Notes and Editorial Reviews
THE GREAT TENORS II
•
Heinrich Knote;
1
Julius Bochní?ek;
2
Selmar Cerini;
3
Julián Biel;
4
César Vezzani;
5
Léon Campagnola;
6
John O’Sullivan;
7
René Lapelletrie;
Read more
class="SUPER12">8
Antonio Paoli;
9
Giuseppe Borgatti;
10
René Maison;
11
Petre Munteanu;
12
Various accompaniments
•
SYMPOSIUM 1368, mono (78:38)
Arias from
ADAM
Si j’etais roi.
8
ALFANO
Resurrection.
11
BIZET
Carmen.
7
FLOTOW
Alessandro Stradella.
1
GOUNOD
Faust. Roméo et Juliette.
7
HALÉVY
La Juive.
3,4
LEONCAVALLO
La bohème.
6
I pagliacci.
7
MEYERBEER
Dinorah.
5
MOZART
Die Zauberflöte.
12
ROSSINI
Guillaume Tell.
3
SAMARA
Mademiglia di Belle-Isle.
9
SMETANA
The Bartered Bride.
2
Dalibor.
2
THOMAS
Mignon.
8
VERDI
Il trovatore.
4
Jérusalem.
5
La traviata.
12
Otello.
9
WAGNER
Lohengrin.
1,7,10
Die Walküre
10
If you find a vintage opera disc labeled “The Great Tenors,” you’d presumably expect it to contain the likes of Caruso, Escalaïs, Jadlowker, Smirnov, and Cazette: headliners at a time when the word referred not only to their place on the marquee but in metropolitan newspapers and social fetes. Symposium has chosen to look deeper. While those of us who are vocal collectors will know most of the names on this release, the enthusiasts just getting into the hobby might wish to consider this collection. It will expand their awareness of just how numerous and varied were the great tenors, in style, voice, and training, in the first half of the 20th century.
Despite leaving a lot of fine material unexplored, they run the gamut. Giuseppe Borgatti was an Italian specialist in Wagner, whose later recordings, presented here, display a lyrical voice and sure understanding of the music, compromised by declining chest resonance. Julius Bochní?ek’s voice is a sensitively treated lyric that combines portamentos and white tone with an unexpected Italianate warmth. The spinto Antonio Paoli was rightly noted for his brilliant top and stamina. Heinrich Knote’s intelligently used lyric doesn’t preclude displaying some good metal in
Alessandro Stradella
. René Lapelletrie provides the audible equivalent of a velvet glove over a steel gauntlet: plenty of heft, along with a refinement that allows him to shade his large voice easily, quickly, down to a thread. Petre Munteanu’s lightly veiled tone, sensitive manner, and attention to character put him in the same class for me as Cesare Valletti.
René Maison’s Lohengrin was once referred to in a review by William Youngren as “effete”; be that as it may, here his singing in Alfano’s
Resurrection
displays a rich lyrico spinto with a typically rapid vibrato, as well as passion and excellent enunciation. Campagnola was a French spinto with a finely focused tone, and an exciting but emphatic presence; his
Carmen
finale (with Suzanne Brohly) turns Don José into a psychopath. Though that isn’t presented on this disc, some hint of it can be heard in the very un-French way he breaks up the vocal line to express emotion in “Téte adorée.”
My own favorite in the group is César Vezzani. The Corsican was what the French term a
tenor-fort
, combining the lightness of a lyric with the endurance and strength of a spinto. He was also at ease with coloratura; these traits, combined with a gleaming brightness to his tone, have made “Si l’univers entier” (from Grétry’s
Richard Cœur de Lion
, one of his big successes) his most celebrated recording among recent collectors. His “Je veux encore entendre,” presented here, is similarly brilliant, but also shows him softening well on the phrase, “si tendre.” He was known for his extended range, up to a C?, and there are two of those produced with ease in this selection.
A couple of inclusions on this album might raise an eyebrow at the use of the word “great.” The Irish heroic tenor John O’Sullivan, for example, displays almost no sensitivity to phrasing, breathing patterns, or language—though at least his tone is produced with a degree of freedom on these unusually early test pressings, believed to have been recorded in 1906–1909. Or Selmar Cerini: a Jewish cantor and concert artist in Wroc?aw, who combined a tight, throaty sound with great coloratura facility. Neither was ever celebrated during his lifetime, though O’Sullivan had a few zealous advocates—that failed tenor, James Joyce, among them. I detect in their selection the invisible hand of an editor who believes passionately in his or her favorites.
