Tullio Serafin Verdi Rigoletto Highlights Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Tullio Serafin Verdi Rigoletto Highlights Mp3, Flac, Wma Tullio Serafin Verdi Rigoletto Highlights mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Verdi Rigoletto Highlights Country: US Style: Opera MP3 version RAR size: 1635 mb FLAC version RAR size: 1444 mb WMA version RAR size: 1994 mb Rating: 4.2 Votes: 491 Other Formats: DXD MP2 WMA VQF MOD AA AIFF Tracklist A1 Prelude; Della Mia Bella A2 Parl Siamo!; Figlia Mio Padre!; Deh Non Pariare Al Misero A3 E Il So Dell' Anima; Qualtier Maldel; Caro Nome B1 Zitti, Zitti B2 Povero Rigoletto!; Cortigiani B3 Tutte Le Feste; Solo Per Me; Si Vendetta B4 La Donna E Mobile B5 Bella Figlia Dell' Amore Credits Alto Vocals – Adriana Lazzarini Baritone Vocals – Giuseppe Di Stefano Bass Vocals – Plinio Clabassi Conductor – Tullio Serafin Soprano Vocals – Maria Callas Tenor Vocals – Tito Gobbi Notes La Scala Recording Other versions Category Artist Title (Format) Label Category Country Year CMS 817, CMS 817, 33CXS 1324 Rigoletto (3xLP + Columbia, 33CXS 1324 Giuseppe Verdi UK 1956 33CX Box) Columbia 33CX 1325-26 1325-26 Verdi*, Maria Verdi*, Maria Callas, Callas, Giuseppe Di Giuseppe Di Stefano*, Tito Gobbi, 33.FCX PM Stefano*, Tito 33.FCX PM Chœurs* Et 35010 - Gobbi, 35010 - Orchestre Du Teatro Columbia France Unknown 35011 - Chœurs* Et 35011 - Alla Scala, Milan*, 35012 Orchestre Du 35012 Tullio Serafin - Teatro Alla Rigoletto (3xLP, Scala, Milan*, Mono, RE) Tullio Serafin 33 WCXS 33 WCXS 1324, 33 1324, 33 WCX 1325, Giuseppe Verdi Rigoletto (3xLP) Columbia WCX 1325, Germany Unknown 33 WCX 33 WCX 1326 1326 Tullio Serafin, Tullio Serafin, Giuseppe Giuseppe Verdi, Verdi, Maria Maria Callas, Tito UK & 2909283 Callas, Tito EMI 2909283 1986 Gobbi, Giuseppe di Europe Gobbi, Stefano - Rigoletto Giuseppe di (2xLP, RM) Stefano Verdi* / Maria Callas - Rigoletto (Acts 2 & EMI 0946 3 3) - The Complete 0946 3 Verdi* / Maria Classics, UK & 95949 2 4, 3 Studio Recordings 95949 2 4, 3 2007 Callas EMI Europe 95949 2 1949-1969 CD31 95949 2 Classics (CD, Album, Mono, RE, RM) Related Music albums to Verdi Rigoletto Highlights by Tullio Serafin Verdi, Pavarotti, Nucci, Anderson, Verrett, Ghiaurov, Chailly, Orchestra E Coro Del Teatro Comunale Di Blogna - Rigoletto Giuseppe Verdi / Europa Symphony / Wolfgang Gröhs - Rigoletto (Complete Recording) Verdi, Riccardo Muti, Orchestra Del Teatro Alla Scala - Rigoletto Verdi, Tito Gobbi, Maria Callas, Giuseppe di Stefano, Tullio Serafin - Rigoletto Verdi - Accademia Di Santa Cecilia, Alberto Erede - Rigoletto Hoogtepunten Verdi / Callas, Tucker, Barbieri, Gobbi, Serafin, Coro e Orchestra Del Teatro Alla Scala Di Milano - Aïda Verdi / Maria Callas / Tito Gobbi / Nicola Zaccaria - Rigoletto Giuseppe Verdi - La Traviata.
