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Zinka Milanov (1906-1989) Vincenzo BELLINI (1801-1835) Norma: Casta diva Norma: Mira, o Norma with Margaret Harshaw Giuseppe VERDI (1813-1901) Il Trovatore: Tacea la notte placida with Margaret Roggero Il Trovatore: D’Amour sull’ali rosee Il Trovatore: Miserere with Jan Peerce La Forza del Delstino: Son giunta! ... Madre, pietosa Vergine La Forza del Destino: La Vergine degli angeli La Forza Del Destino: Pace, pace, mio Dio! Aida: Ritorna vincitor! Aida: Ritorna vincitor! Aida: Qui Radames vera... O patria mia Amilcare PONCHIELLI (1834-1886) La Gioconda: Suicidio! Pietro MASCAGNI (1863-1945) Cavalleria rusticana: Voi lo sapete, o Mamma Zinka Milanov (soprano) with RCA Victor Orchestra/Frieder Weissmann; Renato Cellini Recorded 1945-53 PREISER 89593 [71.59]

AVAILABILITY www.preiserrecords.at There’s some beautiful singing here. Croatian-born Milanov followed a well-trodden route from provincial opera houses to the German Theatre in Prague, in 1936, and thence to Vienna where her debut was conducted by Bruno Walter. Almost immediately she was booked by the Met in New York and remained there for fully a quarter of a century. It’s where her greatest legacy resides and that exclusively in Italian roles. She gave her final performance in 1966 at the house where she had been so conspicuous a singer and despite her forays into lieder and concert recitals it’s as a Verdian, first and foremost, that she is likely to be remembered. And that’s certainly the focus of this Preiser disc, which catches her in her prime between 1945 and 1953. Her Casta diva is beautifully done though the lower part of the voice does sound just a shade matronly but it was a voice she could scale down with perfect precision and dramatic verisimilitude, as witness Mira, o Norma. Apparently Milanov always reckoned Tacea la notte placida with Margaret Roggero one of her finest records and it is indeed a thriller. I liked her Miserere with Jan Peerce – she more than he to be frank; he sounds rather tense but the list of ticks on this disc is a long one; so yes to Son giunta! ... Madre, pietosa Vergine where her clarity and phrasing are optimum – all very musically shaped. Hers was not a strident, ear piercing Verdian soprano; it was much more inflected and subtle than that and possessed of moments of genuine nobility (La Vergine degli angeli) and liquid soft portamenti for expressive shading (Pace, pace, mio Dio!). There’s a considerable improvement in sound in these 1953 RCA discs and she’s commensurately more strident in Aida, hardening plausibly in tone. She was famous in La Gioconda and was to record it a few years later under Previtali, with De Stefano her partner. This excerpt however comes from 1946. Similarly, lest there’s confusion, the Cavalleria rusticana extract is not from the Cellini led set with Milanov and Björling – it is with Cellini but dates from 1945. The same applies to La Forza (not the 1959 LP set) and Aida, which isn’t derived from the 1955 RCA complete recording with Björling, Barbieri and Warren and directed by Perlea. Just to confuse you further Il Trovatore is from the (cut) complete set with the trio of singers just mentioned along with Moscona and conductor Cellini. Tricky things, discographies. But this Preiser is a worthy addition to Milanov’s legacy and strongly recommended. Jonathan Woolf   Advertising on Musicweb Donate and keep us afloat   New Releases All Naxos reviews All Chandos reviews All Hyperion reviews All Foghorn reviews All Troubadisc reviews Click to see New Releases Get 10% off using code musicweb10 All Divine Art reviews All Eloquence reviews All Lyrita Reviews   Obtain 10% discount Recordings of the Month November Donizetti - Le Convenienze ed Inconvenienze Teatrali Chamber Symphonies 2 & 4 French Cello Concertos   October Shostakovich

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