Each artist gets a paragraph that provides career highlights and a sentence or two about their respective voices. The back of the jewel case lists matrix numbers and dates. As in all Symposium releases, filtering is avoided, so you get more voice with your disc crackle. Recommendations? A good starting point for new enthusiasts who can then look to specific releases of artists, vocal
fachs
, and styles they especially enjoy. A delight, too, for those who simply enjoy great singing.
FANFARE: Barry Brenesal
Read less
Works on This Recording
1.
Lohengrin: Nun sei bedankt, mein lieber Schwann! by Richard Wagner
Performer:
César Vezzani (Tenor),
Julian Biel (Tenor),
Giuseppe Borgatti (Tenor),
Leon Campagnola (Tenor),
René Maison (Tenor),
Petre Munteanu (Tenor),
Antonio Paoli (Tenor),
Julius Bochnicek (Tenor),
Heinrich Knote (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1847; Germany
Length: 2 Minutes 28 Secs.
2.
Alessandro Stradella: Italia mein Vaterland by Friedrich von Flotow
Performer:
Julius Bochnicek (Tenor),
Giuseppe Borgatti (Tenor),
Leon Campagnola (Tenor),
Heinrich Knote (Tenor),
René Maison (Tenor),
Petre Munteanu (Tenor),
Julian Biel (Tenor),
Antonio Paoli (Tenor),
César Vezzani (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1844; Germany
Length: 2 Minutes 1 Secs.
3.
Bartered Bride, B 143/T 93: My...my...mother dear by Bedrich Smetana
Performer:
Petre Munteanu (Tenor),
Antonio Paoli (Tenor),
Julian Biel (Tenor),
Julius Bochnicek (Tenor),
Giuseppe Borgatti (Tenor),
Leon Campagnola (Tenor),
Heinrich Knote (Tenor),
René Maison (Tenor),
César Vezzani (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1863/1870; Czech Republic
Length: 2 Minutes 44 Secs.
4.
Dalibor, B 133/T 96: Ah, whose is the spell by Bedrich Smetana
Performer:
Julius Bochnicek (Tenor),
René Maison (Tenor),
Petre Munteanu (Tenor),
Giuseppe Borgatti (Tenor),
Julian Biel (Tenor),
Leon Campagnola (Tenor),
Heinrich Knote (Tenor),
César Vezzani (Tenor),
Antonio Paoli (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1865/1870; Czech Republic
Length: 3 Minutes 23 Secs.
5.
Guillaume Tell: Asil héréditaire by Gioachino Rossini
Performer:
Selmar Cerini (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1829; Italy
Length: 2 Minutes 54 Secs.
6.
La juive: O Dieu, Dieu de nos pères by Jacques Halévy
Performer:
Selmar Cerini (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1835; Paris, France
Length: 3 Minutes 1 Secs.
7.
La juive: Rachel, quand du Seigneur by Jacques Halévy
Performer:
Julian Biel (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1835; Paris, France
Length: 2 Minutes 30 Secs.
8.
Il trovatore: Di quella pira by Giuseppe Verdi
Performer:
Julian Biel (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1853; Italy
Length: 1 Minutes 38 Secs.
9.
Le pardon de Ploërmel "Dinorah": Les blés sont bon à faucher by Giacomo Meyerbeer
Performer:
César Vezzani (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1859; Germany
Length: 2 Minutes 44 Secs.
10.
Jérusalem: Je veux encore entendre ta voix by Giuseppe Verdi
Performer:
César Vezzani (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1843-1847; Italy
Length: 3 Minutes 25 Secs.
11.
La Bohème: Io non ho che una povera stanzetta by Ruggero Leoncavallo
Performer:
Leon Campagnola (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1897; Italy
Length: 2 Minutes 40 Secs.
12.
La Bohème: Musette! O gioia della mia dimora... Testa adorato by Ruggero Leoncavallo
Performer:
Leon Campagnola (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1897; Italy
Length: 3 Minutes 19 Secs.
13.
Roméo et Juliette: Ah! lève-toi, soleil by Charles Gounod
Performer:
John O'Sullivan (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1867; France
Length: 3 Minutes 14 Secs.
14.
