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Verdi: II Trovatore (Zinka Milanov, Fedora Barbieri, Jussi Bjoerling, Leonard Warren; RCA Victor Orchestra and Robert Shaw Chorale conducted by Renato Cellini; Victor). Some of the Metropolitan's stars in an "unofficial" version (the Met's contract is with Columbia). This one is notable for a magnificent recording job, the singing of Soprano Milanov, and some rousing choruses, including the Anvil...

Author: /time Magazine | Title: Music: New Records, Dec. 15, 1952 | 12/15/1952 | See Source »

Metropolitan Opera (Sat. 2 p.m., ABC). La Forza del Destino, with Milanov, Tucker, Warren...

Author: /time Magazine | Title: RADIO: Program Preview, Dec. 1, 1952 | 12/1/1952 | See Source »

...critics ladled out the praise generously to the cast, headed by Soprano Zinka Milanov, Tenor Richard Tucker, Baritone Leonard Warren and Basso Cesare Siepi. Just to keep franchise, the critics grumbled a little because of some of the cuts that were made (or some that were not made) in shortening Verdi's overlong opera. But they more than made up for that with praise of Painter Eugene Berman's "deeptoned and properly ominous" new sets (TIME...

Author: /time Magazine | Title: Music: Met's First Week | 11/24/1952 | See Source »

Bing's next step was to call in Painter Eugene Berman, who went to work on a notable array of sets and costumes (see ART). Then Bing was ready for a cast. He chose a starry one: Soprano Zinka Milanov, Tenor Richard Tucker, Baritone Leonard Warren and Basso Cesare Siepi. Said Bing: "The finest vocal ensemble you can hear anywhere in the world." With those singers, and Verdi's music, Rudolf Bing sat back and hoped for another success. Last week, more than 72 hours before the curtain would rise on Forza, the standing-room queue was already...

Author: /time Magazine | Title: Music: Curtain Going Up | 11/17/1952 | See Source »

...Zinka Milanov has a rich, compelling voice, but she was too big and too awkward for a believable Aida. The really outstanding principal in this production was Mario Del Monaco. His Radames was always exciting. Not only can be act, but also his full-bodied tenor voice (especially in "Celestc Aida" where he hit the fabulous B-flat without a tremor) shows training and power...

Author: NO WRITER ATTRIBUTED | Title: Metropolitan Opera | 4/24/1952 | See Source »

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