Volume | CD | Track | Subject | Provenance |
---|---|---|---|---|
I | A | 01 | Adelson e Salvini | Stefan Zucker, "World's Highest Tenor", on September 8, 1972: WQXR program entitled "The Listening Room": an interview with Robert Sherman then an excerpt from the live world-premiere performance of Bellini'sAdelson e Salvina, Town Hall, September 12, 1972. TD> |
I | A | 02 | Aida | Giovanni Martinelli stops the performance during "Celeste Aida" on the February 26, 1938 broadcast (he had food poisoning). Frederick Jagel, listening at home, ran to the theatre to finish the performance. |
I | A | 03 | Aida | Carlo Bergonzi is on the sad side of the high Bb at the end of "Celeste Aida" on February 25, 1967. |
I | A | 04 | Aida | Vassilka Petrova, who recorded at the dawn of the LP era, attempts the role of Aida. |
I | A | 05 | Aida | Montserrat Caballe does not make the high C in "O patria mia" from Aida and voices her frustration. |
I | A | 06 | Ave maria | From an actual audition tape submitted to the Zurich Opera, Sirach van Bodegraven offers his fractured version of the Bach/Gounod "Ave Maria". |
I | A | 07 | Ave maria | Marie-Sol Chevalier, la chanteuse la voix la plus aigu au monde! I highly recommend listening to the very end of this second verse from Schubert's "Ave Maria"... The key is C Major - you do the math. |
I | A | 08 | Ballo | Michele Molese comments on Harold Schoenberg's review of his "pinched" high C during Un ballo in maschera performance of November 1, 1974 with Marisa Galvany as Amelia. He was fired the next day. |
I | A | 09 | Basso profundo | Be sure you listen to the end of this excerpt of Russian liturgical chant and hear a low G below the staff. |
I | A | 10 | Boheme | The son of Enrico Caruso sings "Che gelida manina"from La boheme. |
I | A | 11 | Carmen | Rise Stevens orders Giuseppe di Stefano: "Put my arm down!" during a particularly heated Carmen broadcast on January, 21, 1956. He broke it! |
I | A | 12 | Carmen | Regina Resnik leaves no doubt in the listener's ear as to when her Carmen receives the blade of the Don Jose of Richard Tucker. The performance date is March 15, 1969. |
I | A | 13 | Cavalleria | Cavalleria rusticana "Siciliana" sung by Emanuele Bucalo in the style of Donald Duck, or is it a cat? Anyway, it dates from ca. 1905. |
I | A | 14 | Cavalleria | During an early 1970s Munich Cavalleria, no one could be found to emit the final line "Hanno ammazzato compare Turiddu" that pleased director Giancarlo del Monaco. Former-Santuzza-(with del Monaco Sr.)-turned-Mama Lucia, Astrid Varnay, said "I could do it, but I can't, because I'm on stage." and then del Monaco said "But why not...." The word "compare" was dropped and Varnay was directed to look offstage and moan (not scream) the line, clutching her abdomen in memory of her birth pains. Leonie Rysanek, as Santuzza, repeats the same line. |
I | A | 15 | Company | "You could Drive a Person Crazy" from Sondheim's Company: Eileen Farrell, Marilyn Horne and Carol Burnett from a 1960's Carol Burnett show. |
I | A | 16 | Contes d'Hoffmann | Soprano Susi Sommers interpolates high Ab above high C into the Doll Song from Les contes d'Hoffmann. Normally heard in just the ending, I include here the entire second verse. |
I | A | 17 | Crucifixus | Alessandro Moreschi, the last living castrato (1858-1922): "Crucifixus" (Rossini). |
I | A | 18 | Don Giovanni | Elinor Ross "chickens out" during Donna Anna's aria from Don Giovanni during a broadcast. |
I | A | 19 | Entführung | Alexandra Deshorties (an actual card-carrying witch) screams her way through the allegro from "Ach, ich liebte" from Die Entführung as dem Serail. This is the singing that the opera house would not allow to be booed at. |
I | A | 20 | Faust | Renata Tebaldi gets a bit carried away at Valentin's death at a Naples Faust performance. |
I | A | 21 | Fille du Régiment | Stefan Zucker, dedicates the aria "Ah mes amis" from La fille du régiment to Luciano Pavarotti. |
I | A | 22 | Fledermaus | Martina Arroyo attempts a high D at the end of the Czardas from Die Fledermaus. |
I | A | 23 | Frühlingstimmen | Johann Strauss' "Frühlingsstimmen" laboriously sung by an aging soprano from Hamburg for an audition tape. After a false start, she adroitly moves her voice through the roulades. |
I | A | 24 | Gioconda | Renata Scotto, age 15 (1948): "Voce di donna" from La gioconda. |
I | A | 25 | Lakmé | Beverly Sills at the age of 12 - probably a test recording. |
I | A | 26 | Laughing Song | An excerpt from "The Geisha" of N. Lambelt as sung by Paola Novikova, a teacher of Nicolai Gedda. |
I | A | 27 | Lucia | Lucia di Lammermoor, Act II duet, December 8, 1956 with Maria Callas and Enzo Sordello. Due to a miscommunication between pit and stage, Sordello decided to take the rein and leaving Callas somewhat in the dust. It's assumed she asked Bing to get rid of him; Bing said no; Callas then cancelled her next Lucia. It was reported that Callas' father, upon hearing of his daughter's cancellation, stationed himself in the Met lobby and lobbied the patrons to demand refunds. He was eventually asked to leave and Dolores Wilsonm gave a fine performance. Sordello then found out this was his last performance and Callas returned. |
I | A | 28 | Lucia | La Scala booing during Lucia di Lammermoor: Tiziana Fabbricini, 1992. |
I | A | 29 | Lucrezia | Hugeutte Tourangeau commits a glottal assault attack on a high C during the 2nd verse of the Brindisi from Lucrezia Borgia, Houston, April 8, 1975. |
I | B | 01 | Luisa Miller | Claude Francois Etienne, a well-known hater of Renata Scotto, screams out "Brava Maria Callas, soprano assoluta!" as Renata Scotto begins her aria from Luisa Miller, broadcast of 1979. |
I | B | 02 | Madama Butterfly | Maria Callas (a.k.a. Nina Forresti), age 12: "Un bel di" from Madama Butterfly in a radio performance on Major Bowe's Talent Show under the name of Nina Forresti on April 7, 1935. |
I | B | 03 | Martha | Ruby Helder, female tenor, sings "M'appari" from Martha. |
I | B | 04 | Mignon | A precocious Julie Andrews demonstrates her vocal abilities at the ripe age of 12 in the Polonaise from Mignon. |
I | B | 05 | O Holy Night | A member of the congregation from the Calvary Chapel of Louisa (Mineral, VA) gives a stirring rendition of Adam's "O Holy Night". His range is especially impressive, not to mention his fervor. |
I | B | 06 | Pagliacci | A performance from Italian television by Anna Moffo of the Ballatella from Pagliacci. Late in her career and making judicious cuts. |
I | B | 07 | Pagliacci | From a February 29, 1936 broadcast of Pagliacci, Giovanni martinelli delivers a riveting performance along with his over-the-top Nedda, Queena Mario. Does she actually sing D#s and E naturals al petto? |
I | B | 08 | Pecheurs | Tenor Larry Costa attempts the aria from Les pecheurs de perles. |
I | B | 09 | Perichole | Paola Novikova infectuously sings the aria "Ah quel diner" from La perichole. |
I | B | 10 | Puritani | Enrico Di Giuseppe attempts a high F in a New York City Opera performance of I Puritani, March 8, 1975. |
I | B | 11 | Puritani | On March 13, 1982, John Aler made his (rather successful) single attempt at the high F in I Puritani at the New York City Opera. |
