Rosetta Pampanini (1896-1973)
View record and artist detailsRecord and Artist Details
Composer or Director: Pietro Mascagni, Charles-François Gounod, Giacomo Puccini, Riccardo Zandonai, Giuseppe Pietri, Giuseppe Verdi, Umberto Giordano, Alfredo Catalani, Richard Wagner
Label: Lebendige Vergangenheit
Magazine Review Date: 8/1993
Media Format: CD or Download
Media Runtime: 79
Mastering:
Mono
ADD
Catalogue Number: 89063
Tracks:
| Composition | Artist Credit |
|---|---|
| Faust, Movement: ~ |
Charles-François Gounod, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Charles-François Gounod, Composer Rosetta Pampanini, Soprano |
| (La) Wally, Movement: Ebben?...Ne andrò lontana |
Alfredo Catalani, Composer
(Anonymous) Orchestra Alfredo Catalani, Composer Lorenzo Molajoli, Conductor Rosetta Pampanini, Soprano |
| Andrea Chénier, Movement: ~ |
Umberto Giordano, Composer
(Anonymous) Orchestra Lorenzo Molajoli, Conductor Rosetta Pampanini, Soprano Umberto Giordano, Composer |
| Manon Lescaut, Movement: In quelle trine morbide |
Giacomo Puccini, Composer
(Anonymous) Orchestra Giacomo Puccini, Composer Lorenzo Molajoli, Conductor Rosetta Pampanini, Soprano |
| (La) Bohème, 'Bohemian Life', Movement: Sì. Mi chiamano Mimì |
Giacomo Puccini, Composer
(Anonymous) Orchestra Giacomo Puccini, Composer Lorenzo Molajoli, Conductor Rosetta Pampanini, Soprano |
| Madama Butterfly, Movement: ~ |
Giacomo Puccini, Composer
(Anonymous) Orchestra Ettore Panizza, Conductor Ferdinando Ciniselli, Tenor Giacomo Puccini, Composer Rosetta Pampanini, Soprano |
| Madama Butterfly, Movement: Un bel dì vedremo |
Giacomo Puccini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Giacomo Puccini, Composer Rosetta Pampanini, Soprano |
| Turandot, Movement: Signore, ascolta! |
Giacomo Puccini, Composer
(Anonymous) Orchestra Giacomo Puccini, Composer Lorenzo Molajoli, Conductor Rosetta Pampanini, Soprano |
| Turandot, Movement: Tu, che di gel sei cinta |
Giacomo Puccini, Composer
(Anonymous) Orchestra Giacomo Puccini, Composer Lorenzo Molajoli, Conductor Rosetta Pampanini, Soprano |
| (L')amico Fritz, Movement: ~ |
Pietro Mascagni, Composer
(Anonymous) Orchestra Dino Borgioli, Tenor Lorenzo Molajoli, Conductor Pietro Mascagni, Composer Rosetta Pampanini, Soprano |
| Giuliano |
Riccardo Zandonai, Composer
Riccardo Zandonai, Composer |
| Maristella |
Giuseppe Pietri, Composer
Giuseppe Pietri, Composer |
| Lohengrin, Movement: Einsam in trüben Tagen (Elsa's Dream) |
Richard Wagner, Composer
EIAR Orchestra Richard Wagner, Composer Rosetta Pampanini, Soprano Ugo Tansini, Conductor |
| Aida, Movement: ~ |
Giuseppe Verdi, Composer
EIAR Orchestra Giuseppe Verdi, Composer Rosetta Pampanini, Soprano Ugo Tansini, Conductor |
| Iris, Movement: Un dì (ero piccina) |
Pietro Mascagni, Composer
EIAR Orchestra Pietro Mascagni, Composer Rosetta Pampanini, Soprano Ugo Tansini, Conductor |
| Manon Lescaut, Movement: Sola, perduta, abbandonata |
Giacomo Puccini, Composer
EIAR Orchestra Giacomo Puccini, Composer Rosetta Pampanini, Soprano Ugo Tansini, Conductor |
Author:
Herman Klein, Gramophone's veteran critic and writer on matters operatic in the years when these recordings were first issued, noted that Pampanini was one of those artists (none too common in his experience) whose ''voice in the theatre came out with the same sympathetic musical timbre that had pleased me on the gramophone''. She had been appearing at Covent Garden in the 1928 season in June, and the previous month Klein had praised some of her recent recordings, including the two arias of Liu in Turandot heard in the present collection. One quality he admired was the absence of tremolo, in those days more common than it is at present; and in this respect Pampanini might be regarded as a precursor of Renata Tebaldi. Her voice was probably lighter, more purely that of a lyric-soprano, and when heard here in ''Ritorna vincitor'' (admirable in many ways) one feels it not to be really an Aida voice. But another feature that associates her with Tebaldi is that one tends to recall her as a not especially expressive singer, and to find that, while some recordings do indeed support this, others show a much more interesting and individual artist than one had remembered.
The arias Liu arias are the first in this recital to impress in such a way. Previously we have heard her singing in a forthright manner, a merely factual Mimi in her narrative, a Manon Lescaut whose musings are not inner (and not free from tremolo either), a Maddalena with none of that dark flame which should burn within her. The Butterfly excerpts have moments of tenderness, yet the ''Un bel di'' hardly succeeds in making emotions visible. Liu's plea is far more eloquent, and then the two solos from Pietri's Maristella confirm the opinions that placed her among the most gifted and exquisite Italians of her time. Also rare and revealing are the Cetras of 1940 which show her, now aged 44, still fresh in tone and able to bring to the recording studio a range and urgency of expression that begin to align her not so much with Tebaldi as with Olivero. These appear to have been her last recordings, comprising the sole mementos we have of her in Wagner and as Aida, and a most lovely sample of her Iris, a part she sang under Toscanini and Mascagni himself.'
The arias Liu arias are the first in this recital to impress in such a way. Previously we have heard her singing in a forthright manner, a merely factual Mimi in her narrative, a Manon Lescaut whose musings are not inner (and not free from tremolo either), a Maddalena with none of that dark flame which should burn within her. The Butterfly excerpts have moments of tenderness, yet the ''Un bel di'' hardly succeeds in making emotions visible. Liu's plea is far more eloquent, and then the two solos from Pietri's Maristella confirm the opinions that placed her among the most gifted and exquisite Italians of her time. Also rare and revealing are the Cetras of 1940 which show her, now aged 44, still fresh in tone and able to bring to the recording studio a range and urgency of expression that begin to align her not so much with Tebaldi as with Olivero. These appear to have been her last recordings, comprising the sole mementos we have of her in Wagner and as Aida, and a most lovely sample of her Iris, a part she sang under Toscanini and Mascagni himself.'
Rosetta Pampanini (1896-1973)
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