Recommended publications
  • 111082 Bk Callaseu 15/03/2005 11:26Am Page 5
    111082 bk CallasEU 15/03/2005 11:26am Page 5 BELLINI: Norma: DONIZETTI: Lucia di Lammermoor: VERDI: La traviata: WAGNER: Tristan und Isolde: ADD 1 Casta Diva (Act I) 7:27 [Mad Scene, Act III] ! Libiamo ne’ lieti calici (Act I) 3:16 & Liebestod (Sung in Italian) 7:44 GREAT SINGERS • CALLAS Orchestra of Teatro alla Scala, Milan 5 Il dolce suono 3:01 with Francesco Albanese, Tenor Turin Italian Radio Symphony Orchestra 8.111082 Tullio Serafin, Conductor and Chorus Arturo Basile, Conductor Recorded in the Cinema Metropol, Milan, 1954 6 Ohimè! Sorge il tremendo 3:20 Recorded by CETRA on 8th November 1949 (From Naxos 8.110325-27) @ E’ strano! E’ strano! (Act I) 1:27 Matrix 2-71294/5; Cat. No. CB 20841 7 Ardon gli incensi; splendon le sacre faci 5:26 (From Naxos 8.110302-04) with Gino Sarri, Tenor # Ah, fors’è lui (Act I) 3:01 Maria BELLINI: I Puritani: Raffaele Arié, Bass Turin Italian Radio Symphony Orchestra 2 O rendetemi la speme (Act II) 1:47 and Chorus Gabriele Santini, Conductor with Nicola Rossi-Lemeni, Bass 8 Spargi d’amaro pianto 3:46 Recorded at the Auditorium RAI, Turin, 1953 CALLAS and Rolando Panerai, Baritone with Raffaele Arié, Bass (From Naxos 8.110300-01) Tito Gobbi, Baritone 3 Qui la voce sua soave (Act II) 8:41 and Chorus with Nicola Rossi-Lemeni, Bass PUCCINI: Tosca: and Rolando Panerai, Baritone Chorus and Orchestra of the Maggio Musicale $ Mario! Mario! Mario!... Son qui! (Act I) 2:07 A Portrait Fiorentino with Giuseppe Di Stefano, Tenor 4 Son vergin vezzosa (Act I) 3:46 Andrea Morosini, Chorus Master with Aurora Cattelani,
    [Show full text]
  • 1. Early Years: Maria Before La Callas 2. Metamorphosis
    ! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • JOAN SUTHERLAND John Pritchard (1918–89)
    JOAN SUTHERLAND John Pritchard (1918–89). Walthamstow-born, John Pritchard learned his craft as principal conductor of the Derby String Orchestra, before joining the music staff of Glyndebourne in 1947. Appointed Chorus Master in 1949, he was soon sharing major Mozart productions with Fritz Busch, conducting the London Philharmonic Orchestra there and swiftly expanding his repertoire. The company’s Musical Director from 1969 to 1977, he was also a regular guest at the Royal Opera, where in 1955 he conducted the premiere of Tippett’s A Midsummer Marriage. His opera and concert work encircled the globe, with periods at the helm of many companies and orchestras, notably the Royal Liverpool Philharmonic and BBC Symphony. He was knighted in 1983. Though his full diary could result in perfunctory routine, fiery theatricality and a grasp of essentials inform his best work – not least in many studio and off-air recordings made with his ‘home’, Glyndebourne company, and for BBC radio. Joan Sutherland (1926–2010). The world-renowned soprano Joan Sutherland left her Sydney home for London in 1952, with the ultimate aim of singing Wagner. Contracted to Covent Garden, she felt her future lay in heavy, dramatic roles; and her early assignments there included Amelia in Verdi’s Un ballo in maschera and the title role in Aida. Soon her breathtaking agility, crystalline staccatos and unique stratospheric purity became evident – not least as Jenifer in Tippett’s The Midsummer Marriage, followed swiftly by the doll Olympia in Offenbach’s Les contes d’Hoffmann (both 1955). Although increasingly identified with the bel canto repertoire, until her 1959 Covent Garden triumph in Donizetti’s Lucia di Lammermoor she kept her options open.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Gigli's Non-Commercial Discography: Part 2—Soundtrack Recordings