I | B | 12 | Queen of Sheba | It's the trill that keeps on trilling. Selma Kurz oscillates for 17 seconds in an aria from Goldmark's The Queen of Sheba. |
I | B | 13 | Rigoletto | Portugese soprano Natalia de Andrade apparently specialized in singing the role of Massenet's Manon: There are many excerpts on her LP as well as arias from Rigoletto, Il trovatore, La forza del destino and Un ballo in maschera. Every one of them is sung larghissimo. Her approach to a high B natural in Caro nome is worth the wait. For information about an entire CD devoted to this soprano, go to Manon and Other Heroines. |
I | B | 14 | Rigoletto | Nicolai Gedda in a rare mishap during a live 1979 Barcelona Rigoletto. |
I | B | 15 | Samson | Rita Gorr stops a dress rehearsal of Samson et Dalila in Dallas to admonish Mario del Monaco for being out of costume. |
I | B | 16 | Sheet Song | The Sheet Song, sung by Earl Wrightson imitating Ezio Pinza, accompanied by a pickup string quartet. The lyrics are hidden in his accent. From Josef Durchstecher: Oh, it exists all right, but there is some question as to whether or not it is actually Pinza singing. Eddie Smith put it out years ago on his UORC label, attributing it to Ezio and giving a 1943 date for it. However, it has also been attributed to Earl Wrightson, who apparently did a dead-on imitation of Pinza for anyone who would listen. I would opt for Pinza himself, because I can't imagine that Wrightson (or anyone else) could imitate him THAT well; if he could, he could have made his own career as one of the great bassos, and wouldn't have had to end up doing duets with Lois Hunt on Garry Moore's old afternoon TV show. In any case, the Budapest Quartet (if, indeed, it IS the Budapest Quartet) does a long introduction as well as a postlude, which is exceedingly well-played. Whatever its provenance, it sure as hell wasn't an audition record for Rodgers and Hammerstein as 1) I truly doubt that Pinza would have had to audition for the role via a record and they could already hear samples of his English on both records and the radio, 2) although Pinza was famously capable of doing some low-down things, I doubt he would have wanted this particulary selection as part of his recorded posterity, 3) since he also supposedly wrote the lyrics, it presupposes a knowledge of English beyond that which he probably enjoyed at the time, and 4) Richard Rodgers was not exactly famous for his sense of humor! Anyhow, now you know! |
I | B | 17 | Tosca | The January 6, 1957 performance of Tosca was one of those afternoons when everyone was "on." Listen to the final pages of the opera with Tebaldi's special interpolation then the postlude wuth the utmost of dramatic intensity. |
I | B | 18 | Tosca | What must be the highest note ever sung in chest: A Mexico City Tosca performance with Maria Callas. The D natural before the final high Bb is the note, albeit brief - it's on pitch and definitely not head voice. |
I | B | 19 | Traviata | During the brief choral section just before "Sempre libera" from La traviata, the chorus gets behind the beat and all is syncopation chaos. |
I | B | 20 | Traviata | An insane woman in the audience at the New York City Opera production of La traviata (debut of Ashley Putnam) lets out a primal scream during tenor Henry Price's scene in Act II. Some say she was planted to distract Mr. Price and some say she saw blood all over her blouse after having had dental work. |
I | B | 21 | Traviata | Via a close source: Riccardo Muti was having lunch with a retired opera singer during a break in recording sessions for La traviata. The maestro complained that the singer contracted to sing the single line "La cena e pronta" during the gambling scene in Act II, could not get it right to save his life - he was late, sharp, flat, early and utterly incapable. Then, his guest offered to sing the difficult six-syllable role for him and agreed not to receive credit on the commercial release. If you hear it without knowing who it is, it's hard to guess. But if you know it's Giuseppe di Stefano, it becomes immediately obvious. |
I | B | 22 | Traviata | Montserrat Caballe faints halfway through "Addio del passato" during a performance of La traviata in Paris, 1972. |
I | B | 23 | Tristan | Jon Vickers, during a December 1975 Dallas performance of Tristan und Isolde, tells the audience what he thinks of their coughing. |
I | B | 24 | Tristan | The voice of Elisabeth Schwarzkopf supplied high C's in the FurtwÓngler recording of Tristan und Isolde. |
I | B | 25 | Trovatore | Franco Bonisolli calls for "Wasser!" (water) in the middle of his aria, "Di quella pira", from a 1987 Hamburg performance of Il trovatore. |
I | B | 26 | Trovatore | This recording dates from 1909. All we know is what is written on the disc: Trovatore di cani (Trovatore of dogs). It is highly suspect as to which gender the Leonora is (bitch or male). |
I | B | 27 | Turandot | After being notified that Montserrat Caballe has cancelled her performance of Turandot, conductor Zubin Mehta makes the announcement to the audience himself and audience reaction is violent (May 16, 1976). |
I | B | 28 | Turandot | Giovanni Martinelli, age 82, in a Seattle Turandot, February 4, 1967, in the role of Emperor Altoum. |
I | B | 29 | Turandot | Turandot: finale of "In questa reggia" as sung by the prima donna of the Grand Scena Opera Company, Mme. Vera Galupe-Borszkh. |
I | B | 30 | Walküre | As an experiment, Birgit Nilsson was asked to record a brief excerpt from "Du bist der Lenz" from Die Walküre. On an Opera Quiz, the panelists (Max de Schawnsee, Irving Kolodin and Winthrop Sargeant) were stumped as to who it was, one recommending that the un-named soprano give it up. In 1966, Birgit Nilsson saw a photograph of a "golden age" singer (Felia Litvinne?) making a phonograph record by singing into a horn. I don't know the precise sequence of events, but Geraldine Souvaine, producer of the opera quiz, thought it would be neat to record Nilsson this way, play the record for the experts on the opera quiz, and ask them to guess the name of the artist. She contacted someone at RCA , asking how it might be done. That person called Gregor Benko of the International Piano Library. He called collector Alton F. R. Lawrence; and he called me. They sent a car into which I loaded my Edison phonograph, several wax cylinder blanks, a morning-glory horn, and a bird-cage stand, and off we went to Souvaine's apartment on Central Park West. The equipment was placed on a folding snack table, a suitable height achieved by stacking telephone books. Nilsson arrived with her accompanist and sang something from Walküre into the horn. We did it twice more and when she started to object ("I didn't think I would have to sing so much"), decided to go for a proper take. We made two cylinders. To do it properly with that equipment one should move back on high or loud passsages. She moved forward. My friend Larry (Lawrence) tried to pull her back, but she wouldn't budge. (I don't think she appreciated being grabbed around the waist by a stranger, either --- certainly not while singing.) Photos were taken and I believe that one or two have been published. I know that they are on file at the opera's archive at Lincoln Center. I show up in some as the "recording engineer". I look like Pee Wee Herman. I requested $250 as a fee. Souvaine explained that they would have to bump a critic from the show if they paid me that much. They bumped the critic. We taped the cylinder and I left with the originals. When they heard the cylinders that Saturday the remaining critics had nothing kind to say about the soprano whose name they were asked to guess. When told who it was, they were not pleased. I sold the better of the cylinders to Ward Marston about two years ago. It will end up on a CD eventually. I still have the other. |
