Word: lammermoors
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Dates: during 1940-1949
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Hair on the Chest. Singing so that back-row listeners could actually heaf was another problem. But this season plenty of top-rankers were on hand to try. On the nights when the Metropolitan Opera's Ferruccio Tagliavini sang Tosca and Lucia di Lammermoor, there were few empty seats; fans gladly paid double prices to hear once-barred (for alleged collaboration) Tenor Beniamino Gigli sing the operatic twins "Cav" and "Pag" (Cavalleria Rusticana and I Pagliacci) with popular Soprano Maria Caniglia and Baritone Tito Gobbi. Even 60-year-old Tenor Tito Schipa was on hand...
Metropolitan Opera (Sat. 2 p.m., ABC). Donizetti's Lucia di Lammermoor, with Lily Pons, Ferruccio Tagliavini, Robert Merrill. Conductor: Pietro Cimara...
Lily Pons: Bell Song from Delibes' Lakme, and Mad Scene from Donizetti's Lucia di Lammermoor (Columbia, 6 sides). The Met coloratura's polished style, as well as her occasional variance from pitch, heard in her two most famed roles. Performance and recording: good...
Donizetti: Lucia di Lammermoor, Scene 3, Act 3 (Tenor Jan Peerce, Baritone Arthur Kent, with chorus and orchestra conducted by Wilfred Pelletier; Victor; 4 sides). With gutbusting aplomb, the Metropolitan Opera's newest tenor handles the death soliloquies of Lucia's hero...
...soprano that was emotionless, usually hall-size, usually on pitch, she sang an air from Mozart's Magic Flute. Sophisticated kids and mammas gave each other sidelong looks when Conductor Rudolph Ganz announced that Ellen Berg would next sing the Mad Scene from Lucia di Lammermoor. On that glassy surface, double-runners are not allowed. Coloratura Berg sailed out cleanly, figure-eighted through her trills, skidded a couple of times into her flute accompanist, ducked low to coast into her final note an octave below the conventional high E flat. Wisely, she made no attempt to act daft. Soprano...