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...also, if he chooses, go to hear European artists who might never have crossed the Atlantic except for their record successes. London Records takes credit for popularizing Singers Kathleen Ferrier, Hilde Gueden, Irmgard Seefried, Paul Schoeffler; Pianists Clifford Curzon, Friedrich Gulda; Conductor Ernest Ansermet. Cloe Elmo, Ferruccio Tagliavini, Italo Tajo and Cesare Siepi were introduced to U.S. collectors by Cetra-Soria records before they were hired by the Metropolitan Opera...

Author: /time Magazine | Title: Music: Off the Record | 9/15/1952 | See Source »

Metropolitan Opera (Sat. 2 p.m., ABC). The Marriage of Figaro, with Bidu Sayao, Italo Tajo and Eleanor Steber...

Author: /time Magazine | Title: Radio: Program Preview, Feb. 13, 1950 | 2/13/1950 | See Source »

...trouble was the singers. As La Scala's great Conductor Victor de Sabata put it: "In the old days we picked our singers; now we take what the impresarios have to offer." And with such Italian singers as Ezio Pinza, Salvatore Baccaloni, Italo Tajo, Licia Albanese and the Tagliavinis lured to greener U.S. pastures, Italian impresarios did not have much to offer...

Author: /time Magazine | Title: Music: Shortage at La Scala | 1/23/1950 | See Source »

Verdi: Aïda (Beniamino Gigli, tenor; Maria Caniglia, soprano; Ebe Stignani, mezzo-soprano; Gino Bechi, baritone; Italo Tajo, bass, and others with the Rome Opera Orchestra and chorus, Tullio Serafin conducting; Victor, 40 sides). With such a cast, Aïda should have come off brilliantly; instead, it just barely comes off, with some good singing (Ebe Stignani's) and some bad (e.g., Gigli's Celeste Aïda is painful). Recording: fair...

Author: /time Magazine | Title: Music: New Records, Mar. 28, 1949 | 3/28/1949 | See Source »

Except for two years in the Italian army ("I don't like the killing business. Me, I am afraid"), Tajo has been singing ever since-in Turin, Rome, London, Milan, and in 1946, briefly in Chicago. Now, at 33, he hopes to stay in the U.S., has. already signed with the Met. He is happy that he makes people laugh, but he wants to do more serious roles than Don Basilio or Leporello. Says he: "I do the comic role because I have the nerve. But I like Boris Godunov better...

Author: /time Magazine | Title: Music: Opera Comic | 10/11/1948 | See Source »

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