I | B | 31 | Walküre | Lauritz Melchior holds "Wälse!" 22 seconds during a 1940 Die Walküre broadcast. |
I | B | 32 | Zauberflöte | An amazing "Queen of the Night" (Die Zauberflöte): Maria Galvany sings with incredible staccati and over-the-top interpolations, a recording dating from about 1903. |
II | A | 01 | Aida | An excerpt from "Ritorna vincitor" from a live staged performance of Aida with that young dramatic Verdi soprano, Beverly Sills. What? Yes, it took place in Central City, Colorado in 1955. |
II | A | 02 | Aida | A role Licia Albanese never sang onstage, but she did sing a concert version in 1966 outside of Washington, DC. The selection is the final pages of "O patria mia" from Act III. |
II | A | 03 | Armida | This has to be the ultimate example of Cristina Deutekom's unexplainable vocal technique in negotiating roulades and runs. Her singing of the Armida aria, "D'amore al dolce impero" reminds me sometimes of a calliope. |
II | A | 04 | Ballo | You can't say Plaido didn't try in this matinee performance. Gilda Cruz-Romo was a beautiful Amelia. |
II | A | 05 | Barbiere | The virtuosic Swingle Singers sing the overture to Rossini's Il barbiere di Siviglia. |
II | A | 06 | Barbiere | Erna Sack demonstrates her lack of accuracy but shows off her whistle-like top in the second section of the standard aria, "Una voce poco fa" from Il barbiere di Siviglia - a long sustained high E with a touched high G sharp and ending with a sustained high F sharp. |
II | A | 07 | Barbiere | Montserrat Caballe sang one single performance of Rosina in Rossini's Il barbiere di Siviglia in Nize. Unfortunately, there was a mishap in the middle of the aria. Was it a memory lapse? Was it an emergency cut made in mid-performance because something went wrong (the misfire of a high B - listen to the audience gasp in horror)? You be the judge. Luckily the conductor was able to corral his forces to continue into the cabaletta. |
II | A | 08 | Blue Danube | A cute jazz treatment of the well-known Strauss Waltz as sung and embellished in her inimitable fashion by Lily Pons from the 1936 movie "That Girl from Paris". |
II | A | 09 | Cobbler Duet | A 1907 recording that probably has never ever been heard is Ruggi's "I Due Ciabattini" as sung by Giuseppe de Luca and Ferruccio Corradetti. I have no idea what the song is about nor its connection, of all things, to "Addio del passato" from La traviata. |
II | A | 10 | Don Carlo | In 1952, Zara Doulhkanova recorded Eboli's aria "O don fatale" from Don Carlo in very broad tempi. She also threw in an interpolation at the end that I myself have never heard before - instead of the final B flat, she goes to a high C. |
II | A | 11 | Don Carlo | This was from a Don Carlo broadcast of April 22, 1972. Mme. Caballe decides to hold the final high B almost until the final curtain comes down. Other cast members include Corelli, Macurdy and Siepi. |
II | A | 12 | Don Giovanni | It happened in Brooklyn. Who knew that the Chairman of the Board, Frank Sinatra could sing anything from Mozart's Don Giovanni? Probably no one (he certainly shared character flaws with the Don). It is a strange version of "La ci darem la mano" with orchestra AND piano (probably for support). His Zerlina is Kathryn Grayson in the 1947 movie. |
II | A | 13 | Don Giovanni | The singing career of Margaret Truman reached its height when Washington Post critic Paul Hume gave her a negative review. Margaret's father, Harry, shot back at Hume, threatening to "punch out your face" (the letter later sold for over $50.000.00). Appropriately, we hear her sing "Batti, batti" from Don Giovanni. |
II | A | 14 | Entführung | I know nothing about this little excerpt except what it appears to be. During a rehearsal of Konstanze's aria, "Ach ich liebte", the soprano gériatrique comes upon a problematic approach to a high D. She stops, clears her throat once, then, with explosive brutality, clears it again, apparently dislodging the phlegm from her battered cords. It's almost painful. |
II | A | 15 | Estrelita | I couldn't resist sharing Erna Sack's high G sharp in this excerpt from the lovely Ponce song, Estrellita. |
II | A | 16 | Fado Portugese | The mistress of "les notes piqus", Maria Galvany, shows her agility at staccato singing. |
II | A | 17 | Fanciulla | On Friday, January 14, 1966, the house found itself without a Minnie for the following Monday night's performance of La fanciulla del West. The only Minnie in town to replace Dorothy Kirsten was the indomitable Eleanor Steber, who had not looked at the score for almost a decade . She demanded one thing: Mr. Bing must thank her publicly over the radio the next day. She had piano/vocal scores placed all over the set and props to help her get through it. Eleanor Steber had been absent from the house for about four years. This excerpt is her entrance in Act I, some of the greatest entrance music for a soprano. I get cold chills every time I hear it: it demonstrates the great love her public had for her. This was her final complete performance with the company. She participated in the Farewell to the Old House three months later. |
II | A | 18 | Forza | The voice of Leontyne Price began to show a bit of age in the late 1970s. She developed a strange approach to the release of a note: she zinged up, she zinged down as in this 1977 broadcast. |
II | A | 19 | Frau ohne Schatten | On November 24, 1985, Gwyneth Jones was engaged to sing the Frberin with the Zurich Opera. For one performance, the Kaiserin cancelled and no replacement was near. Jones offered to save the day, especially since her daughter's school class was to attend this performance and she didn't want to let them down. Jones sang and acted the entire role of the Dyer's Wife. She sang the entire role of the Empress behind a scrim and music stand while someone walked the role onstage. When both characters were onstage at the same time, she sang the Empress' lines upstage. Except for one exposed mishap at the outset of the performance, she sailed through triumphantly, sounding fresh as a daisy at the end. |
II | A | 20 | Guglielmo Tell | On November 10, 1984, the young Aprile Milo sang a tryout runthrough of William Tell in Queens, NY with OONY. She takes a wonderful high E at the end of the Act III duet. |
II | A | 21 | Holländer | The late critic John Ardoin says this high B from Leonie Rysanek's Senta, broadcast on March 5, 1960, was the loudest note he ever heard in a live performance. |
