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Giulietta Simionato
CD I
FRANCESCO PAOLO NEGLIA (1874-1938)
Revised by RENZO BORSI (1883-1961
Track 1. Il saluto di Beatrice
Track 2. Come quell fior
Renzo Bossi piano
December 6, 1946
WOLFGANG AMADEUS MOZART (1756-1791)
Le Nozze di Figaro
Track 3. Aria: Non so più (Act 1)
Track 4. Canzona: Voi che sapete (Act 2)
(Cherubino)
Orchestra Sinfonica della RAI di Milano
Conductor: Antonio La Rosa Parodi
Milano , December 30, 1957
AMBROISE THOMAS (1811-1896)
Mignon
Track 5. Non conosci il bel suol (Connais-tu le pays) Act 1
(Mignon)
Orchestra Sinfonica della RAI di Milano
Conductor: Argeo Quadri
Milano, March 14, 1949
Track 6. Eccomi sola (Me voilà seule hélas)…Io conosco un garzoncel
(Je connais un pauvre enfant) Act 2
(Mignon)
Orchestra Sinfonica della RAI di Milano
Conductor: Antonio La Rosa Parodi
Milano , December 30, 1957
JULES MASSENET (1842-1912)
Werther
Track 7 Dividerci dobbiam, signore (Il faut nous séparer) Act 1
(Charlotte, Werther)
Track 8. Scena delle lettere: Oh, Werther! Mio Werther! Act 3
(Charlotte)
Track 9. Carlotta, buon di! (Bonjour, grand soeur!) Act 3
(Sophie, Charlotte)
Track 10. Va.. non è mai se piango (Va! Laisse couler mes larmes) Act 3
(Charlotte, Sophie)
Track 11. Orchestra Sinfonica della RAI di Milano
Ah! che il coraggio m’abbononai! (Ah! mon courage m’abondonne!) Act 3
(Charlotte)
Track 12. Finale: Mio Werther, mio Werther! Act 4
(Charlotte, Werther)
Werther: Ferruccio Tagliavini
Charlotte: Giulietta Simionato
Sophie: Dora Gatta
Orchestra del Teatro alla Scala
Director: Franco Capuana
Milano, Teatro alla Scala, April 21, 1951
LUIGI GORDIGIANI (1806-1860)
Track 13. L’addio del pastore
FERDINANDO PÄER (1771-1839)
Track 14. Il baccio della partenza
FABIO CAMPANA (1819-1882)
Track 15. M’hai tradito
Luciano Bettarini piano
December 18, 1956
CD II
HECTOR BERLIOZ (1803-1869)
La Damnation de Faust
Track 1 Ci fu una volta in Thulé un re Act 3
(Que’ l’air est- étouffant…Autrefois un Roi de Thulé)
Track 2 Perduta è la mia pace (D’amour l’ardente flame) Act 4
(Marguerite)
Orchestra del Teatro San Carlo di Napoli
Conductor: Peter Maag
Napoli, Teatro San Carlo, December 26, 1964
CAMILLE SAINT-SAËNS (1835-1921)
Samson et Dalila
Act I
Track 3. Hymne de joie, hymne de délivrance
(Choeur des Hébreux, Le Viellard Hébreu)
Track 4. Voici le printemps nous portantdes fleurs
(Les Philistines)
Track 5. Je viens célèbrer la victoire
(Dalila, Samson, Le Viellard Hébreu)
Track 6. Danse des Prêtresses de Dagon
Track 7. Printemps qui commence
(Dalila, Le Viellard Hébreu)
Act II
Track 8. Prèlude
Track 9. Samson recherchant ma presence
Track 10. Amour, viens aider ma faiblesse!
(Dalila)
Track 11. J’ai gravi la montagne
Track 12. Il faut pour assouvir ma haine
(Le Grand Prêtre, Dalila)
Track 13. En ces lieux, malgré moi
Track 14. Mon coeur s’ouvre à ta voix
(Samson et Dalila)
Samson: Jon Vickers
Dalila: Giulietta Simionato (sung in Italian)
Le Grand Prêtre de Dragon: Norman Mittelmann
Un Viellard Hébreu: John Macurdy
Orchestra and Chorus of the Metropolitan Opera, New York
Conductor: Fausto Cleva
Detroit, Michigan, May 28, 1965
GEORGES BIZET (1838-1875)
Carmen
Track 15. Habanera: E l’amore uno strano augello
(L’amour est un oiseau rebelle) Act 1
(Carmen)
Orchestra Sinfonica di Milano
Conductor: Argeo Quadri
Columbia Recordings, 1951 |
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Italian mezzo-soprano (born Forli, May 12, 1910) and one of the great singers of the post-war operatic stage. Her career spanned from the 1930s until her retirement in 1966. Simionato was much admired for vibrant singing in a remarkably wide repertoire, excelling in both dramatic and comic roles and in lyric and heavier repertoire. She was in demand at every major opera house and worked with the greatest conductors of the time. She had a special rapport with both the reigning sopranos of her day, Maria Callas and Renata Tebaldi, and was widely admired by colleagues and audiences alike for her warmth, sense of humour and professionalism.
Giulietta Simionato has had the opportunity to record some of her roles, but strangely enough her favourite roles like Cherubino, Carmen, Mignon and Dalila were ignored. Also her “Lied”- repertoire was hardly acknowledged.
As an interpreter of Rossini she drew attention to Conchita Supervia, but the Spanish mezzo- soprano Teresa Berganza surpassed her in vocal technique and beauty. Giulietta Simionato was well-known for her interpretation and respect for lyric, which made her belong to the dramatic mezzo branche. Only as Adalgisa in Norma, next to Maria Callas, did she really manage to maintain herself as belcanto singer.
Her duet Valentine/Raoul from Meyerbeer’s Huguenots with Franco Corelli, together with the duet Bolena/Seymour from Donizetti’s Anna Bolena with Maria Callas, belong to the most legendary opera recordings of all times. The quality of the recordings varies but we’ve done everything in our power to present the best sound quality possible.
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Audio Format:
The CDs are in MP3 Format (320 kbps), with Cue Sheets.
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