    Gigli’s Non-Commercial Discography: Part 2—Soundtrack Recordings With his multiple appearances in the cinemas of Europe and the United States, Gigli succeeded in his aim of bringing classical music to the widest possible audience. Please note, where there is an accessible DVD of any of this material, I have tried to list them in the NOTES. An addendum with links to illustrate some of the items below is also included. 27.F01 4 April, the first public presentation was coupled with the premiere of the movie, “When a Man Loves,” at the Selwyn Theatre in New York City, 3 February 1927. The feature was recorded at the Manhattan Opera House, with the Metropolitan Opera chorus and the Vitaphone Symphony Orchestra conducted by Herman Heller. Vitaphone Varieties number 415. Rigoletto (Verdi) Cast: Marion Talley (Gilda); BG (Duca di Mantova); Giuseppe de Luca (Rigoletto); Jeanne Gordon (Maddalena); a) Act IV: Un di se ben … b) Act IV: Bella figlia LP: EJS 403 (a-c); CD: GOP 804 (a-b); CAMCD-1080 (a-b); URANIA URN 22.376 (a-b); NOTE: The above and all the 1927-28 recordings are part of the series of film shorts, Vitaphone Varieties, which were shown in cinemas with other feature films. These were among the first “talkie” (sound) films made. The initial date ascribed is the copyright date and not the recording date. Further information has been added where known. 27.F02 5 April, first shown at the Colony Theatre, New York. Recorded at the Manhattan Opera House, with the Metropolitan Opera chorus and the Vitaphone Symphony Orchestra conducted by Herman Heller.
    [Show full text]
  • An Aural Analysis of Bel Canto
    An aural analysis of bel canto: Traditions and interpretations as preserved through selected sound recordings Airlie Jane Kirkham Thesis submitted in fulfillment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide May 2010 You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com) 7 BIBLIOGRAPHY ABC. F M.Radio."History of Music part 2 – Bel Canto", in Sunday Afternoon Concert, 27 August 2006, 2.00-3.00p.m. Adams, Brian. La Stupenda: a Biography of Joan Sutherland. Australia: Hutchinson, 1980. Ashbrook, William. Donizetti. London: Cassell, 1965. Attaro, Monica. Interview. “Joan Sutherland.” ABC Sunday Profile, 27 March 2005. ABC radio. (18 March 2007). Braddon, Russell. Joan Sutherland. Sydney: Collins, 1962. Caruso, Enrico jr. and Andreas Farkas. Enrico Caruso. My Father and My Family. Oregon: Amadeus Press, 1990. Celletti, Rodolfo. A History of Bel Canto. Oxford: Clarendon Press, 1991. Chorley, Henry Fothergill. Thirty Years of Musical Recollections. London: Hurst and Blackett, 1862. Republished Brookfield VT USA: Ashgate, 1998. Crofton, Ian. ed. Concise Dictionary of Music. Great Britain: Collins, 1986, third edition. Crutchfield, Will. “The Bel Canto Connection.” Opera News. 62.1(1997): 30-36. Duey, Philip A. Bel Canto in its golden age: a study of its teaching concepts. New York: King’s Crown Press, 1951. Fucito, Salvatore and Barnet J. Beyer. Caruso and the Art of Singing. London: T. Fisher Unwin, 1922. Garcia, Manuel II. Hints on Singing. Trans. from the French. Beata Garcia. London: Ascherberg, Hopwood and Crew, 1894.