II | A | 22 | Huguenots | Rita Shane in her prime, shows off her dramatic top by interpolating a high F sharp at the end of the duet with Nicolai Gedda. This Vienna performance of Les Huguenots preceded a Munich Knigin der Nacht the very next day. She could do anything in those days. Gedda was astounded at her endurance. |
II | A | 23 | Intermission One-Liners | Milton Cross |
II | A | 24 | Intermission One-Liners | Peter Allen. |
II | A | 25 | Intermission One-Liners | Edward Downes. |
II | A | 26 | Intermission One-Liners | Rise Stevens. |
II | A | 27 | Intermission One-Liners | Bidu Sayao, Zinka Milanov. |
II | A | 28 | Intermission One-Liners | William Weaver. |
II | A | 29 | Intermission One-Liners | Alberta Maisiello, Richard Mohr. |
II | A | 30 | Intermission One-Liners | Birgit Nilsson. |
II | A | 31 | Intermission One-Liners | James Levine. |
II | A | 32 | Intermission One-Liners | Leonard Bernstein. |
II | A | 33 | Intermission One-Liners | Rudolf Bing, Justino Diaz |
II | A | 34 | Intermission One-Liners | Lily Pons, Mary Ellis Peltz |
II | A | 35 | Intermission One-Liners | Luciano Pavarotti, Placido Domingo |
II | A | 36 | Intermission One-Liners | John Covenny |
II | A | 37 | Intermission One-Liners | Richard Tucker |
II | A | 38 | Intermission One-Liners | John Ardoin |
II | A | 39 | Intermission One-Liners | Robert Merrill |
II | A | 40 | Intermission One-Liners | Maria Callas |
II | A | 41 | Intermission One-Liners | Tony Randall |
II | A | 42 | Intermission One-Liners | Francis Robinson, Marian Anderson |
II | A | 43 | Intermission One-Liners | Father Owen Lee |
II | A | 44 | Intermission One-Liners | Boris Goldovsky |
II | A | 45 | Intermission One-Liners | Steven Blier |
II | A | 46 | Intermission One-Liners | Leontyne Price |
II | A | 47 | Intermission One-Liners | Will Crutchfield |
II | A | 48 | Intermission One-Liners | Joan Sutherland, Marilyn Horne, Martina Arroyo |
II | A | 49 | Intermission One-Liners | Deborah Voigt |
II | A | 50 | Lucrezia | Leyla Gencer lets out a pitched scream in a live Lucrezia Borgia. |
II | A | 51 | Madama Butterfly | Originally a classicly-trained singer, Mary Martin makes a 1950s television appearance singing "One fine day" from Madama Butterfly. Though there is comedy going on from time to time, her delivery is sometimes refreshing. Her prompter is Noel Coward. |
II | A | 52 | Meistersinger | This unnamed singer has never heard of chest voice and doesn't think vocal consistency is important. Some Prize Song... |
II | B | 01 | Mikado | Three great vocalists from the 1960s: Joan Sutherland, Dinah Shore and Ella Fitzgerald sing "Three Little Maids From School" on Dinah's television variety show. |
II | B | 02 | Norma | I'm sure Nana Mouskouri fans just LOVED it, but Bellini sure wouldn't. Her attention to the printed score is non-existent in this bizarre performance of "Casta diva". |
II | B | 03 | Pagliacci | A rather thrilling performance of "Vesti la giubba" from Denis Gonet, considering the fact that he's all of twelve years old. |
II | B | 04 | Pirata | Renee Fleming gets away with as much bad taste as possible in this excerpt from a Paris Il Pirata. |
II | B | 05 | Porgy | The great Mari Lyn, star of her own cable access show in the late '70s, shows she can "get down" like the rest of 'em. The best moment of this performance of "Summertime" comes at the end. The very end. |
II | B | 06 | Puritani | From a 1977 San Francisco performance of I Puritani, Signor Cesare-Antonio Suarez makes the same mistake Enrico di Giuseppe did. |
II | B | 07 | Requiem | Apparently, movie star Joan Crawford heard that the greatest living exponent of operatic singing, Rosa Ponselle, was in town (making her Hollywood screen test of Carmen) so she decided to take lessons. The finished product is the "Recordare" duet fromt the Verdi Requiem. Professor Ponselle sings the mezzo line and it sounds like she's the accompanist as well. |
II | B | 08 | Rigoletto | An early 1970s Munich concert finds the beautiful Patricia Wise singing a flawless Caro nome. Except for one note. |
II | B | 09 | Roi de Lahore | Picture it: Naples, September 2, 1917 - Angela de Angelis and Fernando de Lucia, stand in front of the horn to record this duet from Le Roi de Lahore. All goes well until the very end. Signorina de Angelis loses all ability of pitch definition and slides around until she finally lands on the right note. Too little too late. |
II | B | 10 | Samson | From the 1935 movie "Goin' To Town", Mae West pipes the end of Mon coeur s'ouvre a ta voix" in delectable French with the tenor Vladimir Bykoff. |
II | B | 11 | Sillsiana | From a 1970 benefit concert for the International Piano Library, Beverly Sills sings a pot-pourri of her dazzling showstopping coloratura roles. This track includes her hysterical introductory speech. |
II | B | 12 | Star-Spangled Banner | The daughter of President Woodrow Wilson, Margaret, made four recordings on the Columbia Gramophone label. It reads: This record of my voice if sold by the Columbia Gramophone Company shall yield to the American Red Cross the sum of 25 cents covering my entire royalty." |
II | B | 13 | Thais | This comes under the category of "Because she could". Elisabeth Vidal has the range to SING the Meditation from Thais (in key) in this live performance from December 12, 2004. |
II | B | 14 | Tosca | Yes, Olive Middleton has the reputation of singing when she shouldn't but this performance almost brings sincere tears to the listener's eyes. One thing is certain: you can't say Dame Middleton didn't live for her art. |
II | B | 15 | Tosca | Georgina Lukacs gets really disgusting as she kills Scarpia (Egils Silins) in this studio recording. |
II | B | 16 | Tosca | The Franco Corelli fans of Parma show the tenor their adoration for him as they stop the show after his thrilling over-the-top performance of E lucevan le stelle. The date is January 21, 1967. About this performance, Corelli himself said "This one's my best!" |
II | B | 17 | Tosca | Leonie Rysanek had great high B flats, B naturals and occasional great high Cs. This is not one of those occasional great high Cs in Act III from a Hamburg Tosca. |
II | B | 18 | Tosca | Phyllis Curtin sang a performance of Tosca in Pasadena on March 2, 1968. The Cavaradossi was Franco Corelli. She's very involved at the end, and; is this the 2nd scream on record? |
II | B | 19 | Traviata | If I were a baritone and thought I had a high B flat to show off, I would make pretty damn sure I could do it any time any place if I was to attempt it on a global broadcast. This is not the case with Anthony Michaels-More. It landed in a sort of head voice and lasted a pitiful measure and he ended up with an embarassing finale to Act II in this La traviata broadcast from February 11, 2006. Jonas Kaufman is the Alfredo. |
II | B | 20 | Traviata | This is scenery chewing at its best. Or you could call it upstaging at its worst. As the Alfredo of Frederick Jagel denounces the Violetta of Rosa Ponselle in front of all her friends, Ponselle's heroine loses all emotional control and starts screaming and begging Alfredo not to embarass her. It was a live broadcast from January 13, 1934. |
II | B | 21 | Traviata | Renee Fleming sang her first Violetta in Houston but it sounds like she's read the letter over too many times. And she makes sure all of France know that it's "tardi". |
