# Best Old-School Vocal Performances



## Op.123 (Mar 25, 2013)

After discussions on other threads, which recordings would you reccomend as great examples of old-school singing. Recordings without obvious weak-links, at least not in the main roles. 

For me these are some of the greatest performances, not just in terms of interpretation but technical accomplishment. There are many recordings which I enjoy just as much but won't include because of weak links in the cast or singers a little past their prime.

Bellini: Norma - Callas, del Monaco, Simionato, Zaccaria (1955)
Bizet: Carmen - Simionato, di Stefano, Roux, Carteri (1955)
Giordano: Andrea Chenier - del Monaco, Tebaldi, Bastianini, Cossotto (1957)
Giordano: Fedora - Caniglia, Prandelli, Colombo (1950)
Gounod: Faust - di Stefano, Kristen, Tajo, Warren (1949)
Massenet: Wether - Thill, Vallin, Feraldy (1931)
Puccini: La Fanciulla del West - del Monaco, Tebaldi, MacNeil, Tozzi (1958)
Puccini: Madama Butterfly - Petrella, Tagliavini, Taddei (1953)
Puccini: Tosca - Callas, di Stefano, Gobbi (1953)
Puccini: Turandot - Nilsson, Corelli, Freni, Giaiotti (1966)
Verdi: Aida - Callas, del Monaco, Dominguez, Taddei
Verdi: Il Trovatore - Price, Corelli, Simionato, Bastianini (1962)
Verdi: La Forza del Destino - Tebaldi, del Monaco, Protti, Siepi, Barbieri (1953)
Verdi: La Traviata - Callas, di Stefano, Bastianini (1955)
Wagner: Tristan und Isolde - Flagstad, Melchior, Thorborg, Kipnis, Huehn (1941)


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## vivalagentenuova (Jun 11, 2019)

_Andrea Chenier_ Gigli, Caniglia, Bechi, Taddei, Simionato (1941)
_Aida_ Giannini, Pertile, Inghilleri, Minghini-Cattaneo (1929)
_Otello_ Del Monaco, Carteri, Capecchi (1958) DVD
_Tristan und Isolde_ Traubel, Melchior, Thorborg (1940) Live
_Tristan und Isolde_ Flagstad, Melchior, Kalter (1936) Live
_Die Walkure_ Traubel, Melchior, Varnay, Schorr (1941) Live
_La fanciulla del west_ Del Monaco, Steber, Guelfi (1954) Live
_Der Fliegende Hollander_ Nissen, Teschemacher, Ralf (1936)
_Der Fliegende Hollander_ Berglund, Muller (1942)
_Die Zauberflote_ Rosvaenge, Berger, Lemnitz (1938)
_Pagliacci_ Gigli, Pacetti, Basiola (1934)
_Lucia di Lammermoor_ Pagliughi, Malipiero, Manacchini (1939)
_Manon Lescaut_ Petrella, Campagnano (1953) (This is an _outstanding_ recording in every respect)
_Manon Lescaut_ Tebaldi, Del Monaco (1954)
_Die Walkure_ Act I, Melchior, Lehmann, List (1934)
_Die Walkure_ Act II, Melchior, Lehmann, Fuchs, Hotter (1938)
_Orfeo ed Euridice_ Thorborg, Novotna, Farell (1940) Live
_Louise_ Moore, Jobin, Pinza (1943) Live
_Il tabarro_ Petrella, Scarlini, Reali (1949) Live
_Il tabarro_ Petrella, Picchi, Tagliabue (1954)
_Tristan und Isolde_ Braun, Treptow, Klose (1950) Live
_La fanciulla del west_ Tebaldi, Barioni, Guelfi (1961)
_Norma_ Cerquetti, Corelli, Neri (1958)
_Ernani_ Cerquetti, Del Monaco, Bastianini, Christoff (1957)
_Cavalleria rusticana_ Bruna Rasa, Gigli, Bechi, Simionato (1940) Live
_La forza del destino_ Tagliabue, Caniglia, Masini (1941)
_La rondine_ Moffo, Barioni, de Palma, Sereni (1966)
_Andrea Chenier_ Del Monaco, Stella, Taddei (1950s) DVD
_La forza del destino_ Tebaldi, Corelli, Bastianini, Dominguez (1950s) Live, DVD
_La traviata_ Moffo, Bonisolli, Bechi (1967) DVD
_Madama Butterfly_ Freni, Pavarotti, Kearns, Ludwig (1974)
_Tosca_ (abridged) Barioni, Kirsten, Guarrera (1950s) Vinyl only
_Madama Butterfly_ (abridged) Barioni, Kirsten (1950s) Vinyl only
_Boris Godunov_ Pirogov, Kozlovsky (1954) (The best opera film ever made) DVD
_Gianni Schicchi_ Capecchi, Ribeti, de Giorgi (1956)
_La sonnambula_ Moffo, Vega, Clabassi (1956) DVD
_La boheme_ Freni, Raimondi, Panerai (1965) DVD


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## The Conte (May 31, 2015)

How old does it have to be to be 'old skool'? You also don't specify whether you only want complete operas or whether we can include recital discs as well.

