Shall I Go On?
Volume VIII - 2 Party CDs of Vocal Oddities
2 CDs / $12
w/o jewel case:
w/ jewel case:
LISTEN TO EXCERPTS:
CD 1: Adriana thru Hoffmann
CD 2: Italiana NAME thru Zauberflöte
Renata Tebaldi and Franco Corelli deliver the goods in these two Act IV excerpt from a 1969 performance of Adriana Lecouvreur. The sobs from both artists attest to this.
The fatal phrase in "Celeste Aida" gives any tenor angst, especially if he doesn't have a reliable high Bb, like this nameless Rhadames.
The finale of the Triumphal Scene sung in a concert version by, uh... whoever showed up.
First, it was Callas. Then Galvany and Millo. Ladies and gentlemen, we now have another diva to add to the list: Sue Hassel. Charles Handelman is the king (the role, that is).
A voice that is somewhat forgotten but deserves appreciation is Daniza Ilitsch. Unfortunately, a certain day in 1948 was not her best day, but the beauty of her voice is still there. In these three excerpts from Act III, Kurt Baum sings Rhadames. Notice how he gets off of the high Bb at the end of his duet with Aida (What? Kurt Baum doesn't hold onto a high note?). This is probably in deference to the obviously ailing Ilitsch . Milton Cross waits for the artists to come out. Ilitsch never does and Florence Kirk replaced her in Act IV. Apologies forr the less-than-perfect digitization.
The high C at the end of "O patria mia" is treacherous if you're not Zinka, Leontyne, Jones or Caballe. Violetta Urmana had it rough in 2009.
06 AN DIE MUSIK
On February 1, 1951, Mme. Lotte Lehmann gave a recital at New York's Town Hall. She announced at its end that this would be her last for her faithful New York audience in a heartfelt speech
For an encore, she attempted to sing Scchubert's An die Musik. Overcome with emotion, she was unable to sing its final line: "ich danke dir".
Adelaide Negri makes an amazingly dull attempt at "D'amor al dolce impero from Rossini's Armida.
Hartford Opera produced Verdi's Un ball in maschera on November 26, 1969. Did they know that Fedora Barbieri, its Ulrica would sing almost all of the role in full chest voice? The Riccardo was Giuseppe Campora and Amerlia was sung by Elinor Ross.
Maria Remola not only transposes "Una voce poco fa" up to F but interpolates not a high F at the end but a high A above high C. If you've got it, flaunt it.
Blond bimbo Katherine Jenkins justifies her last name in this rendition of "Una voce poco fa" from Il barbiere di Siviglia.
11 BEETHOVEN NINTH
This selection begins with the final page of Beethoven's Ninth Symphony, conducted by Arturo Toscanini to demonstrate an accepted normal tempo. It is then immediately followed by a performance of the Stockholm Philharmonic conducted by Wilhelm Furtwängler. Quite a difference...
An attempt at the infamous high C during Rodolfo's "Che gelida manina". The tenor's name is unknown.
The Opera Babes preserve their take on "Un bel di" from Puccini's Madama Butterfly.
The Catalan baritone Vicente Sardinero sang Escamillo in a Newark performance of Carmen in 1979. This also served as the first staged performance of Carmen by Victoria de los Angeles. The beauty of his voice paralleled his shortness of stature.
From the same performance above, we hear Vicdtoria de los Angeles in the finale of Act III. Did someone sing the high c for her?
16 CAT DUET
Soprano Anneliese Rothenberger sings the Rossini Cat Duet not with another singer, but her accompanist, Norman Shetler.
17 COLORATURA VARIATIONS
Maria Remola ends her recording of the coloratura variations on "Ah vous dirai-memamn" with a high B above high C. If you've got it, flaunt it.
An unusual arragngement, transposition and transcription of Saint
Saens' Le Cygne for chorus, soprano and orchestra.
A hideous worn out nameless bass sings the Don's Serenade "Deh vieni alla finestra".
The final page of "Una furrtiva lagrima" sung by an unknown tenor who goes horribly flat at the conclusion.
21 FLORENCE FOSTER JENKINS
The group called Everyday Visuals" sing a tribute to the Diva of Din.
99-year-old Magda Olivero still had what it took on April 147, 2009 when she sang this breif excerpt from Zandonai's Francesca da Rimini.
23 GEDDA COACHING
Rodger Wagsjo is coached by Nicolai Gedda.