II | B | 22 | Tristan | Jeanette Macdonald sings a short version of the Liebestod proving that she ain't an Isolde. |
II | B | 23 | Trovatore | An excerpt from a June 30, 1908 Berlin recording (sung auf Deutsch) featuring soprano Aline Sanden, tenor Juan Spivak and a lost baritone Juan Luria. |
II | B | 24 | Turandot | Compare and contrast father Jussi Björling and son Rolf Björling singing the same phrase from Turandot. |
II | B | 25 | Walküre | Leonie Rysanek throws in a Wagnerian interpolation by letting out an orgasmic scream when her Siegmund, James King, pulls the sword out in this 1968 Bayreuth performance. |
II | B | 26 | Walküre | Infamous Stefan Zucker sings Brünnhilde's battlecry from Die Walküre. |
II | B | 27 | Winchester Cathedral | Jan Peerce and Robert Merrill slum on a late 1960s television appearance in this parody of the 1966 hit by The New Vaudeville Band. |
II | B | 28 | Wizard of Oz | Two stars of an NYCO gala who shared a dressing room were Ethel Merman and Renata Scotto. Before the concert, Merman was seen bursting out of the dressing room screaming "that woman is driving me crazy!" Apparently, Scotto was practising phrase by phrase, word by word, her offering for the evening, "Over the Rainbow." |
II | B | 29 | Zauberflöte | A flawless performance that rivals any adult coloratura ever. Period. 12-year-old Tolz choirboy Robin Schlotz nails every high F in the Queen of the Night rage aria from Die Zauberflöte. |
III | A | 01 | Aida | From a 1959 broadcast, the brass were absolutely and perfectly off during the last measure of the Triumphal Scene. |
III | A | 02 | At the Met | A clever song from the 1951 review "Two on the Aisle" by Jule Styne and words by Betty Comden and Adolph Green. |
III | A | 03 | Attila | Sherrill Milnes really shows off with his top range at the end of the second verse of "E gettata la mia sorte" and nails a high Bb. |
III | A | 04 | Bacio | Leona Anderson KNEW she'd lost her vocalism and cashed in on it in the early 1950s. Ernie Kovacs discovered her then she made her famous LP "Music To Suffer By". Here, she sings Arditi's "Il Bacio". It's amazing how low the energy plummets when she starts singing. |
III | A | 05 | Ballo | Sylvia Sawyer participated in only three recordings, one of which is Un Ballo in maschera. Her Ulrica is REAL spooky, especially "Nulla, pi nulla ascondersi." |
III | A | 06 | Barbiere | The Largo is a walk in the park for tenor robusto Mario del Monaco. Signor doesn't pay much attention to the printed score but delivers all high notes. |
III | A | 07 | Barbiere | According to her CD liner notes, she is an emerging star, conquering all genres of music. Rosemary is her name and Una voce poco fa is her game. And it's definitely a roller coaster ride. She is equally and expertly accompanied by her teacher and mentor, Dr. Thomas Blobner. |
III | A | 08 | Barbiere | After a stupendous performance of "Tanti affetti" from La Donna del Lago in the Lesson Scene, Marilyn Horne receives three ovations (1 big, 2 medium), the second prompted by Enrico di Giuseppe and the third by Fernando Corena. The date is February 20, 1971. |
III | A | 09 | Boheme | There used to be a little club in Italy called "L'Incompreso" (The Misunderstood) where opera lovers (not opera singers) got together and sang for each other. There are four excerpts from one of these evenings throughout Volume III of Shall I Go On? This first example shows a member that can't match pitch and has no high notes. Pity the pianist. |
III | A | 10 | Boheme | Giacomo Aragall doesn't have nice time with the high C in "Che gelida manina." |
III | A | 11 | Boheme | In her soprano days (Nedda, Marie) Marilyn Horne sang Musetta in a San Francisco production. |
III | A | 12 | Bolena | Montserrat Caballe makes a bad decision in this live February 21, 1982 La Scala performance. |
III | A | 13 | Carmen | What is now known as one of the finest recordings of Il trovatore ever made, the cast of this Carmen performance consisted of Barbieri, Pobbe, del Monaco and Bastianini. And Loretta de Lelio (later Mrs. Corelli)sang Frasquita. You'll hear the beginning of the Card Scene in awful sound. |
III | A | 14 | Cavalleria | A bad decision of Nell Rankin's to interpolate a high C at the end of this Santuzza/Alfio duet with Walter Cassel. |
III | A | 15 | Chenier | I guess the tenor in this Act II love duet couldn't handle the rubati. |
III | A | 16 | Chenier | The aria "Come un bel di di maggio" does not worry the son of Peter Anders. He is very proficient at scooping and "hook 'n go" methods. |
III | A | 17 | Chiribiribin | Erna Sack, in this excerpt from the popular Italian song "Chiribiribin", demonstrates her upper extension to the point that it's almost inaudible; it eventually becomes audible. You may have to turn up your volume at first to hear the high Gb. |
III | A | 18 | Cosi | Blanche Thebom gets lost near the end of her aria "Smanie implacabile" (sung in English) during this 1952 broadcast premiere of Cosi. |
III | A | 19 | Don Giovanni | Margaret Truman sings "Batti, batti" from Don Giovanni. A pleasant-enough soprano whose fame is most likely because of a negative review written by Paul Hume. A response by Margaret's Daddy expressed desire to do physical harm to the critic. |
III | A | 20 | Erlkönig | The incredible virtuoso group called The Swingle Singers sing this Schubert lied with such accuracy of pitch and clarity. The arranger of this deserves equal praise. |
III | A | 21 | Erlkönig | A very different take on the early Schubert song by a certain tenor named Josef Durchstecher. The words "over the top" are lame. |
III | A | 22 | Fado Portugese | Maria Galvany exhibits her amazing and unique ability at singing "les notes piques" in this excerpt from the folk song "Ouvi Dizar" by Neuparth. |
III | A | 23 | Farinelli | Maria Galvany exhibits her amazing and unique ability at singing "les notes piques" in this excerpt from the folk song "Ouvi Dizar" by Neuparth. |
III | A | 24 | Fidelio | Erika Sunnegrdh made her debut on the Fidelio broadcast of April 1, 2006. She has a small memory lapse (which probably, in her mind, felt like minutes) but she gets back on track and finishes the performance with acclaim. |
III | A | 25 | Fledermaus | Marilyn Mims just barely squeaks out the high D at the end of the Czardas. |
III | A | 26 | Forza | It happens to the best of 'em. Mme. Milanov sings a sumptuous "Pace, pace mio Dio" during this 1956 broadcast, but in the middle of it, her pitch begins to sag. And the harpist brutally points this out. |
III | A | 27 | Happy Birthday | From station OPERA, Salvatore Baccaloni, Rise Stevens and Bidu Sayao attempt to create a unique birthday greeting for President Roosevelt. Erich Leinsdorf settles it all and they sing the traditional version in this 1943 broadcast. |
III | A | 28 | Heidenröslein | From the 1933 movie "The Song of Songs" is the Schubert lied "Heidenröslein" unpassionately sung by Marlene Dietrich. |
III | A | 29 | How Can I Go On? | Freddie Mercury and Montserrat Caballe shared a special affection for each other. They performed together and this is one of their selections. |
