This RIGOLETTO performance from Warren was new to me. I own broadcasts from 1945, 1952, & 1956 & all show him at or near his best. Was Warren a perfect singer? Few, if any, are & although he remains my ideal RIGOLETTO in many ways he had some vocal issues in the late 1950s that did adversely effect his work occasionally but not so much in Verdi. Warren’s weakness in the low range (compared with others such as MacNeil, Bastianini (who began his career in bass roles), & even Merrill (whose lower middle range was of smoother quality in comparison but who lacked Warren‘s mezza voce, artistry, & superior upper extension) became more apparent in his final years but never effected his Verdi roles as much due their basically higher tessitura. Warren was made for Verdi & although he sang superbly in some other roles, this was where he really excelled & in some ways has yet to be surpassed. Although I generally prefer many live recordings, as opposed to studio ˋperfection,´ I still find Warren‘s 1950 studio recording to be my first choice. This came out the year after the broadcast featured here but despite the cuts remains a totally memorable achievement. I only wish deeper voiced Ernster, the Sparafucile in this 1949 broadcast, had been used instead of the rather dry timbre of Tajo‘s instrument in the 1950 recording. The rest of the cast in the studio recording are really remarkable. This may be the best singing I have yet to hear from Peerce who really excels here & as for Berger she, at age 50, is still the youngest almost pre-pubescent sounding Gilda that I have ever experienced. She kept this youthful timbre in her instrument to the very end of her career. A 1955 recording with Herman Prey (her junior by 29 years!) of the Nedda/Silvio duet from PAGLIACCI demonstrates this as well. The RCA recording was the first complete studio recording, I believe, made in the states. It’s true that Toscanini‘s opera recordings in the U.S. preceded this but they were taken from broadcasts & although I often prefer Live performances, these are scratchy in comparison & one has often to deal with the famous Toscanini ambient vocal effects which, charming as they may be, do compromise these recordings qualities to a certain degree, IMO. Also some of Toscanini‘s singers, aside from Peerce, Merrill, Albanese, are not especially memorable in quality. In listening to this live 1949 RIGOLETTO, Warren is as usual superb & Peerce, Munsel, & Ernster do exemplary work as well, IMO.😊
Jan Peerce is 44 years old here, he made his met. opera debut at age 37 in 1941. Probably one of his his best known roles, sang it often, and with Toscanini he sang Brdcsts of Boheme, Traviata, Ballo and a lot more. Yes, sensational Warren the Amazing and great Rigoletto!
@@sugarbist When Warren calls out Gilda, each time he gets more intense, someone once said the last two times where actually high C's? I don't know about that, but it was impressive from Warren in all he did, as it usually was!.
Not great sound quality but decent for live in 1949! Some very few folks don't favor Warren, but in many roles he is a big favorite of mine, again it is your opinion that counts, we do not all hear singers the same way. Enjoy. @@sugarbist
Could you please upload Lucia di Lammermoor (November 28, 1942; St. Leger; Pons, Peerce, Valentino, Moscona) and/or Don Giovanni (December 14, 1957; Böhm; Siepi, Steber, Peerce, Della Casa, Peters, Corena)?
I found a 1950 recording of this in my archive with the same core 4 cast members in really astounding quality in case anyone is interested: th-cam.com/video/PYTb_ZREEGE/w-d-xo.html
Leonard Warren un gigante della Lirica👍❤👏👏👏👏
Irrepetible Rigoletto Warren inigualable su voz y alma para cantar y actuar, el.mejor del siglo xx
This RIGOLETTO performance from Warren was new to me. I own broadcasts from 1945, 1952, & 1956 & all show him at or near his best. Was Warren a perfect singer? Few, if any, are & although he remains my ideal RIGOLETTO in many ways he had some vocal issues in the late 1950s that did adversely effect his work occasionally but not so much in Verdi. Warren’s weakness in the low range (compared with others such as MacNeil, Bastianini (who began his career in bass roles), & even Merrill (whose lower middle range was of smoother quality in comparison but who lacked Warren‘s mezza voce, artistry, & superior upper extension) became more apparent in his final years but never effected his Verdi roles as much due their basically higher tessitura. Warren was made for Verdi & although he sang superbly in some other roles, this was where he really excelled & in some ways has yet to be surpassed.
Although I generally prefer many live recordings, as opposed to studio ˋperfection,´ I still find Warren‘s 1950 studio recording to be my first choice. This came out the year after the broadcast featured here but despite the cuts remains a totally memorable achievement. I only wish deeper voiced Ernster, the Sparafucile in this 1949 broadcast, had been used instead of the rather dry timbre of Tajo‘s instrument in the 1950 recording. The rest of the cast in the studio recording are really remarkable. This may be the best singing I have yet to hear from Peerce who really excels here & as for Berger she, at age 50, is still the youngest almost pre-pubescent sounding Gilda that I have ever experienced. She kept this youthful timbre in her instrument to the very end of her career. A 1955 recording with Herman Prey (her junior by 29 years!) of the Nedda/Silvio duet from PAGLIACCI demonstrates this as well. The RCA recording was the first complete studio recording, I believe, made in the states. It’s true that Toscanini‘s opera recordings in the U.S. preceded this but they were taken from broadcasts & although I often prefer Live performances, these are scratchy in comparison & one has often to deal with the famous Toscanini ambient vocal effects which, charming as they may be, do compromise these recordings qualities to a certain degree, IMO. Also some of Toscanini‘s singers, aside from Peerce, Merrill, Albanese, are not especially memorable in quality. In listening to this live 1949 RIGOLETTO, Warren is as usual superb & Peerce, Munsel, & Ernster do exemplary work as well, IMO.😊
Mari,uriași artiști de odinioara,apuse timpuri,din pacate!!!
Pierce had a very recognizable voice...
Warren, my favorite Rigoletto of all times ♥
Jan Peerce is 44 years old here, he made his met. opera debut at age 37 in 1941. Probably one of his his best known roles, sang it often, and with Toscanini he sang Brdcsts of Boheme, Traviata, Ballo and a lot more. Yes, sensational Warren the Amazing and great Rigoletto!
Warren #51:12 to #51:32 Each time he says "Gilda" is more intense.
Jan Peerce was 44 years old here in 1949 and had been singing at the Met. since his debut in 1941.
Thank you for posting this!
Prelude: 0:12
Act 1, s.1: 02:24
Act 1, s.2: 15:27
Act 2: 52:13
Act 3: 1:20:05
Warren #51:10 to #51:32 Warren sings out "Gilda" several times, and each time is more intense, ending very high, true, he was the great Baritone.
It's amazing, beautifully done by Warren and Peerce sounds very fine as well
@@sugarbist When Warren calls out Gilda, each time he gets more intense, someone once said the last two times where actually high C's? I don't know about that, but it was impressive from Warren in all he did, as it usually was!.
@@shicoff1398 Yes, They sound very high
Not great sound quality but decent for live in 1949! Some very few folks don't favor Warren, but in many roles he is a big favorite of mine, again it is your opinion that counts, we do not all hear singers the same way. Enjoy. @@sugarbist
Could you please upload Lucia di Lammermoor (November 28, 1942; St. Leger; Pons, Peerce, Valentino, Moscona) and/or Don Giovanni (December 14, 1957; Böhm; Siepi, Steber, Peerce, Della Casa, Peters, Corena)?
I found a 1950 recording of this in my archive with the same core 4 cast members in really astounding quality in case anyone is interested: th-cam.com/video/PYTb_ZREEGE/w-d-xo.html
wow thank you!
@@MrQwerty88 My pleasure - you have an incredible collection here on your channel!