Carlo Tagliabue (1898-1978)

Record and Artist Details

Composer or Director: Ruggiero Leoncavallo, Vincenzo Bellini, Giuseppe Verdi, Gioachino Rossini, Georges Bizet, Richard Wagner

Label: Lebendige Vergangenheit

Media Format: CD or Download

Mastering:

Mono
ADD

Catalogue Number: 89015

Tracks:

Composition Artist Credit
Pagliacci, 'Players' Ruggiero Leoncavallo Composer
Turin EIAR Orchestra
Carlo Tagliabue
Ugo Tansini
(I) Puritani Umberto Berrettoni
Carlo Tagliabue
Vincenzo Bellini Composer
Milan La Scala Orchestra
(Il) trovatore Giuseppe Verdi Composer
Carlo Tagliabue
Milan La Scala Orchestra
Umberto Berrettoni
(Il) Barbiere di Siviglia, '(The) Barber of Seville' Carlo Tagliabue
Umberto Berrettoni
(Anonymous) Orchestra
Gioachino Rossini Composer
Ernani Milan La Scala Orchestra
Carlo Tagliabue
Umberto Berrettoni
Giuseppe Verdi Composer
Carmen Carlo Tagliabue
Georges Bizet Composer
Turin EIAR Orchestra
Armando la Rosa Parodi
(Un) ballo in maschera, '(A) masked ball' Turin EIAR Orchestra
Carlo Tagliabue
Giuseppe Verdi Composer
Ugo Tansini
Otello Giuseppe Verdi Composer
Turin EIAR Orchestra
Armando la Rosa Parodi
Carlo Tagliabue
(La) forza del destino, '(The) force of destiny' Gino Marinuzzi
Giuseppe Verdi Composer
Carlo Tagliabue
Turin EIAR Orchestra
(La) forza del destino, '(The) force of destiny' Carlo Tagliabue
Giuseppe Verdi Composer
Gino Marinuzzi
Turin EIAR Orchestra
(Les) Pêcheurs de Perles, '(The) Pearl Fishers' Carlo Tagliabue
Georges Bizet Composer
Umberto Berrettoni
(Anonymous) Orchestra
(La) forza del destino, '(The) force of destiny' Carlo Tagliabue
Giuseppe Verdi Composer
Turin EIAR Orchestra
Gino Marinuzzi
Tannhäuser Umberto Berrettoni
(Anonymous) Orchestra
Richard Wagner Composer
Carlo Tagliabue
Rigoletto Carlo Tagliabue
Giuseppe Verdi Composer
Milan La Scala Orchestra
Umberto Berrettoni
(La) forza del destino, '(The) force of destiny' Carlo Tagliabue
Gino Marinuzzi
Giuseppe Verdi Composer
Turin EIAR Orchestra
Just over 40 years of age in 1939, Tagliabue was one of those singers whose careers were denied their fulfilment on the international scene. He had become one of the most admired baritones in Italy, and so he was to remain for a good many years; but in England and the United States he was just beginning to be accepted as an artist of some distinction when war broke out, and then by the late 1940s he was vocally past his best. ''A good routine Rigoletto'' is how Harold Rosenthal placed his Covent Garden debut in 1938. The earliest of the records included here come from one year after that, and the last of them (chronologically) were made in 1946, when on his post-war return he had been promoted in Rosenthal's estimation, so that he was now ''an extremely effective Rigoletto''.
Judging from the monologue recorded in 1946, 'a good routine Rigoletto' is what he remained. Vocally, he is hampered somewhat by the relative weakness of his lower notes, but the voice is of fine quality in the upper-middle register and his long-held top G at the end rings out excitingly. As to characterization, the record suggests no particular insight or individuality. Indeed, playing a sequence of his recordings, each in a different role, one sees essentially only one face, its expression serious, often severe, but rarely changing from one person to another or even, with any subtlety, in response to changing moods. As a stylist he has the great merit of producing (though not consistently) an even line, as he does in the 'evening star' melody in Tannhauser, yet to the Ernani aria he brings no affectionate or imaginative touch, and in the cadenza of ''Il balen'', so highly praised by Lauri-Volpi, it surely shows little respect for sense when a breath is taken between ''dal'' and ''mio cor''. The best of him, I should say, is found in the Forza del destino excerpts, and throughout the recital it is a pleasure to hear such very clear diction. Transfers are good, though some of the Cetras have poor surfaces. A considerable rarity is the Pecheurs de perles record: more juice in the voice here, with some welcome softening, but again weak in the lower range and not very persuasive dramatically.'

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