III | A | 30 | Information, Please | We've all heard Milton Cross speak but he sings during this episode of "Information, Please" radio show. The host is Clifton Fadiman and the panelists are John Curran, Franklin P. Adams, Sigmund Spaeth and Basil Rathbone. |
III | B | 01 | Kill De Wabbit | Bugs Bunny and Elmer Fudd do their rendition of Wagner's Ring. |
III | B | 02 | La lune blanche | Hugues Cuenod demonstrates a great talent with economy of the breath in this, the third song from Fauré's La bonne chanson. Listen for the endless phrase that begins with "Un vaste et tendre apaisemtn...". |
III | B | 03 | Lombardi | A member of L'Incompreso gets through "La mia letizia infondere" from I Lombardi |
III | B | 04 | Lohengrin | Allergies strike again during this 2006 broadcast of Lohengrin. The "legendary" Ben Heppner doesn't let this distract him. |
III | B | 05 | Lucia | The young Jose Carreras sings Arturo in a 1970 Bilbao production that included Deutekom and Kraus. |
III | B | 06 | Lucia | This was Lily Pons' final complete opera broadcast and her final note of the afternnon. Performing the Mad Scene in F wasn't exactly a good idea that afternoon. |
III | B | 07 | Lucia | Mado Robin, billed as the stratospheric coloratura (Marie-Sol Chevalier topped her later) sings a high Bb above high C in this live performance of the Mad Scene. |
III | B | 08 | Martha | Sing along with Caruso! Luisa Tetrazzini joins Caruso at the end of "M'appari". Her giggle at the end is infectious. |
III | B | 09 | Night & Day | Aksel Schltz croons this Sinatra favorite. |
III | B | 10 | O, Gianni O | One of Alec Templeton's delicious creations: a one-act opera La storia di Giovanni. Mr. Templeton is the voice of everyone in the show. This track has never been available to the public until now. |
III | B | 11 | Pagliacci | Lawrence O'Neil sings this full-of-meaning translation of "Vesti la giubba." I'll bet you've never heard this as a love song, have you? And the 1970s rock orchestration is worth noting. |
III | B | 12 | Non ho l'eta | What must be some peasant woman sings an Italian song, "Non ho l'eta (translated as I'm not old enough) at L'Incompreso. Don't forget: only the love must show. |
III | B | 13 | Norma | What's there to say? The greatest singers of the twentieth century onstage together and interacting. This happened in 1952 at Covent Garden when Maria Callas sang Norma and Joan Sutherland sang Clothilde. |
III | B | 14 | Nozze | Frederica von Stade sings a rather different translation of "Voi che sapete". The subject is cats and the title is"Oy Chuck and Katie". |
III | B | 15 | Puritani | This time it's the soprano that fails in this brief un-named excerpt from the love duet. |
III | B | 16 | Puritani | Teresa Stitch-Randall ornaments beyond recognition and sings uncomfortably fast the cabaletta "Vien, diletto." |
III | B | 17 | Rigoletto | A tenor from "L'Incompreso" struggles - bless his heart -with "Questa o quella". It's amazing that just about every one of his entrances is about a measure late. The approach and final Ab is worth the wait. |
III | B | 18 | Rigoletto | 12-year-old Beverly Sills delightfully sings "Caro nome." |
III | B | 19 | Rigoletto | Nicolai Gedda, Joan Sutherland, Mildred Miller and Tito Gobbi speak the lines from the Rigoletto Quartet, demonstrating the four different lines of action. |
III | B | 20 | Rigoletto | Giuseppe di Stefano gets real sloppy in this excerpt. |
III | B | 21 | Separated at Birth | Mozart inspired himself by the music from a Cosi recitative in writing Tamino's aria from Flute. |
III | B | 22 | Separated at Birth | Who knew that Verdi predicted in his Trovatore the Carmen of Bizet? |
III | B | 23 | Star-Spangled Banner | This policeman didn't know the words, the tune and basically didn't know how to sing the National Anthem |
III | B | 24 | Stitichezza | In this "Grande duetto tragico" Giuseppe Valdengo and Cesare Siepi switch their Rigoletto roles and change the words with constipated effect. |
III | B | 25 | Teseo Riconosciuto | In this excerpt from a Spontini rarity, Sonia Visentin demonstrates agile coloratura. Countless high Cs a few high Es and Fs and one high G. |
III | B | 26 | Tosca | Combining two examples of the fact ("they" say) that Leonard Warren never really learned the role of Scarpia. The first, from a 1958 broadcast with Antonietta Stella, Warren mumbles words he's forgotten ("Ed or fra noi da buoni...") and gets the last one: "amici." The second example, from 1957 is an interchange between Warren's Scarpia and Renata Tebaldi's Tosca. Warren steps on her line with his "Portatelo..." and then he corrects it by singing it again. |
III | B | 27 | Traviata | This is the place for the Alfredo to show off his high C (provided he has one) as Fritz Wunderlich serenades Teresa Stratas from this legendary March 28, 1965 Munich performance. |
III | B | 28 | Traviata | Marie Green, a singer who dubbed and voice-overed her way through Hollywood in the '30s and 40s, sings her delectable version of "Sempre libera" with a male backup group. |
III | B | 29 | Traviata | Excerpts from a March 17, 1983 Genova performance of Traviata. Domingo was originally announced, then Krause. The role of Alfredo ended up being sung by tenor Lamberto Furlan, whose pitch ability is not liked by the audience. The show eventually stops altogether and another tenor is brought on, but he is disliked even more. Joan Sutherland is the Violetta. Apparently, the performance never finished. |
III | B | 30 | Turandot | Aretha Franklin gets down 'n dirty when she replaced the Pav. |
III | B | 31 | Walküre | Baritone Richard Bonelli recorded the Winterstürme late in his life but this pupil of de Reszke still had the goods. |
III | B | 32 | Walküre | Timothy Jenkins doesn't have enough left at the end of Act I of Die Walküre. |
IV | A | 01 | Cat Duet | The proper way to begin Volume IV. The Rossini Cat Duet as sung by Leontyne Price and Regine Crespin. |
IV | A | 02 | Chocolate Soldier | Josef Durchstecher, at the age of 16, entered one of those booths at an arcade and made a record, his first of many. You can actually hear the gun shooting at the moving ducks. |
IV | A | 03 | Coloratura Variations | One of those sopranos for whom time has stopped, Maria Calabro sings the "Twinkle, twinkle little star" variations at the age of 83. |
IV | A | 04 | D7 | A british "tenor" sings a reallyhigh D7 on a talk show. |
IV | A | 05 | Fra Diavolo | A man whose last name is Julius Lieban sings a soprano aria from Auber's Fra Diavolo. |
IV | A | 06 | Gioconda | In his inimitable style and key, Michael Aspinall sings "Suicidio" mimicking a certain diva. |
IV | A | 07 | Götterdämmerung | Marilyn Horne strolls through the dramatic soprano realm singing the Immolation Scene with Erich Leinsdorf conducting. The excerpt is the rollicking finale. |
IV | A | 08 | Greeting | Puccini |
IV | A | 09 | Hoffmann | A soprano whose last name is Prell shows off her high Eb at the end of the Doll Song from Offenbach's Les contes d'Hoffmann. |
IV | A | 10 | Hoffmann | Anja Silja, age 19 sings a charming Doll Song (auf Deutsch), a preparatory role for Brünnhilde (see CD 2, track 17). |
IV | A | 11 | Little Drummer Boy | Mr. and Mrs. James McCracken (Sandra) sing this little Christmas tune. |
