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Gounod: Faust (Victoria de los Angeles, Nicolai Gedda, Boris Christoff; Chorus and Orchestra of L'Opera, Paris, conducted by Andre Cluytens; Victor, 4 LPs). The third "complete" version of this tinseled old warhorse, notable for the properly terrifying Mephistopheles of Basso Christoff and the limpid-voiced Marguerite of Soprano de los Angeles. Contains the usually omitted ballet music for the Walpurgis Night...

Author: /time Magazine | Title: Music: New Records, Feb. 22, 1954 | 2/22/1954 | See Source »

Russian Arias and Songs (Boris Christoff, basso; H.M.V.). One of the world's noblest voices and a program eminently suited for bassos. Mussorgsky, Tchaikovsky and Rimsky-Korsakov account for most of the ten selections...

Author: /time Magazine | Title: Music: New Records, Jul. 13, 1953 | 7/13/1953 | See Source »

Mussorgsky: Boris Godunov (Boris Christoff; the Russian Choirs of Paris and the French National Radio Orchestra, conducted by Issay Dobrowen; H.M.V., 4 LPs). Bulgarian Basso Christoff has been denied a visa to the U.S. (he flunked his McCarran test), but, from the recorded sound of his voice, he belongs with the very best of living bassos. Christoff gives the role of Boris magnificent power and dignity as well as splendid singing, and the whole production is outstanding...

Author: /time Magazine | Title: Music: New Records, Feb. 2, 1953 | 2/2/1953 | See Source »

Conley was cast in the difficult role of the Sicilian patriot Arrigo, and at first his small but silvery tenor seemed hemmed in by the sumptuous sounds of Soprano Maria Meneghini Callas (also U.S.-born) and the rumbling bass of Bulgarian Boris Christoff. But by the second act his voice had warmed up, and so had the elegant and traditionally indifferent first-night audience. When the final curtain came down on the blood-bathed stage, Milanese were shouting "Conelay, Conelay" from their carnation-decked boxes...

Author: /time Magazine | Title: Music: Hero of La Scala | 12/17/1951 | See Source »

...weeks before its opener last fall, the Metropolitan Opera found itself in a jam. Boris Christoff, the Bulgarian basso who was scheduled to sing King Philip in the opening-night Don Carlo, had been turned down for a visa. Met Manager Rudolf Bing had to gamble, and gamble fast. He staked his show on a 28-year-old singer named Cesare Siepi, who was almost unknown outside Italy. Handsome young Basso Siepi has turned out to be one of the best bets any opera manager ever made...

Author: /time Magazine | Title: Music: Hello at the Met | 3/19/1951 | See Source »

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