Giulietta Simionato was the leading Italian mezzo in the post-war period, starring at La Scala, the Met, and other international houses. Her vocal range was impressive: an ample lower register, a richly warm middle, and an extended top barely distinguishable from a soprano’s, as proved in the 1957 pirate recording (now “legitimized” in an “official” EMI release) of La Scala’s Anna Bolena, where she matches Callas’ high-C in their duet. Simionato’s wide repertoire extended to Gluck’s Orfeo and Bizet’s Carmen, as well as to the staple Verdi and verismo roles. Later a famous Santuzza, her first recording was in the role of Mamma Lucia in the La Scala version of Mascagni’s Cavalleria rusticana led by the composer and starring Beniamino Gigli. But leading roles came later, and by the time she made these 1949-52 recordings for Cetra and Italian Columbia, she was well along on a trajectory leading to international stardom and marquee records for Decca.
This disc opens with a pair of excerpts from Cetra’s 1950 complete Barber of Seville, where she sings stylishly and negotiates Rosina’s coloratura decently if without the interpolations and the full panoply of vocal fireworks we’ve become accustomed to these days. The same applies to an enjoyable “Nacqui all’affano” from Rossini’s Cenerentola. Following is a series of excerpts from Cetra’s complete 1951 Aida under Vittorio Gui’s baton; it was a rough-and-ready affair, but Simionato is a strong Amneris, singing beautifully and creating a compelling character who’ll fight for her man, even if he is the insistent Mario Filippeschi.
Simionato’s at her best here in “Voi lo sapete” from Mascagni’s Cav, the voice glowing, the passion powerful. French opera arias comprise about half the disc, and although she later sang in excellent French, these selections are all in Italian. A pair of excerpts from Mignon, one of Simionato’s signature roles, is sung with feeling–and again, with a beautiful voice–as are Charlotte’s arias from Werther. Simionato’s Carmen is one tough chick if this Habanera is anything to go by, and while she’s not the sultriest or sexiest Dalila, the singing is quite wonderful. Not everything here shows Simionato at her best, but this overview of a great mezzo at the cusp of a major career will be welcomed by vocal enthusiasts.