Lohengrin: In fernem Land by Richard Wagner
Performer:
John O'Sullivan (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1846-1847; Germany
Length: 3 Minutes 23 Secs.
15.
I Pagliacci: Recitar!...Vesti la giubba by Ruggero Leoncavallo
Performer:
John O'Sullivan (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1892; Italy
Length: 2 Minutes 47 Secs.
16.
Carmen: La fleur que tu m'avais jetée "Flower song" by Georges Bizet
Performer:
John O'Sullivan (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1873-1874; France
Length: 3 Minutes 26 Secs.
17.
Si j'étais roi: Un regard de ses yeux by Adolphe Adam
Performer:
Rene Lapelletrie (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: ?1852; France
Length: 3 Minutes 8 Secs.
18.
Mignon: Ah! que ton âme by Ambroise Thomas
Performer:
Rene Lapelletrie (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1866; France
Length: 2 Minutes 42 Secs.
19.
Otello: Dio, mi potevi scagliar tutti i mali by Giuseppe Verdi
Performer:
Antonio Paoli (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1887; Italy
Length: 3 Minutes 57 Secs.
20.
Mademoiselle de belle Isle: Oui, je l'aime by Spiro Samara
Performer:
Antonio Paoli (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1905
Length: 2 Minutes 56 Secs.
21.
Lohengrin: Atmest du nicht mit mir by Richard Wagner
Performer:
Giuseppe Borgatti (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1847; Germany
Length: 2 Minutes 21 Secs.
22.
Die Walküre: Wes Herd dies auch sei by Richard Wagner
Performer:
Giuseppe Borgatti (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1856; Germany
Length: 2 Minutes 58 Secs.
23.
Risurrezione: Katuschka, ce jour exquis by Franco Alfano
Performer:
Giuseppe Borgatti (Tenor)
Orchestra/Ensemble:
Orchestra
Period: 20th Century
Written: 1902-1903; Italy
Length: 2 Minutes 54 Secs.
24.
Risurrezione: Piangi, si, piangi by Franco Alfano
Performer:
Giuseppe Borgatti (Tenor)
Orchestra/Ensemble:
Orchestra
Period: 20th Century
Written: 1902-1903; Italy
Length: 3 Minutes 1 Secs.
25.
Die Zauberflöte, K 620: Alles fühlt der Liebe Freuden by Wolfgang Amadeus Mozart
Performer:
Petre Munteanu (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1791; Vienna, Austria
Length: 4 Minutes 30 Secs.
26.
La traviata: De' miei bollenti spiriti by Giuseppe Verdi
Performer:
Petre Munteanu (Tenor)
Orchestra/Ensemble:
Orchestra
Period: Romantic
Written: 1853; Italy
Length: 4 Minutes 22 Secs.
Sound Samples
Lohengrin: Act I: Nun sei bedankt, mein lieber Schwan!
Alessandro Stradella: Act III: Introduction: Italia, mein Vaterland
Prodana nevesta (The Bartered Bride): Act III: Trio: Utiz se, divko, utis se
Dalibor: Act II: O Zdenku
Guillaume Tell (William Tell): Act: Du meiner Vater Hutte
La Juive: Gott erleuchte meine Sinne
La Juive: Rachele allor che iddio
Il trovatore: Act III: Di quella pira
Dinorah, "Le pardon de Ploermel" (Sung in French): Dinorah, "Le pardon de Ploermel", Act III: Aria: Les bles son bons a faucher (Sung in French)
Jerusalem: Act II: Jeux veux entendre
La boheme: Pour logis je n'ai qu'une chambrette
Romeo et Juliette: Act II: Ah! Leve-toi, soleil
Lohengrin: Act III: Aux bords lointaine
Pagliacci: Act I: Vesti la giubba
Carmen (Sung in English): Carmen, Act II: See here your Flower (Sung in English)
Si j'etais roi: Act I: Un regard de ses yeux
Mignon: Act III: Ah! Que ton ame, enfin
Otello*: Otello, Act III: Dio! Mi potevi scagliar
Lohengrin: Act: Deh! Non t'incantan
Die Walkure: Cede il verno
Risurrezione (Resurrection): Katuchka, ce jour exquis
Risurrezione (Resurrection): Pleure, oui pleure
Die Zauberflote (The Magic Flute), K. 620: Act I: Oh! Cara immagine
La traviata: Act II: De' miei bollenti spiriti
Customer Reviews
Be the first to review this title
Review This Title
