Emma Renzi - A Tribute

Record and Artist Details

Composer or Director: Giacomo Puccini, Giuseppe Verdi, Amilcare Ponchielli, Pietro Mascagni, Alfredo Catalani

Label: Claremont

Media Format: CD or Download

Media Runtime: 74

Mastering:

ADD

Catalogue Number: CDGSE785075

Tracks:

Composition Artist Credit
(Un) ballo in maschera, '(A) masked ball', Movement: ~ Giuseppe Verdi, Composer
Edgar Cree, Conductor
Emma Renzi, Soprano
Giuseppe Verdi, Composer
South African Broadcasting Corporation National SO
Tosca, Movement: ~ Giacomo Puccini, Composer
Emma Renzi, Soprano
Giacomo Puccini, Composer
Gideon Fagan, Conductor
Giuseppe Campora, Tenor
PACT Orchestra (South Africa)
(La) forza del destino, '(The) force of destiny', Movement: ~ Giuseppe Verdi, Composer
Emma Renzi, Soprano
Giuseppe Verdi, Composer
Ino Savini, Conductor
Milan Stabile del Viotti Orchestra
(La) Gioconda, Movement: ~ Amilcare Ponchielli, Composer
Amilcare Ponchielli, Composer
Edgar Cree, Conductor
Emma Renzi, Soprano
South African Broadcasting Corporation National SO
Macbeth, Movement: ~ Giuseppe Verdi, Composer
Edgar Cree, Conductor
Emma Renzi, Soprano
Giuseppe Verdi, Composer
South African Broadcasting Corporation National SO
Loreley Alfredo Catalani, Composer
Alfredo Catalani, Composer
Aida, Movement: ~ Giuseppe Verdi, Composer
CAPAB Chorus
CAPAB Orchestra
David Tidboald, Conductor
Emma Renzi, Soprano
Evelyn Dalberg, Mezzo soprano
Giuseppe Verdi, Composer
Manon Lescaut, Movement: Sola, perduta, abbandonata Giacomo Puccini, Composer
Edgar Cree, Conductor
Emma Renzi, Soprano
Giacomo Puccini, Composer
South African Broadcasting Corporation National SO
Cavalleria rusticana, Movement: Voi lo sapete Pietro Mascagni, Composer
Emma Renzi, Soprano
Othmar Maga, Conductor
Pietro Mascagni, Composer
South African Broadcasting Corporation National SO
Turandot, Movement: ~ Giacomo Puccini, Composer
Aronne Ceroni, Tenor
Emma Renzi, Soprano
Giacomo Puccini, Composer
Gianfranco Cecchele, Tenor
Milan La Scala Chorus
Milan La Scala Orchestra
Zubin Mehta, Conductor
Turandot, Movement: Straniero, ascolta! Giacomo Puccini, Composer
Aronne Ceroni, Tenor
Emma Renzi, Soprano
Giacomo Puccini, Composer
Gianfranco Cecchele, Tenor
Milan La Scala Chorus
Milan La Scala Orchestra
Zubin Mehta, Conductor
Turandot, Movement: Tre enigmi Giacomo Puccini, Composer
Aronne Ceroni, Tenor
Emma Renzi, Soprano
Giacomo Puccini, Composer
Gianfranco Cecchele, Tenor
Milan La Scala Chorus
Milan La Scala Orchestra
Zubin Mehta, Conductor
I wonder how many bells start to ring if I say ‘Emmerentia Scheepers’. She sang for some years with the English Opera Group, most notably as the Governess in The Turn of the Screw, replacing the eternally irreplaceable Jennifer Vyvyan. ‘Emmerentia’ then modulated into ‘Emma Renzi’ and though lost to view over here she reappeared in Italy with this new name and a new voice to match. That voice is heard now in some impressive recordings, starting with the great aria from Act 3 of Un ballo in maschera, for which the standard was set many years ago by Elisabeth Rethberg. The disc is called ‘A Tribute’, and perhaps as a further tribute it may be added that her singing here brought Rethberg to mind more than once.
Some of these recordings were made in her native South Africa, others in Milan, where her career reached a somewhat bizarre climax in 1976. For the important performance at La Scala of Turandot on the 50th anniversary of its premiere Birgit Nilsson had first been engaged, then Montserrat Caballe was to be substituted; but on the night Caballe took ill and Renzi stepped in, Zubin Mehta having addressed a deeply disgruntled audience in the interval before Act 2. Their ugly mood soon broke out again, though not at Renzi’s expense: the tenor, Gianfranco Cecchele, omitted the optional top C at ‘ti voglio ardente d’amor’ and to the hisses shouted ‘E scritto da Puccini’ (or ‘Puccini wrote it’). The recording preserves this edifying interchange very clearly, Cecchele’s retort coming so promptly as to sound like part of the show. For Renzi one can have nothing but admiration. Her voice has lost some of its glow (she was the same age as the opera), but it is firm, strong and effectively used.
In her prime, as in the Forza aria of 1968 and the very testing one from Catalani’s Loreley made in 1971, she was clearly an artist of some distinction. She also shows herself a fine Aida in an excerpt from the opening night of Cape Town’s opera house, and to have preserved her voice well into her mid-fifties. The tribute is richly deserved.'

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