Se ve que Mimí no interesó mucho, a ver alguno de estos...
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ALBANESE EN OTROS PAPELES I
DESDEMONA
Con Mario Lanza como Otello
Se conserva una grabación desde el MET:
Otello - Giuseppe Verdi
Fritz Busch (1948)
Otello Ramón Vinay
Yago Leonard Warren
Cassio John Garris
Roderigo Thomas Hayward
Lodovico Nicola Moscona
Montano Clifford Harvuot
Heraldo Philip Cinsman
Desdémona Licia Albanese
Emilia Martha Lipton
Orquesta: Metropolitan Opera
Coro: Metropolitan Opera
Grabado en directo
Leamos la crítica de esta función:
Irving Kolodin, en The Sun escribió:
That the success of this final scene depends most on the temper of the Desdemona is a tribute to the artistry of Mme. Albanese. She did not seize the mood of the work at once (the first act glamour of the love duet would not seem to be her style at all) but as the characterization becomes increasingly woebegone, the qualities which have made her an admirable Butterfly, for example, mount in importance. These include real skill in shaping a vocal line, and the talent (by no means common among prima donni) for arousing the sympathy of an audience. After a rather careful beginning, Mme. Albanese's voice was wholly at her command (save for a little waver in the "Ave Maria") with scant suggestion of the vocal weakness which followed her illness a year ago. Her "Willow Song" was an uncommon piece of vocal art.
Escuchamos unos fragmentos:
Mia madre aveva una povera ancella[youtube]http://www.youtube.com/watch?v=ymlFdUW5umw[/youtube]
Ave Maria, piena di grazia.[youtube]http://www.youtube.com/watch?v=qOvDwMC017A[/youtube]
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NEDDAPapel que no cantó muy asiduamente, pero del que se conserva una grabación:
:arrow: I Pagliacci - Ruggero Leoncavallo
Cesare Sodero (1944)
Canio Raoul Jobin
Nedda Licia Albanese
Silvio Frank Valentino
Tonio Leonard Warren
Beppe John Dudley
Orquesta: Metropolitan Opera
Coro: Metropolitan Opera
Grabado en vivoLeamos la crítica de esta función:
Olin Downes, en The New York Times escribió:
She sang to the birds not only with brightness but voluptuousness in the tone, as also in the scene with Silvio. The play within a play of the second act found her an admirable foil to the furious outbursts of Canio, in the harlequinade that so impressed the villagers by the earnestness of the actors, and the knifing that ended the comedy.
Escuchamos, entonces, su ballatella.
Stridono lassú[youtube]http://www.youtube.com/watch?v=kQsgb0B2FXY[/youtube]
SANTUZZAEn la foto, con Robert MerrillEs un rol que cantó tarde en su carrera, junto con otros como Maddalena o Aida(!).
No se conserva grabación completa, sólo el aria
Voi lo sapete.
Voi lo sapete, o mamma[youtube]http://www.youtube.com/watch?v=dWVu9bik6fQ[/youtube]
TOSCAOtro de los roles puccinianos que Albanese cantó en el MET.
Se conserva esta grabación:
Metropolitan Opera House
March 23, 1957 Matinee Broadcast
TOSCA {362}
Tosca...................Licia Albanese
Cavaradossi.............Daniele Barioni
Scarpia.................Leonard Warren
Sacristan...............Gerhard Pechner
Spoletta................Alessio De Paolis
Angelotti...............Clifford Harvuot
Sciarrone...............George Cehanovsky
Shepherd................George Keith
Jailer..................Calvin Marsh
Conductor...............Dimitri MitropoulosLeamos la crítica de una función en la que cantó con Björling y Warren:
Bodo Igesz, en Musical America escribió:
Miss Albanese was appearing in the title role for the first time this season. Of course, Tosca has never been Miss Albanese's most successful part-its dramatic outbursts are extremely heavy on a lyric voice like hers-but this evening she sang most of the time very beautifully indeed. Her phrasing was, as always, of the highest level. Dramatically, this Tosca was somewhat smaller scaled than one is used to see, but who shall say if the imperious Tosca did not have her simple human moments, as Miss Albanese showed them to us?
Escuchemos a Albanese cantar Tosca
Perch'é chiuso?, con Jan Peerce.
[youtube]http://www.youtube.com/watch?v=LChxt29Yy4Q[/youtube]
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Luego de ésto, otros cuatro papeles y sanseacabó