THE ANTHOLOGY OF HIS GREAT YEARS (1939-48).(Review)

Ferruccio Tagliavini

[] "THE ANTHOLOGY OF HIS GREAT YEARS (1939-48)" Arias and scenes from L'Elisir d'Amore, La Sonnambula, Mignon, Rigoletto, Falstaff, Manon, La Boheme, Tosca, L'Arlesiana, I Quattro Rusteghi, L'Amico Fritz, I Pescatori di Perle, Werther, La Fanciulla del West, Andrea Chenier, Mozart's Requiem. With Olivero, Tassinari, Stignani, Tajo et al.; Italian Radio Orchestras, Tansini, Rossi, Mascagni, de Sabata. Good International 2052 (Qualiton, dist.)

One of the first Italian tenors to reach these shores after World War II, Ferruccio Tagliavini was greeted enthusiastically by an American audience already familiar with his imported recordings on the Cetra label. This neat package of two CDs contains twenty-four of those early Cetras -- not a complete "anthology," but certainly varied and representative of the tenor's art. During his years at the Met (1947-54), he concentrated on his best roles: Edgardo, Nemorino, Almaviva, the Duke of Mantua and Alfredo, later adding Cavaradossi and Pinkerton. In subsequent seasons, he enlarged his repertoire with various degrees of success. (He may also be heard as Edgardo opposite Callas in a 1959 EMI recording, by which time his voice had faded but hints of his earlier mastery were still in evidence.)

Tagliavini had a dulcet tone, and his modest sound was enhanced by a finely chiseled technique. His singing was reminiscent of Gigli's without the older tenor's tonal richness. From Tito Schipa -- with whom he was also often compared -- he learned how to achieve carefully graded dynamics between an exquisite pianissimo and a forte that didn't have to blast. His head tones were remarkably supported, and he could coordinate them with the chest register with exceptional smoothness.

In the later phase of his career, Tagliavini, searching for the "big sound," would harden ...