24 GOD BLESS AMERICA
Down and going Erika David (as opposed to "up and coming") has a monumental memory lapse 30 seconds into the wonderful song, "God Bless America" before a baseball game on August 18, 2009.
What would a volume of "Shall I Go On?" be without a Hoffmann Doll Song? Elise Curran makes her case for this inclusion with her interpolated high F, G, Bb and Ab above high C.
Maxim Mironov show off his upper extension in the October 20, 2003 performance of the tenor aria from Rossini's L'Italian in Algieri.
Maria Remola decids the ending for the Bell Song is not high enough; so she itnerpolates a high G# and holds onto it. If you've got it, flaunt it.
03 LAUDAMUS TE
PTL! Whoever this soprano is thinks she's giving praise...
Beverly Sills didn't bring all of her high Eb onstage during this performance of Lucia di Lamermoor on January 12, 1977.
05 MANON LESCAUT
The Metropolitan Opera debut of Mario del Monaco was a sort of drive-by performance. He was on his way back to Italy from his debut in San Francisco. He dropped by New York for a quickie on November 27, 1950 in Puccini's Manon Lescaut with Dorothy Kirsten. Her returned to the Met almost a year later as Rhadames in Verdi's Aida with zinka Milanov, and, making their debuts, Elena Nikolaidi and George London.
The excerpt here is a 1951 perforrmance (whereabouts unknown) "No!... No!... Pazzo son" from the fourth act. He really gets carried away, even with a sob that happened to hit on a high B.
Mark Reizen sings, at the age of 90 in 1985, Prince Gremin's aria from Tchaikovsky's Eugene Onegin.
Introduced as Juan Diego Florez, this JDF-wanna-be destroys "La donna e mobile" from Verdi's Rigoletto.
An excerpt from the final Act 3 duet between Sophie and Octavian, sung by Lucia Popp and Yvonne Minton. The oprano comes just a wee bit short for tthe final high B.
On March 2, 2009, a new production of Bellini's La sonnambula appeared and the audience thought it was a nightmare.
10 SU LE LABBRO
Miss Piggy sings her ditty "I Want To Sing In Opera".
When RCA issued a studio recording with DELUXE vanity packaging of Massenet's Thais, it became such an embarassment that the heroine's Husband, Mr. David Sarnoff Moffo went around and bought up as many copies as possible to save face. Athanael is sung by Gabriel Bacquier.
12 TILL THE END OF TIME
You have to wait till the end to hear Adam Lopez demonstrate his Guiness book of World Record upper extension.
A new production of Puccini's Tosca appeared in New York on Septeber 21, 2009 and the audience wished it hadn't. During Act I, director Bondy had the Tosca, Karita Mattila, vandalize Cavaradossi's painting. The destruction becomes a distraction.
Then follows the final page of the Act 2 aria "Vissi d'arte". Note the release of high G.
The Sonnambula audience repeats their disdain for this insulting-to-Tosca-fans production. Billyburger tries to explain the booing away in vain.
This Scarpia and Tosca have a lot of spicy puttanesca in their spaghetti sauce as they portray the murder of Scarpia.
Gina Lollogridgida sings(!) the final moments of Tosca.
Maria Remola ends "Sempre libera" with a high Ab above high C. When you've got it, flaunt it.
This nameless baritone has a hard time with the end of "Di provenza" in Verdi's La traviata.
On October 4, 2009, Dennis Neill barely delivers the denaro note at the end of "Di quella pira".
Deanna Durbin and Jan Peerce sing the "Miserere" from Verdi's Il trovatore.
Sue Hassel demonstrates her inability as Turandot.
Rolando Nicolo introduces Grace Bumbry who offers "In questa reggia" from Puccini's Turandot in this 1976 telecast. She really clears the air after track 19
This sweet nameless little tenorino delicately gets through "Nessun dorma".
Someone tries to sing some aria from some opera.
Cecilia Bartoli, winner of the Nadia Commanic of the Larynx Price, agitates her throat in this hair-raising excerpt from "Agitata da due venti".
A soprano tried her best to end the Queen of the Night's first aria and fails.
Yma Sumac transposes the Queen of the Night's 2nd aria down a third but makes up for it with tropical amazonian glottal effects.
27 XMAS SPECIAL
The word "special" doesn't begin to describe Giorgio Longdo's ardor for singing. This deluded divo even sells a handful of DVDs to share his vocal prowess with the world.
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