Gina Cigna (b. 1900)
View record and artist detailsRecord and Artist Details
Composer or Director: Charles-François Gounod, Giacomo Puccini, Arrigo Boito, Giuseppe Verdi, Amilcare Ponchielli, Francesco Cilea, Alfredo Catalani, Vincenzo Bellini
Label: Lebendige Vergangenheit
Magazine Review Date: 11/1990
Media Format: CD or Download
Media Runtime: 64
Mastering:
Mono
ADD
Catalogue Number: 89016
Tracks:
| Composition | Artist Credit |
|---|---|
| Norma, Movement: ~ |
Vincenzo Bellini, Composer
(Anonymous) Orchestra Gina Cigna, Soprano Lorenzo Molajoli, Conductor Vincenzo Bellini, Composer |
| (Un) ballo in maschera, '(A) masked ball', Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Gina Cigna, Soprano Giuseppe Verdi, Composer Lorenzo Molajoli, Conductor |
| (La) forza del destino, '(The) force of destiny', Movement: ~ |
Giuseppe Verdi, Composer
(Anonymous) Orchestra Gina Cigna, Soprano Giuseppe Verdi, Composer Lorenzo Molajoli, Conductor |
| Faust, Movement: ~ |
Charles-François Gounod, Composer
(Anonymous) Orchestra Charles-François Gounod, Composer Gina Cigna, Soprano Lorenzo Molajoli, Conductor |
| Mefistofele, Movement: Cavaliero illustre e saggio |
Arrigo Boito, Composer
(Anonymous) Orchestra Arrigo Boito, Composer Gina Cigna, Soprano Ida Mannarini, Mezzo soprano Lorenzo Molajoli, Conductor Pablo Civil, Tenor Tancredi Pasero, Bass |
| (La) Wally, Movement: Nè mai dunque avrò pace |
Alfredo Catalani, Composer
(Anonymous) Orchestra Alfredo Catalani, Composer Gina Cigna, Soprano Lorenzo Molajoli, Conductor |
| (La) Gioconda, Movement: ~ |
Amilcare Ponchielli, Composer
Amilcare Ponchielli, Composer Cloe Elmo, Mezzo soprano EIAR Orchestra Gina Cigna, Soprano Ugo Tansini, Conductor |
| Adriana Lecouvreur, Movement: ~ |
Francesco Cilea, Composer
Cloe Elmo, Mezzo soprano EIAR Orchestra Francesco Cilea, Composer Gina Cigna, Soprano Ugo Tansini, Conductor |
| Adriana Lecouvreur, Movement: Poveri fiori |
Francesco Cilea, Composer
(Anonymous) Orchestra Francesco Cilea, Composer Gina Cigna, Soprano Lorenzo Molajoli, Conductor |
| (La) Fanciulla del West, '(The) Girl of the Golden, Movement: Laggiù nel Soledad |
Giacomo Puccini, Composer
(Anonymous) Orchestra Giacomo Puccini, Composer Gina Cigna, Soprano Lorenzo Molajoli, Conductor |
Author: Alan Blyth
Gina Cigna self-evidently divided her audiences. The prissy and the precise were and are alarmed by such an all-in singer who delivers the goods and no nonsense about too many stylistic niceties. Then there's the quick vibrato, out of fashion today when it has been described, pejoratively (but not by me), as a quaver. What is indisputable is the elemental power of her singing. Her Leonora (Forza), Gioconda, Adriana, and Maddalena come across as flesh-and-blood heroines, desperate, often at the last gasp, seeking our sympathy. Even her Turandot, vocally far from ideal, is a woman with emotions, not a mere ice-cold, distant figure (the solo here is from Cigna's complete set). We have to become involved in such a woman's trials and tribulations. No wonder the soprano wowed the Metropolitan public if not the critics at her debut as Aida in 1937.
I would judge that her most formidable characteristics were to be heard in her prime—that is from about 1930 to 1937. By the time of her 1941 Aida and her 1942 Desdemona the voice had become an unreliable instrument, well-formed phrases alternating with others where the vibrato has loosened and strain has entered the voice. But then someone who had used her vocal instrument so unstintingly in the previous decade was bound to suffer the consequences. These later discs, the duets on the Legato issue, are more notable for the contributions of her partners. Elmo, whose career suffered because of the Second World War when she was in her prime, is a magnificently authoritative Amneris and Laura. Pertile, though 56 when he essayed Otello, is still memorable for the fire and pathos of his singing—and here Cigna definitely has her moments.
But for her at her considerable best, try the first Ballo excerpt, finely shaped, breathed and coloured, the rewarding extracts fromFaust, the majestic ''Suicidio!'', which itself finds a suitable contrast in the tender, ardent way Cigna phrases both Adriana's solos: nothing wild or too forceful there. Indeed, all these 1930-32 Columbias are worth more than one hearing. Dimitrova might be Cigna's counterpart today but I know it is the older singer I would prefer to hear.
Where the two issues overlap, in ten items, there is almost nothing to choose in the transfers, though Preiser's editing is the cleaner. However, Legato include the aforementioned duets and a short, endearing message from the diva, who celebrated her ninetieth birthday in March, which will become a collector's piece. That disc also has a deeply felt account of ''La mamma morta'' that rivals Muzio's in feeling and accent.'
I would judge that her most formidable characteristics were to be heard in her prime—that is from about 1930 to 1937. By the time of her 1941 Aida and her 1942 Desdemona the voice had become an unreliable instrument, well-formed phrases alternating with others where the vibrato has loosened and strain has entered the voice. But then someone who had used her vocal instrument so unstintingly in the previous decade was bound to suffer the consequences. These later discs, the duets on the Legato issue, are more notable for the contributions of her partners. Elmo, whose career suffered because of the Second World War when she was in her prime, is a magnificently authoritative Amneris and Laura. Pertile, though 56 when he essayed Otello, is still memorable for the fire and pathos of his singing—and here Cigna definitely has her moments.
But for her at her considerable best, try the first Ballo excerpt, finely shaped, breathed and coloured, the rewarding extracts from
Where the two issues overlap, in ten items, there is almost nothing to choose in the transfers, though Preiser's editing is the cleaner. However, Legato include the aforementioned duets and a short, endearing message from the diva, who celebrated her ninetieth birthday in March, which will become a collector's piece. That disc also has a deeply felt account of ''La mamma morta'' that rivals Muzio's in feeling and accent.'
Gina Cigna (b. 1900)
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