Many of my favourite complete opera sets are covered above, but one which is missing from the two lists so far is this one:









I think this is operatic perfection and that there is not only no greater recording of Rigoletto out there, but I can't see what substantial criticism you can bring against this recording. It's not _totally_ complete? True, but the cuts are pretty minimal and all make sense. It's not in stereo sound? Then you really are splitting hairs. It's in very good fifties studio mono and if you listen to it on medium end modern stereo equipment the ear adapts to its soundscape by the end of the prelude (has it ever been performed with more pathos and style in any other recording)? Whilst the Serafin/Callas/Gobbi Aida from the same year may be criticised for its mono soundscape, Aida suffers more from being in mono sound due to the importance of the chorus and the scale of the drama, whereas Rigoletto is a much more intimate affair.

What are criticisms relating to Serafin's edition or the mono sound, when you have Gobbi's unequaled personification of the title role, Di Stefano as the definitive shallow playboy Duca and Callas as the most pathos filled betrayed young woman on disc? Serafin's mastery of bel canto and late 19th century Italian rep makes him the ideal interpreter for this watershed work. No other recording comes close to this one despite many fine singers in the main roles in other recordings (both live and in the studio).

I would go so far to say that this is a greater recording than the famous Tosca as you could argue that Callas and Gobbi surpassed themselves dramatically in their 60s live performances and the second studio recording. There have also been a number of excellent recordings of Tosca, whereas which Rigoletto recording comes anywhere close to the perfect synergy of technique, style, interpretation, expression and embodiment of the characters in this version of the tragedy?

Unsurpassed? Not even equaled I would say.

N.


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## VitellioScarpia (Aug 27, 2017)

The Conte said:


> I would go so far to say that this is a greater recording than the famous Tosca as you could argue that Callas and Gobbi surpassed themselves dramatically in their 60s live performances and the second studio recording. There have also been a number of excellent recordings of Tosca, whereas which Rigoletto recording comes anywhere close to the perfect synergy of technique, style, interpretation, expression and embodiment of the characters in this version of the tragedy?
> 
> Unsurpassed? Not even equaled I would say.
> 
> N.


Conte, the only problem with the 60's performances by Callas and Gobbi is the deterioration in the vocal states for both of them. Exciting theater undoubtedly but the singing is not as steady and fresh as in 1953. Mind you, it surpasses drier and wobblier singing we have had to put up since then... :lol:


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## Op.123 (Mar 25, 2013)

The Conte said:


> How old does it have to be to be 'old skool'? You also don't specify whether you only want complete operas or whether we can include recital discs as well.
> 
> Many of my favourite complete opera sets are covered above, but one which is missing from the two lists so far is this one:
> 
> ...


It doesn't have to be old to be "old-school" merely old-school technique - and yes I agree that recording of Rigoletto is superb!


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## VitellioScarpia (Aug 27, 2017)

Op.123 said:


> It doesn't have to be old to be "old-school" merely old-school technique - and yes I agree that recording of Rigoletto is superb!


If we follow on the idea of old-school technique, then I would say that Radvanovsky and Calleja do it in the Norma below. BTW, Di Donato is wonderful but I would not call her singing old-school.


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## vivalagentenuova (Jun 11, 2019)

Forgot the recording of Hollander with with Metternich, Windgasse, and Kupper, conducted by Fricsay. 1952.


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## Tuoksu (Sep 3, 2015)

Lately I found the the 1961 Tokyo Aida with Tucci, Simionato, Del Monaco and Protti. Insane... 
Tucci is a seriously underrated Aida, and I don't need to describe the scenes with both Simionato and MDM.


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## The Conte (May 31, 2015)

Tuoksu said:


> Lately I found the the 1961 Tokyo Aida with Tucci, Simionato, Del Monaco and Protti. Insane...
> Tucci is a seriously underrated Aida, and I don't need to describe the scenes with both Simionato and MDM.


