Shall I Go On?
Volume XIX - 2 Party CDs of Vocal Oddities
2 CDs / $12
w/o jewel case:
w/ jewel case:
LISTEN TO EXCERPTS:
CD 1: Aida thru Pagliacci
CD 2: Puritani thru Die Walküre
Dimitra Theodossiou ends her Triumphal Scene with a high Eb during this 2009 performance of Aida.
Here is the finale of Act II from Aida as performed by The New York Opera Forum with a brief high Eb offered by its Aida.
An unknown wobbly baritone wobbles through the wobbly finale of "Eri tu" from Un ball in maschera.
In 1926 Dame Nellie Melba made her farewell appearance at Covent Garden, singing in scenes from Roméo et Juliette, Otello, and La boheme. Here, from that performance, she sings "Donde lieta".
Montserrat Caballe drops numerous notes during the final scene during this January 5, 1982 Barcelona performance of Anna Bolena.
06 CAMEL CIGARETTES THEME SONG
Introduced by Ed Wynn, the theme song for Camel cigarettes is sung by baritone John Charles Thomas on an April 15, 1950 radio show.
The fading Katia Ricciarelli sings the Habanera from Carmen, ca. 2011.
08 DICK VAN DYKE SHOW THEME SONG
Dick Van Dyke sings the theme song to the Dick Van Dyke Show, lyrics by Morey Amsterdam on The Today Show.
This has to be an ultimate classic on SIGO. Imagine a soprano of a certain age practicing by herself the Shadow Song from Meyerbeer's Dinorah. Now add to that walking across the Brooklyn Bridge on your way to work during the morning rush hour traffic. This is, according to soprano Sue Hassel, very beneficial and invigorating
Most likely prompted by management, Juan Diego Florez encores the aria "Una furtive lagrima" during the March 31, 2012 broadcast of "L'Elisir d'amore. During the cadenza, he sails up to a high C which stirs the audience into a frenzy. As the applause begins to die down, he says "Miss Damrau is waiting backstage".
Angelo Loforese, near the age of 90, sings the phrase with the high C (in Italian AND with a nice diminuendo) from "Salut demere" from Faust.
The audience voices its disapproval twice for Roberto Alagna during this December 28, 2011 performance of Faust.
The opera Gallipacci, as sung by Nanette Fabray, Carl Reiner and Howard Morris.
On July 24, 1976, the as-usual respectful Bayreuth audience waits for the final chord of Götterdämmerung to end, then lets go with booing and cat calls.
Unfortunately for Katherine Jenkins, she has to sing the duet from Lakmé in key. Listen how she can barely hang onto the final C#. The soprano's name is unknown. This is from the reality show "Dancing With The Stars" on April 11, 2011.
16 LOCKENDE FLAMME
In music you wouldn't expect from her, here is Anneliese Rothenberger singing "Kunstlerball bei Kroll" from the operetta Die lockende Flamme by Eduard Künneke, recorded in 1950 for German radio.
This time, there's a switcheroo during the love duet from Lucia: Beverly Sills takes the tenor's high Eb while Alfredo Kraus takes her high C during this Teatro Colon performance of June 25, 1972.
And once again, there's a switcheroo during the love duet from Lucia: Beverly Sills takes the tenor's high Eb while Luciano Pavarotti takes her high C during this San Francisco performance of November 11, 1972.
Finally, a different mad scene cadenza: soprano Kerstin Avemo dares this during a February 4, 2011 performance. Why the stunned silence?
Beverly Sills sang her first Lucia with the Fort Worth Opera on April 5, 1968. Here is the mad scene, beginning from "Spargi d'amaro paint". For her first try, it's full of daring and unusual ornament.
Here is Tito Schipa, at the age of 70, singing "Napulitanata".
22 NON TI SCORDAR DI ME
A Chicago announcer obviously doesn't know her stuff when she misidentifies Carlo Bergonzi for Giuseppe di Stefano.
Something tells me Mozart is laughing when he hears this version of "Non so piu cosa son" from his opera Le nozze di Figaro. The Cherubino is nameless.
It's not often you hear a Silvio interpolate a high A near the end of his duet with Nedda. Here is Wolfgang Amheiser and American soprano Felicia Weathers during a 1967 Cologne dress rehearsal Bajazzo.
Helge Roswaenge proves he still has the goods during this same auf Deutsch Cologne dress rehearsal of 1967. The delivery of his final line is chilling.
Here is Alexey Kudrya in the 2nd verse of "A te o cara" from I puritani during a February 7, 2011 Genova performance. The high C# is.. pretty good...
Alexey Kudrya sings a high Db and valiant effort for the high F from I puritani during a February 7, 2011 Genova performance. His Elvira is Diana Damrau.
Alexey Kudrya and Diana Damrau sing the duet "Vieni fra queste braccia" from I puritani during a February 7, 2011 Genova performance. His high Eb is successful as is hers when they sing it together. Briefly.
