Word: sciutti
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Dates: during 1960-1969
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...Columbia). Verdi's last opera, an ebullient celebration of love and life, was written when he was 79, and Leonard Bernstein has captured all of its beauty and range. The entire cast exploits the comic possibilities in the music, but Regina Resnik as Dame Quickly and Graziella Sciutti as Nanetta stand out-along with the redoubtable Dietrich Fischer-Dieskau, who, as Falstaff, makes his voice convey everything from arrogance to cravenness to humiliation. At times the mirth seems about to explode in all directions, but Bernstein's firm hand directing the Vienna Philharmonic gathers...
...Scala, a stagehand took one look at her flushed, distracted face and called for the doctor. Her maid, hovering worriedly in the background, suggested a psychiatrist. Her husband was blunt: "Now I know what it's like to live with a madwoman." But three hours later, Soprano Graziella Sciutti, 29, was out before the curtain receiving one of the biggest ovations of her career. The part she had played to perfection: the title role in a rarely performed opera by Giovanni Paisiello (1740-1816), Nina, ossia la Pazza per Amore (Nina, or the Girl Driven Mad by Love...
...Soprano Sciutti (pronounced SHOOTee) is often referred to as "the Callas of La Piccola Scala" chiefly because of her flaring emotions (both on and off stage) and her incendiary dramatic power. Her voice is not exceptional: lighter than most, it does not have a particularly beautiful finish. But, as she demonstrated again last week in Nina, she outdistances most other singers in the way she throws herself into a role. Sciutti so identified herself with Paisiello's heroine that "I started to think I was going completely mad." With every movement of her curvy body and every inflection...
...black, redlined cloak, black stockings and stiletto heels, Graziella Sciutti is now a familiar figure in Milan and an accepted operatic star all over Europe, but her career developed slowly. As a youngster in Turin, she studied singing, was later told that her voice was too frail for opera, and decided to become a concert singer. After her concert debut in 1950, she won a few operatic parts (Lucy in The Telephone, Susanna in The Marriage of Figaro), did not really get launched until Herbert von Karajan cast her in the role of Frasquita in a 1955 production of Carmen...
Paisiello: The Barber of Seville (Grazielli Sciutti, Nicola Monti, Rolando Panerai, Renato Capecchi; Virtuosi di Roma, conducted by Renato Fasano; Mercury, 2 LPs). "He has received the homage of his age and has assured to himself that of posterity." Thus Giovanni Paisiello (1740-1816) paid tribute to himself in a contemporary dictionary. Unfortunately for his prediction, a rival named Rossini later wrote his own Barber of Seville and drove the older work from the stage. In this recording, Paisiello's Barber emerges as a smaller-scaled work than Rossini's but with a gay, quicksilvery score, some limpidly...