Thank you for posting this, especially enjoyed hearing Bovy, so different than on the recording of the first act aria in French, which is also on RU-vid. A wonderful singer.
Rémus Tzincoca has an interesting musical biography. Originally from Romania, he was incarcerated for a time during World War II. Arriving in France after the war (where he had once studied at the Paris Conservatoire), he became active in the Parisian musical scene, conducting orchestras and befriending various composers -- chief among them Florent Schmitt. He served as an assistant to Georges Enescu for some years. Later he emigrated to North America, working in New York City where he formed and led the Orchestra da Camara and also conducted the New York Philharmonic Orchestra in Florent Schmitt's "La Tragedie de Salome." His career ultimately took him to Canada, where he lived the final decades of his life in Montreal, teaching at the Conservatoire de Montreal and performing. He died in 2012 at the age of 97. This 1962 broadcast recording of Schmitt's technically challenging second suite from "Antoine et Cléopâtre" finds Maestro Tzincoca true to form, delivering equal parts orchestral color and drama.
PucciniMD.......one of the best renditions of " Pace, Pace Mio Dio", I have ever heard....Caniglia is an alltime favourite....especially when paired with Stignani and Pasero.
Mijn vader had deze uitvoering op 2 lp’s. Altijd een hoogtepunt in de muziek gevonden. Ik heb de platen zeker al 30 jr. Mijn vader is vorig jr op 98 jarige leeftijd gestorven. Muziek en zijn Heiland hielden hem lang overeind. Prachtige ijle zang. Veel mooier dan andere uitvoeringen merk ik nu. Waarom mijn vader deze koos weet ik niet maar ik ben er heel blij mee
Most enjoyable, despite some wear in a few of the 78 r.p.m. sides (notably about 34-35 minutes in and again about 9 minutes from the end). There is such a warmth and commitment in both playing and singing that it is hard to believe that the performers had to stop dead at the end of each side, about every four minutes! For me the high points are Rufo's 'swallow song' (17:26); the exuberant prelude to act II (57:35) which Vives composed in one night and which ought to be in every orchestra's repertoire; and the letter scene at 1:12:05.
John Charles comes through splendidly despite the antique sound. Tibbett was his superior in respect to stage characterization & had a wonderful timbre at this time, however IMO Thomas had an even more sonorous & sumptuous instrument that was unmatched until Warren & Merrill arrived on the scene. By that time John Charles had tired of opera & continued for many years singing on the radio & giving sold out recitals. One comment he made then, regarding the latter two venues was that: That they paid more than the MET & he didn‘t have to put on make-up for his hens! He raised them for years. Not the most enlightening comment, perhaps, but totally JC, like him or not. I still love hearing his voice on CDs & 1939 was an especially memorable year for recording. JC was pushing 50 by then but his voice was as beautiful as ever.
Il cuore si alza alle cime dell'arte, quanta fatica e impegno quelli di questi giganti perché potessimo udire tanta meraviglia L'hanno fatto per tutti noi , grazie mai abbastanza Inarrivabili