Yes, I discovered that recording last year. I wanted a Simionato Aida and I didn't like the one with Tebaldi and Bergonzi as I find it too placid all round. The earlier Cetra studio recording is good, but Simionato performs the role as a singing by numbers. She really lets rip in that Tokyo performance and has the best all round cast of her Aidas. I agree about Tucci, totally underrated and she is in my favourite Trovatore recording (which also features Simionato). I think the key part of Trov is the Manrico/Azucena duet and so Corelli and Simionato can't be beaten in that opera. In the Schippers studio recording Merrill and Tucci don't let the side down. Tucci can hold her own with more legendary singers. It's a shame she didn't record more, especially when considering how many recordings lesser singers (such as Stella) made.

N.


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## Tuoksu (Sep 3, 2015)

The Conte said:


> Yes, I discovered that recording last year. I wanted a Simionato Aida and I didn't like the one with Tebaldi and Bergonzi as I find it too placid all round. The earlier Cetra studio recording is good, but Simionato performs the role as a singing by numbers. She really lets rip in that Tokyo performance and has the best all round cast of her Aidas. I agree about Tucci, totally underrated and she is in my favourite Trovatore recording (which also features Simionato). I think the key part of Trov is the Manrico/Azucena duet and so Corelli and Simionato can't be beaten in that opera. In the Schippers studio recording Merrill and Tucci don't let the side down. Tucci can hold her own with more legendary singers. It's a shame she didn't record more, especially when considering how many recordings lesser singers (such as Stella) made.
> 
> N.


Now I'm so ashamed that I still haven't heard that trovatore, given that it's the opera that I listen to by far the most and I thought I've already heard every good (and bad) trovatore out there. What a dream cast indeed! Thank you for mentioning it, I will look for it right away. 
I agree about Azucena/Manrico duet being crucial in a trovatore. I think it's even more so when it comes to Amneris/Radamès. I've always wanted trovatore to be renamed La Zingara and Aida renamed Amneris.

Tucci made her Debut in Forza Del Destino with Gigli, which in a way reminds of me of Ponselle making her debut in the same opera with another legend that is Caruso. She seems to be a more diverse singer than I expected, as my first impression was "a Verdian Spinto" but I see she's done some Bel Canto (I puritani). I will definitely be listening to her more in the coming few days. 
I've seen amazing excepts from the 1956 Tokyo Aida with Stella, Simionato, Borso and Guelfi. I have yet to listen to the complete recording, but I doubt that will top the 1961 Aida for the Simionato/Del Monaco combination alone.


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## MAS (Apr 15, 2015)

VitellioScarpia said:


> If we follow on the idea of old-school technique, then I would say that Radvanovsky and Calleja do it in the Norma below. BTW, Di Donato is wonderful but I would not call her singing old-school.
> View attachment 135154


I agree that the singing might be beautiful, but this ain't no *Norma* to me!


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## The Conte (May 31, 2015)

Tuoksu said:


> Now I'm so ashamed that I still haven't heard that trovatore, given that it's the opera that I listen to by far the most and I thought I've already heard every good (and bad) trovatore out there. What a dream cast indeed! Thank you for mentioning it, I will look for it right away.
> I agree about Azucena/Manrico duet being crucial in a trovatore. I think it's even more so when it comes to Amneris/Radamès. I've always wanted trovatore to be renamed La Zingara and Aida renamed Amneris.
> 
> Tucci made her Debut in Forza Del Destino with Gigli, which in a way reminds of me of Ponselle making her debut in the same opera with another legend that is Caruso. She seems to be a more diverse singer than I expected, as my first impression was "a Verdian Spinto" but I see she's done some Bel Canto (I puritani). I will definitely be listening to her more in the coming few days.
> I've seen amazing excepts from the 1956 Tokyo Aida with Stella, Simionato, Borso and Guelfi. I have yet to listen to the complete recording, but I doubt that will top the 1961 Aida for the Simionato/Del Monaco combination alone.


It's my favourite studio Trov and rather underrated I think. You will enjoy it.

N.


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## SanyiKocka (May 6, 2020)

I would say I love 1960 la Scala live of Poliuto very much! I must say IMO no Poliuto version is as exciting as this one, although I know Bruson and Gencer had some good ones.


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## VitellioScarpia (Aug 27, 2017)

MAS said:


> I agree that the singing might be beautiful, but this ain't no *Norma* to me!


MAS, I am curious to hear the reasons you feel that the performance is not really Norma to you.


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