    [Show full text]
  • Martinelli and Tibbett in Scenes from Otello and Simon Boccanegra (The Great 1939 Victor Recordings) Mp3, Flac, Wma
    Martinelli Martinelli And Tibbett In Scenes From Otello And Simon Boccanegra (The Great 1939 Victor Recordings) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Martinelli And Tibbett In Scenes From Otello And Simon Boccanegra (The Great 1939 Victor Recordings) Country: UK Released: 1991 Style: Romantic, Opera MP3 version RAR size: 1177 mb FLAC version RAR size: 1223 mb WMA version RAR size: 1722 mb Rating: 4.1 Votes: 920 Other Formats: APE AA TTA MPC AC3 VOX FLAC Tracklist Simon Boccanegra Act I 1 Dinne...Alcun Là Non Vedesti?..Figlia! Tal Nome Palpito 4:36 2 Plebe! Patrizi! Popolo...Piango Su Voi, Sul Placido 5:06 Otello Act I 3 Inaffia L'ugola! (Brindisi) 3:46 4 Già Nella Notte Densa 8:40 Act II 5 Vanne! La Tua Meta...Credo In Un Deo Crudel 4:41 Non Pensatei Più...Tu? Indietro'...Ora E Per Sempre Addio...E Qual 6 5:15 Certezza Sognate 7 Era La Notte...Oh! Mostruosa Colpa! 4:09 8 Ah! Mille Vite...Sì Pel Ciel 3:19 Act III 9 Dio! Mi Potevi Scagliar 4:12 10 Vieni; L'aula È Deserta...Questo È Una Ragna 4:44 Act IV 11 Canzone Del Salice 4:27 12 Ave Maria 4:12 13 Niun Mi Tema 4:28 Companies, etc. Record Company – Pavillion Records Ltd. Credits Baritone Vocals – Lawrence Tibbett, Roberts Nicholson (tracks: 2) Chorus – Metropolitan Opera Chorus Composed By – Verdi* Conductor – Wilfrid Pelletier Liner Notes – Alan Blyth Orchestra – Metropolitan Opera Orchestra* Soprano Vocals – Helen Jepson (tracks: 4, 11, 12), Rose Bampton (tracks: 2) Tenor Vocals – Giovanni Martinelli, Herman Dreeben (tracks: 3), Nicolas Massue* (tracks: 3, 10) Transferred By – Mark Obert-Thorn Notes Recorded 3 and 9 May 1939.
    [Show full text]
  • Maria Callas La Scala Presents 'Norma' · Highlights by Bellini Mp3, Flac, Wma
    Maria Callas La Scala Presents 'Norma' · Highlights By Bellini mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: La Scala Presents 'Norma' · Highlights By Bellini Country: US Style: Opera MP3 version RAR size: 1220 mb FLAC version RAR size: 1803 mb WMA version RAR size: 1594 mb Rating: 4.7 Votes: 750 Other Formats: AIFF MOD AHX DXD MP4 MP2 AUD Tracklist Norma A1 Act I: 1. Casta Diva (Ah! Hello A Me Ritorna) A2 Act II: 2. Oh! Rimembranza! A3 Act II: 3. Oh! Di Qual Sei Tu Vittima (Perfidol Orbasti) B1 Act III: 1. Dormono Entramb B2 Act III: 2. Mira, O Norma! (Cedi Deh! Cedi!) B3 Act IV: 3 In Mia Man Alfin Tu Sei B4 Act IV: 4. Deh! Non Volerli Vittime Credits Bass Vocals – Nicola Zaccaria Chorus – Coro Del Teatro Alla Scala Chorus Master – Norberto Mola Conductor – Tullio Serafin Libretto By – Felice Romani Mezzo-soprano Vocals – Christa Ludwig Orchestra – La Scala Orchestra* Soprano Vocals – Edda Vincenzi, Maria Callas Tenor Vocals – Franco Corelli Notes Includes booklet with notes and libretto. Other versions Category Artist Title (Format) Label Category Country Year Vincenzo Bellini - Vincenzo Bellini - Maria Callas, Franco Maria Callas, Corelli, Christa Franco Corelli, Ludwig, Edda Christa Ludwig, Vincenzi, Orchestra His Edda Vincenzi, Del Teatro Alla Scala 1 C 063-00 Master's 1 C 063-00 Orchestra Del Di Milano*, Coro Del Germany Unknown 730 Voice, EMI 730 Teatro Alla Scala Teatro Alla Scala Di Electrola Di Milano*, Coro Milano*, Tullio Serafin Del Teatro Alla - Norma (Grosser Scala Di Milano*, Querschnitt In Tullio Serafin
