Cellini’s golden “Trovatore” from 1952 is arguably one of the most enduring in discographic history. It has always been a favorite of English-speaking critics, bringing together the Met’s roster of international superstars: Björling, Milanov, Warren, and Barbieri. In Italy, its critical fortune has been more mitigated; yet when pressed, even as staunch a skeptic as the notoriously exacting Elvio Giudici {…}
The 1952 RCA recording of Verdi’s “Il trovatore” starring Jussi Björling can now be heard at a higher quality than ever before thanks to High Definition Tape Transfers and Harmony Restorations’ newest release. This celebrated recording features Björling along with Zinka Milanov, Fedora Barbieri, Leonard Warren, Nicola Moscon, Margaret Roggero, and Paul Franke. Renato Cellini is heard leading the RCA {…}
Zinka Milanov and Birgit Nilsson are two of the greatest artists of the 20th century. Not only were they superstar sopranos (albeit of different repertory), but they share a birthday. So in celebration of their special day, here’s a little quiz in which you’re tasked with figuring out which of the two divas the prompt refers too. Of course, don’t {…}
There aren’t many well-known Croatian opera stars. But there is Zinka Milanov. Born on May 17, 1906, the Croatian diva would go on to one of the most stable careers at the Metropolitan Opera. She studied in Milan and Berlin during her youth, making her opera debut in Slovenia at age 21. Her role? Leonora in “Il Trovatore.” It was {…}
A Metropolitan Opera season will start with Bellini’s “Norma” for the third time in its history when Sondra Radvanovsky, who conquered the role at the Met a few years back, takes it on on Sept. 25, 2017. Radvanovsky will join a long line of famous sopranos that have taken on the opera with the company, beginning with Lilli Lehman, who {…}
Zinka Milanov was born on May 17, 1906. Exactly 12 years later, on May 17, 1918, Birgit Nilsson was born. The two women would go on to markedly different careers, though they both performed at the greatest houses in the world and would perform with many of the same artists, albeit in different operas. Both women were dramatic sopranos, and {…}
When you look at the body of work of the great tenor Franco Corelli, you might well imagine that Ponchielli’s “La Gioconda” to be a prominent role in his repertoire. The tenor role of Enzo is substantial and his dramatic weight is suitable to Corelli’s vocal talents. And you would be right, to a certain extent. But the tenor, whose {…}