 78s did not come my way till
years later.)
Quartararo’s career was short, far too short. She had married the bass
Italo Tajo, who then decided, on the birth of a daughter , that one singer in
the family was enough. Thus a promising soprano, who had sung 37 performances of
nine roles at the Met, vanished from the scene. (And the marriage?) Those four
78s would have formed Quartararo’s total discography had not Richard Caniell of
the Immortal Performances Recorded Music Society met her in 1982 and
subsequently issued private recordings on three cassettes. Some of those occupy
the second disc in this set. Over 40 remain, but a further selection is
promised.
I had
resolved not to review any more Met broadcasts of the 1930s and 1940s, often
with the same people in the same roles time after yawn-provoking time, but
Quartararo’s and Vinay’s interpretations are encountered nowhere else, though
Leonard Warren’s Tonio appears in other performances. Warren’s rich tones are
well employed in Tonio’s frequent outbursts. He subjects them to diversity of
colouring but sometimes distorts them too much. As Silvio, Hugh Thompson is an
honest performer. with a voice focused but slender; Hungarian tenor Leslie
Chabay contributes a well-sung Serenade. Giuseppe Antonicelli conducts
supportively.
People who witnessed Vinay in performance ‘always’ said, ‘you should have seen
him on stage.’ One hears intensity (the recitative to ‘Vesti la giubba’ is a
case in point) and vocal power. The earliest date that I have traced for Vinay
in opera is 1931 (Alfonso in La favorita in Mexico). He sang as a
baritone for years, and that baritonal quality never left him: his upper notes
lacked true ring and support. I suggest that he was never other than a baritone,
but thrilling: undoubtedly thrilling.
I am
not arrogating when I think that Quartararo’s career would probably have been
extremely successful had it not been curtailed so soon. Her Nedda, Italianate in
sound, has its own intensity , if one kept more in check than Vinay’s. At 25,
she sings with a voice in full bloom. The opera’s final moments are here
verismo at its most vivid and violent.
The
second CD contains her four 78s, conducted by Jean Morel, plus ten items from
broadcasts. The Victor 78 of ‘Care selve’, showing the richness of her sound,
was included in Volume 4 of EMI’s ‘Record of Singing’.The earliest
representation of Quartararo’s voice is ‘Vissi d’arte’, which she recorded in
1945 under the name Florence Alba on Bing Crosby’s radio programme. Anyone who
heard that broadcast then should have been aware of the quality. The item from
Landon Ronald’s cycle, conducted by Eugène Goossens (reduced to ‘Goosen’ in the
booklet), is schmaltzy but it enables one to hear how the voice can soar. After
a dramatic recitative to ‘Dove sono’, she moves smoothly through Mozart’s lovely
melody, shaping her lush tone to the music’s contours. This and her Donna Elvira
with Pinza and Baccaloni make me regret the absence of her assumptions in
complete performances. Inclusion of an abridged Desdemona/Otello duet with
Joseph Laderoute, who was Jacquino in Toscanini’s Fidelio, is scant
recompense for the Met’s refusal to release her for that conductor’s Otello
broadcast. Laderoute’s light voice is unsuitable for the Moor. Is the vivid,
animated ‘O mon miroir’ one of the pieces sung for Mutual Opera in February 1951
or, as in the track listing, 1950?
John
T. Huges
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