    [Show full text]
  • 111053-54 Bk Bhmissa
    111334-35 bk Turandot EU.qxd 2/11/08 13:23 Page 8 revealed. They end by threatening Calaf with their are left alone, she rigid as a statue and veiled. Calaf daggers. Shouting is heard, as soldiers drag in Timur calls on this Princess of death and of ice to descend to and Liù, two who must know the Prince’s name. earth. He rushes forward and tears off her veil, to 4 Turandot appears, and they bow down to the Turandot’s anger; he may tear her veil but not touch PUCCINI ground, except for Ping, who comes forward to tell her soul. The Prince takes Turandot in his arms, and her that they now have the means to discover the draws her towards the pavilion, kissing her, but she Prince’s name. Calaf claims that Timur and Liù know draws away, now seeking his pity. 0 Calaf declares nothing, but Liù steps forward and tells Turandot that his love for her, as dawn breaks; he has conquered Turandot she alone knows the stranger’s name and will keep it and her heart has melted. ! For the first time now secret. 5 Calaf tries to protect her and on Turandot’s she sheds tears, telling him of her first fear of him. orders is bound, while Liù is tortured 6 claiming Finally Calaf reveals to her his name. love as the reason for her strength in resistance. She is RIA CALL happy to suffer for her beloved Prince, as the Scene 2 A AS executioner is called for.
    [Show full text]
  • MIRELLA PARUTTO – SOPRANO & MEZZOSOPRANO at Just Nineteen
    MIRELLA PARUTTO – SOPRANO & MEZZOSOPRANO At just nineteen she made her debut at the Teatro Verdi in Trieste as Leonora in Il Trovatore. Debuts at Milan’s Teatro alla Scala followed quickly including such roles as a Priestess in Aida directed by Antonino Votto with Giulietta Simionato , Giuseppe Di Stefano, Nicola Zaccaria and Giangiacomo Guelfi, and as Elena in Mefistofele alla Scala in 1958, replacing Anna De Cavalieri (Anne McKnight) directed by Votto. The following year saw her debut at the Boboli Gardens as Abigaille directed by Bruno Bartoletti, with Miriam Pirazzini, Gastone Limarilli and Ettore Bastianini for the Maggio Musicale Fiorentino, and at the Teatro Regio in Parma as Leonora in La forza del destino with Carlo Bergonzi, Mario Zanasi and Raffaele Arié. In 1960 she appeared at the Teatro dell'Opera in Rome as Amelia in Un ballo in maschera directed by Gabriele Santini, with Miriam Pirazzini and Plinio Clabassi, and Aida directed by Gianandrea Gavazzeni, with Antonio Zerbini and Flora Torrigiani at the Teatro Nuovo in Turin. At the Fenice in Venice he sings in Trovatore, Don Carlo, Mefistofele. In 1961 at La Scala she performed Guido Pannain's Requiem directed by Fernando Previtali. In the same year, she appeared in Trovatore in Berlin, with Ettore Bastianini, Franco Corelli and Fedora Barbieri. Among her most popular soprano roles were Aida, Leonora (in Il trovatore and La forza del destino), Abigaille, Maddalena, Amelia. From 1965 she began performing as a mezzo-soprano, making her debut at the Teatro dell'Opera di Roma in Don Carlo directed by Luchino Visconti and conducted by Carlo Maria Giulini; the roles of Adalgisa, Amneris, Ulrica, Princess Eboli, Princess of Bouillon followed.
    [Show full text]