IV | A | 12 | Lucia | A truly mad, mad, mad, mad performance of the mad scene from Lucia mad Anna Moffo madly delivers on this 1969 broadcast. |
IV | A | 13 | Lucia | A truly mad, mad, mad, mad performance of the mad scene from Lucia mad Anna Moffo madly delivers on this 1969 broadcast. |
IV | A | 14 | Lucia | A truly mad, mad, mad, mad performance of the mad scene from Lucia mad Anna Moffo madly delivers on this 1969 broadcast. |
IV | A | 15 | Lucia | A truly mad, mad, mad, mad performance of the mad scene from Lucia mad Anna Moffo madly delivers on this 1969 broadcast. |
IV | A | 16 | Lucia | A truly mad, mad, mad, mad performance of the mad scene from Lucia mad Anna Moffo madly delivers on this 1969 broadcast. |
IV | A | 17 | Madama Butterfly | A true trainwreck happens in this entrance of Butterfly from a Philadelphia performance with Montserrat Caballe. |
IV | A | 18 | Mame | Eleanor Steber and Blanche Thebom, a duo who performed very often together in opera as well as recital, sing "Bosom Buddies." |
IV | A | 19 | Mignon | The age of 88 has not depleted any of the rich sound of Giulietta Simionato, sung in Italian. |
IV | A | 20 | Morgen | The Blanche to Maria's Baby Jane, Jacqueline Callas sings the well-known Strauss lied. |
IV | A | 21 | My Fair Lady | Renee Fleming goes overboard once again and sings "I Could Have Danced All Night." |
IV | A | 22 | National Anthem | The Wicked Witch of the West, Margaret Hamilton, sorta sings the National Anthem. |
IV | A | 23 | Nightingale | A Russian soprano with the name Alla Solenkova, sings a remarkable "Song of the Nightingale." |
IV | A | 24 | Norma | Donald Gramm interpolates an aria written by Wagner in this 1971 Boston performance of Norma. |
IV | A | 25 | Nozze | Giulietta Simionato, at a birthday party for Karl Bhm, sings Cherubino's "Non so piu". Down an octave. |
IV | B | 01 | Nymphs and Shepherds | Cathy Berberian sings her rendition, or rather someone else's rendition in this classic performance from a recital. |
IV | B | 02 | Otello | In this 1980 broadcast, Richard Cassilly should have thought twice about agreeing to perform. He cancelled after the first act. |
IV | B | 03 | Our Voices Were Meant For Each Other | Helen Traubel and Jimmy Durante in one of their many radio shows. |
IV | B | 04 | Pagliacci | Jose Carreras makes an appearance on TV's Sesame Street and sings Vesti la giubba for Ernie. |
IV | B | 05 | Paride ed Elena | The youthful-sounding 64-year-old Erna Berger sings the classic "O del mio dolce ardor." |
IV | B | 06 | Patriotic Song | Tenor Lucien Muratore sings a patriotic melody. The voice in the distance is his wife, Lina Cavalieri. |
IV | B | 07 | Requiem | On March 29, 1959 the second of two performances of theVerdi Requiem occured. For the first, the week before, Heidi Krall replaced Zinka Milanov (go figure). Milanov decided she would do the second performance, but apparently she knew something no one else knew as she carried her purse onstage with her, thus being prepared for a hasty exit if necessary. Here is her complete albeit incomplete performance that Friday night. The other soloists were Rosalind Elias, Carlo Bergonzi and Giorgio Tozzi. The conductor was Bruno Walter in his final appearance at the Met. She "fainted" slightly, got back stage left (closer to the stage door) and was tended to by Francis Robinson. Zinka overheard someone suggest a glass of whiskey. At that, Mme. toned lowly, "Brandy!" Robinson ran to the bar across the street from the stage door, ordered a glass of their finest brandy and proceeded to run back to the house and at the same time, being chased by the bartender. |
IV | B | 08 | Salome | It is rather obvious that Richard Lewis was not in the best of health for the wonderful recording of Salome conducted by Erich Leinsdorf. He was able to vocally emit everything except for two phrases: "Sie ist ein Ungeheuer, deine Tochter. Ich sage dir, sie ist ein Ungeheuer!" The Herod of the sessions, James King, sang these phrases for him as they were below Lewis' available range. |
IV | B | 09 | Tancredi | A baritone named Andre Bauge and Ninon Vallin sing this duet version of Di tanti palpiti from Rossini's Tancredi. |
IV | B | 10 | Tannhäuser | Jazz great Stan Kenton presents his rendition of the overture form Tannhäuser. |
IV | B | 11 | Te amo | A popular duet as sung by Judy Canova and Ezio Pinza |
IV | B | 12-14 | Tosca | Michael Aspinall demonstrates how Act II of Tosca really should be done. |
IV | B | 15 | Tosca | Galina Vishnevskaya and Matteo Manuguerra sing the finale of Act II of Tosca. Ms. Vishnevskaya really gets into it and that's putting it mildly. |
IV | B | 16 | Walküre | At the Levine Gala, Birgit Nilsson made a brief speaking appearance and gave the audience a morsel of her Ho jo to ho. |
IV | B | 17 | Walküre | 19-year-old Anja Silja, ten months after having sung the Doll in a Les contes d'Hoffmann, sang her first Brünnhilde in Stuttgart. |
IV | B | 18 | Yma Dream | A very funny monologue by Thomas Ian as read by Christine Ebersoll. |
IV | B | 19 | Zauberflöte | Ingrid Hfer, who is classified as a dramatic soprano but she's more closer to the fach eighteen-wheeler soprano. She sings everything from Elsa to Erda. The opening section of this Queen of the Night aria has as much "Goddamnitall, let's get this section over with" attitude as the B section is slow and prodding. And boy does she prod. |
V | A | 01 | Aida | Fiorenza Cossotto is very popular. In Japan. She'll perform at the drop of a hat as she does in this November 2007 Tokyo concert performance of the Judgment Scene. |
V | A | 02 | Barbiere | Robert Merrill sings a sortof Happy Birthday to Moe Gale, hi manager on September 15, 1948. It's a combo of the Barber Largo and eventually goes into the Whiffenpoof Song. |
V | A | 03 | Barbiere | An Asian soprano sings something resembling Una voce poco fa. You could probably write a Rossini opera with all her wrong notes. She's in F, by the way and I've only included the B section. |
V | A | 04 | Evangelia Callas | An interview with a composer and the mother of Maria Callas, Evangelia. She claims her daughter to be her creation. She then proceeds to smears her daughter, blaming on her the suicide attempt. The aforementioned composer later recites the lyrics of a song he wrote depicting Mama Callas' sadness at her daughter's fleeing the family. A recording is played of Evangelia singing the song. |
V | A | 05 | Carmen | Leona Anderson croaks the Habanera. |
V | A | 06 | Carmen | From a broadcast starring Rosa Ponselle, this is the finale of the Sequidilla. Why does she sustain the final high B natural? Maybe she wanted to prove she was still a soprano with a great high B. |
V | A | 07 | Carmen | The Carmen in this Act IV final duet is Dragana Jugovic del Monaco, a house soprano in Belgrade and wife of Giancarlo del Monaco (son of Mario). It is said that "she had taken lots of medications on the day of this concert because of some family troubles, but went to sing anyway." The tenor's name is not known. |
V | A | 08 | Carousel | Leslie Uggams has a memory lapse while singing "June is bustin' out all over." |
V | A | 09 | Chenier | Ben Heppner and Violeta Urmana in the final pages of the final duet. |
