Pirated opera performances are forever surfacing; I used to have a huge collection and I also recorded in-house for a few years (getting surprisingly good sound) but the tapes slowly deteriorated and I got tired of carting them around on my various moves.
Recently a friend gave me a recording of OTELLO from Pasadena 1968 with my beloved Maralin Niska in the role of Desdemona.
The sound quality is not bad as pirates go, and Maralin's voice is utterly distinctive from her opening line. I guess in France they would say she sings from the poitrine, which isn't to say chest voice but she uses a darkish resonance which seems to emanate from the sternum. I cannot think of another voice that I've heard that has quite the same characteristic; she was able to generate great power and remarkably the tone could also shine forth in the highest register. A scrupulous musician, everything Maralin sang has a particular finish to it.
She is singing along in the love duet and the sound is so utterly Maralin and then on the phrase "Amen, risponda..." she suddenly pulls out a miraculous pianissimo and the conductor just lets her linger on it to ravishing effect. This is one of those notes that sends chills up the spine, penetrates the soul and makes listening to music so inspiring. Would a soprano today dareto take such a risk? And would a conductor be so accommodating?
Brian Sullivan, who sings Otello, was a Met regular for several years. He is a passable Otello in the more lyric moments, but he is tested in the heroic phrases. About a year after this performance, he drowned himself in a Swiss lake, reportedly in despair over his declining career.
On the label, the Iago is simply listed as 'Gilbert'; the only baritone I can find from around that time period is someone named Ramon Gilbert. I have no idea if that is correct, but the voice does have a 'Spanish' vibrancy of tone. He's a pretty good Iago all in all, quite subtle...though a few more decibels would be nice in spots. I've been researching the name and the only references are a single recording: Richard Wernick's Kaddish Requiem in which Ramon Gilbert is listed as cantor, and his name appears (in good company!) among the winners of the 1958 Concert Artists Guild Competition:
1958
Howard Lebow, Piano
Victoria Markowski, Piano
Hugh Matheny Oboe
Raymond Michalski, Basso
Mayne Miller, Piano
Lois Carole Pachucki, Piano
Judith Basch, Violin
Frank Cedrone, Piano
Margaret Kalil, Soprano
Agustin Anievas, Piano
Joy Pottle, Piano
Judith Raskin, Soprano
Harold Johnson, Tenor
Ramon Gilbert, Baritone
Georgia Davis Contralto
Herbert Chatzky, Piano
Howard Aibel, Piano
These musical mysteries always intrigue me: a forgotten name is made tangible by the sound of a voice recorded 40 years ago and yet: do I have the right man? More research, just to satisfy my curiosity.
Okay this is completely off topic but I LOVE Maralin's dress in that photo!
Posted by: perky | May 30, 2009 at 02:16 PM
Maralin's slender figure allowed her to wear anything...or nothing! She was one of the very few sopranos you'd ever want to see nude onstage...and her nude scene in the famous MAKROPOULOS CASE production was - somehow - both erotic and...tasteful. And certainly true to the character.
Posted by: Philip | May 30, 2009 at 04:58 PM
I knew Frank Cedrone and Victoria Markowski when I was a child. I named my fourth daughter after them. My dad's name was Don. If either of them see this, I am Brenda! Frank was the first Italian man I fell madly in love with!
Posted by: Brenda | February 11, 2010 at 06:34 PM