Pierre Duval delivers great high notes during this 2nd verss of "A te o cara" during this New York City Opera September 22, 1974 performance of I puritani. He even interpolates an extra high Bb. His Elvira is Beverly Sils.
Pierre Duval nails two high Dbs during the same NYCO mentioned above.
Pierre Duval still has enough left during the same above-mentioned performance to sing not one but two high Ebs and a final high Db during "Vieni fra queste braccia".
During his Met debut as the Duke in Rigoletto on February 16, 1966, Alfredo Kraus interpolates a high D at the end of "Possente amor".
Elena chestvoiceofMactruckproportions Obratsova sings "Mon coeur s'ouvre a ta voix" from Samson et Dalilah at a 2002 concert.
Sylvia Fisher's recorded legacy is very small. So, we should be grateful for the 3 or 4 single high notes she contributed during the duet from Siegfried, "Ewig war" between Siegfried and Brüunhide. The recording was made in June of 1951 with Set Svanholm as Siegfried and George Sebastien conducting.
Jose Van Dam in one of his early roles, Angelotti, during this 1972 Berlin performance of Tosca.
Next is Jose van Dam's first performance as Scarpia. Unfortunately, it all ended after the first Act. Near the end of the exchange between Tosca (Dame Gwyneth Jones) and Scarpia, a storm of biblical proportion, both auditory and precipitationary, began and halted the performance, the opera and then flooding the city of Toulouse, France on July 31, 1994. Those thunderous moments, planned only by the Man upstairs, occur at:
00:28 - a low rumble
01:07 - another low rumble
01:38 - low rumbles and a low clap
02:17 - large clap of thunder (Dio mi perdona... Egli vede ch'io piango! )
02:55 - claps of distant thunder
03:28 - low thunder rumble
03:51 - huge clap of thunder
4:56 - distant thunder
James Morris forgets pages of text during the Te Deum Scene from the March 31, 2011 of Tosca.
In 1903, Emma Carelli and Mario Sammarco (the original Carlo Gérard) got together and recorded part of the Act II duet between Tosca and Scarpia, beginning with "Quanto? Quanto?".
Carelli debuted at 18 and is heard here at the age of 26, sounding 20 years more mature than one would expect. And her Tosca must have been a real kneeslapper to the Scarpia of Sammarco
At the tender age of (near) 90, Angelo Loforese sings a page of "E lucevan le stelle" from Toscademonstrating his diminuendo ability.
Thanks to Mr. Mapleson, we not only can hear how Puccini's Tosca score was disrespected on January 3, 1903, we can also hear Emma Eames in the finale. When Spoletta, sung by Jacques Bars, comes in about a measure late and thereby stepping on her line, she spits back at him as if to say "SHUT UP!". And then the Met saw fit to cut most of the postlude.
Alfredo Kraus interpolates a high C during his Act I offstage serenade to Nelly Mircioiu during this Munich performance of La traviata on May 28, 1982.
During this December 5, 1942 performance of , Lawrence Tibbett has the ending transposed up so that he can interpolate a high Ab. His Alfredo is Charles Kuhlmann.
During this March 23, 1946 performance of La traviata, Leonard Warren has the ending transposed up so that he can interpolate a high Ab. His Alfredo is Richard Tucker.
Robert Merrill's Germont has a memory lapse during his duet with Virginia Zeani's Violetta (her Met debut) during this November 12, 1966 performance.
Here is the end of "Tacea la note" and all of "Di tale amor" from a January 13, 1966 Barcelona performance of Il trovatore with a young and uncautious Monserrat Caballe. She interpolates a high Bb at the end of the bridge music and then ends the cabaletta with a high Db.
Chris Merritt gets nicely carried away during his (in key) singing of "Di quella pira" during this December 11, 1993 Chicago performance. He even throse in a little cadenza at the end of the second verse. His Leonora is Lyubov Kazarnovskaya.
Angelo Loforese sings "Di quella pira" (in Bb) with great elan, even near the age of 90.
From the same Barcelona performance above, Monstserrat Caballe interpolates not one but two high Cs at the end of the "Miserere". Her Manrico is Umberto Borso.
Angelo Loforese sings the final phrases of "Nessun dorma", still near the age of 90.
I guess Angelo Loforese thought this or that one wasn't good enough. So here he is again in the final pages of "Nessun dorma".
26 TWELVE TONE MASTERS
This is self-explanatory. Or self-explanetory
Robert LePage's inspiration for Brünnhilde's giggle fest during "Ho jo to ho!" at the beginning of act II of this October 2, 1961 Covent Garden Die Walküre. Anita Valkki is BrÄunhide and Hans Hotter sings Wotan.
Something goes amiss during the Ride of the Valkyries on February 24, 1968.
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