V | A | 10 | Chopin Nocturne | Ornel Smith Lucas sings the familiar Chopin Nocturne in Eb with a rather unintelligible French. |
V | A | 11 | Don Carlo | Baritone Placido Domingo sings Roderigo's final two arias in a 1975 recording. |
V | A | 12 | Elektra | The final page of "Was bluten muss" as sung by Hildegard Behrens. |
V | A | 13 | Ernani | In this 1949 recording of "Ernani involami,"Mina Foley, not only throws in a high Eb during the cadenza, not only does she throw in a high F at the final cadence, not only does she trill on a high F, she... |
V | A | 14 | Favorita | Baritenor Sherrill Milnes throws in a high B natural at the close of the cabaletta "Vien amici" during a Favorita broadcast of March 11, 1978. The critics, BTW, didn't approve. |
V | A | 15 | First Recording | A British radio announcer can't stop laughing after playing for her listeners a newly discovered old, old, old, ol recording. |
V | A | 16 | Forza | A male soprano-wanna-be sings along with a MMO record. |
V | A | 17 | Götterdämmerung | Grace Bumbry, albeit on the happy side of the pitch, soars through Immolation scene of which I offer the finale. |
V | A | 18 | Hansel & Gretel | One audience member thought it would be OK if he ordered a set change from his seat by bellowing "Whoa! Change the set!" during this December 9, 2007 broadcast. |
V | A | 19 | Hoffmann | On March 4th, 2007. CJ Sokolowski, 15-year-old Baritone and Male Soprano (aka countertenor) sang a semi-staged Doll Song for his voice class recital. His high Ebs are rather amazingly brilliant and he performs some ornaments that are unusual, like dipping down to Eb below middle C as a baritone then skipping up to his money-note, high Eb. |
V | A | 20 | Latvian TV | Elena Obraztsova "gets down" on a variety show, belting high As in (her version of) chest. |
V | A | 21 | Lucia | The tenor Bulent Bezduz sings Edgardo come scritto in the Act I love duet, beginning a downward scale on a high Eb. Lucia is Laura Aikin and dates from 2006. |
V | A | 22 | Lucia | Renata Scotto in the finale of the Mad Scene, April 21, 1973. |
V | B | 01 | Masnadieri | Lucianna Serra delivers crystal clear coloratur in the bridge - touching a high A natural - and B section of the cabaletta "Carlo vive!". |
V | B | 02 | Mignon | Twelve-year-old Julie Andrews pipes the Polonaise. She sounds mature both in speaking and singing. |
V | B | 03 | Musensohn | In the accompaniment of Schubert's lied, "Der Musensohn" the composer depicts a young boy skipping through nature. I have begun with the first few measures as sung by Elisabeth Schumann demonstrating a tempo that is a little slower than normal but normal. The next and complete version is by Jan DeGaetani and Gil Kalish. |
V | B | 04 | Name That Tune | In the Italian version of the television quiz show, "Nominare quell'aria", the young (and unknown?) Giuseppe di Stefano is put through his paces. |
V | B | 05 | Norma | Cecilia Bartoli (!!!!) sings Casta Diva. |
V | B | 06 | Otello | A rare combination of two of the greatest interpreters of Verdi's Otello singing together in Dallas: Mario del Monaco as Otello and Ramon Vinay as Iago. |
V | B | 07 | Pagliacci | Mario del Monaco sings the Prologue. |
V | B | 08 | Pagliacci | An 8-minute redo of "Vesti la giubba", courtesy of Signor Caruso and pianist Alan Feinberg entitled "Any Resemblance is Purely Coincidental". This must be what Caruso's recording of the aria sounds like still ringing in outer space. |
V | B | 09 | Petite Messe Solennelle | The tenor aria "Cujus animam" sung by soprano Julia Migenes-Johnson. |
V | B | 10 | Pinafore | An excerpt from H.M.S. Pinafore sung in Yiddish. |
V | B | 11 | Puritani | Giovanni Roberti sings the aria with the high F (barely) but does something strange at the end... |
V | B | 12 | Rigoletto | From an episode of "Amos 'n Andy", the Delta Rhythm Boys sing "The Rigoletto Blues", their version of the quartet. |
V | B | 13 | Schicchi | Inna Dukach sings "O mio babbion caro" accompanied by The Groove Brothers. |
V | B | 14 | Schicchi | At a June 25, 1953 Lewisohn Stadium concert, Yma Sumac in her only (?) recording of an opera aria. |
V | B | 15 | Skylark | Ellen Beach Yaw warbles, trills, tremulates and chirps her way through this lovely ditty in a crecording from 1909. She ends on a high Bb above high C. |
V | B | 16 | Titwillow | Julius Lieban sing in this recording made ca. 1907. |
V | B | 17 | Tosca | For purposes of teaching the general public about Puccini's Tosca, the NY Philharmonic hired a singer to sing an excerpt with the accompanist explaining the story prior to the "delightful" aria. The only flaw with this performance is that the pianist neglected to flatten the C while playing in the key of G flat major. |
V | B | 18 | Traviata | Baritone Craig Smith as Germont interpolates a high Bb at the end of Act II, Scene 1. |
V | B | 19 | Trovatore | Placido Domingo and Luciano Pavarotti join forces for a performance of "Di quella pira". |
V | B | 20 | Turandot | As Calaf, Deanna Durbin sings "None shall sleep tonight". |
V | B | 21 | Walküre | Julie Andrews sings Brünnhile's battlecry. |
V | B | 22 | Zauberflöte | A (Japanese) parrot demonstrates its coloratura agility. |
V | B | 23 | Zauberflöte | Adolf, Adalbert and Siegmund Lieban perform the aria "O Isis und Osiris" in a recording from ca. 1907. |
VI | A | 01 | Adriana | Magda Olivero proves her everlasting vocal ability by going, not to the stage of La Scala but the offices of the house and recording the entire role of Adriana, albeit with piano. I include here the final pages of the opera with tenor Alberto Cupido, baritone Orazio Mori and Carmelina Gandolfo at the piano. Olivero is 84 years old. |
VI | A | 02 | Aida | This performance of "Ritorna vincitor!" can serve as Exhibit A for proving that Verdi should not be sung in English. The soprano's last name is Clarke. Nuff said. |
VI | A | 03 | Aida | Grace Bumbry and Grace Bumbry perform the Amneris/Aida duet. |
VI | A | 04 | Barbiere | From a cartoon: "Dentist of Seville - Live From The Nest". |
VI | A | 05 | Barbiere | Robert Merrill and Ed Wynn have fun on a 1950 Christmas Eve broadcast of "The Big Show". |
VI | A | 06 | Barbiere | A sort of rock version of the Largo performed by (tenor?) Pierre Simons. |
VI | A | 07 | Barbiere | This is an excerpt from "Una voce poco fa" sung by Luciana Serraa during a recital. I include this because of her amazing agility at singing leaps of sixths near the end of this clip. It's a single measure worth hearing |
VI | A | 08 | Carmen | The quintet sung in Chinese. |
VI | A | 09 | Carmen | Why singers attempt to sing with Music Minus One is beyond explanation. A soprano whoe last name is Soare attempts the Seguidilla. |
VI | A | 10 | Carmen | Spike Jones' slapstick version of the Bizet opera. |
VI | A | 11 | Chenier | Placido Domingo, now starting to sing all things operatic, performs "Nemico della patria" at a 2007 New Orleans gala. He transposes UP a half step. |
VI | A | 12 | Faust | Tenor Rudolf Schock sings "Avant de quitter ces lieux" auf Deutsch. |
VI | A | 13 | Favorita | Ruby Hinds displays subtle chest voice in this cabaletta after "O mio Ferrando." |
VI | A | 14 | Fille |