Composer: Giuseppe Di Stefano
Works: Arias from Verdi’s Aida, Luisa Miller, Otello, Boito’s Mefistofele, Meyerbeer’s L’Africana, Ponchielli’s La Gioconda, Puccini’s La fanciulla del West, Cilea’s Adriana Lecouvreur, Leoncavallo’s La Bohème, Giordano’s Fedora, Pietri’s Maristella, Pizzetti’s Il calzare d’argento; Six traditional Sicilian songs
Performers: Giuseppe Di Stefano, tenor; Orchestra del Maggio Musicale Fiorentino conducted by Bruno Bartoletti; Orchestra conducted by Dino Olivieri
Recording: Recorded Teatro Comunale, Florence June 1962; Six traditional Sicilian songs recorded in 1958
Label: Decca
The legacy of Giuseppe Di Stefano, one of the most ardent tenors of the 20th century, is impeccably captured in this recent release from Decca, part of their esteemed Singers series. This collection offers a diverse array of operatic arias alongside traditional Sicilian songs, showcasing Di Stefano’s vocal prowess and emotional depth. Recorded in the early 1960s, these performances are not merely historical artifacts but rather vivid interpretations that resonate with the emotive richness characteristic of Italian lyricism.
From the opening notes of Verdi’s “Celeste Aida,” Di Stefano’s voice emerges with a radiant clarity, deftly navigating the lyrical lines that epitomize Radamès’ passionate declarations. The balance between power and sensitivity in his interpretation reflects a deep understanding of the character’s inner turmoil. Similarly, his portrayal of Otello’s tortured jealousy in “Dio! mi potevi scagliar” is marked by a visceral intensity, highlighting the psychological depth that Di Stefano imbues in his performances. The conductor Bruno Bartoletti leads the Orchestra del Maggio Musicale Fiorentino with a buoyant yet supportive presence, allowing Di Stefano’s voice to soar without overshadowing the orchestral textures.
Technical aspects of the recording are commendable, with the remastered sound achieving a warmth that captures the essence of Di Stefano’s timbre. The engineering brings a natural resonance to the tenor’s voice, enveloping the listener in a sonic landscape that feels both intimate and expansive. The orchestral accompaniment is well-balanced, with each instrumental detail clearly articulated—a touch that allows for Di Stefano’s expressive nuances to shine through. This is particularly evident in the serene “Cielo e mar” from Ponchielli’s La Gioconda, where the orchestral color enhances the lyrical beauty of the melody.
The inclusion of the six traditional Sicilian songs adds a delightful contrast to the operatic selections. Here, Di Stefano’s cultural roots emerge vividly; his phrasing is imbued with a naturalness that transcends the concert hall, drawing the listener into a world rich with emotional resonance. The warmth and sincerity of his delivery in these folk songs serve as a reminder of his ability to convey profound feeling, whether in the grand operatic arena or in the humble traditions of his homeland.
Di Stefano’s emotive style, which has drawn both admiration and critique, remains undeniably compelling in this collection. His interpretations may lack the subtlety that some modern listeners might expect, but they are imbued with a raw, spontaneous vitality that captures the essence of operatic storytelling. Comparisons with contemporaries like Luciano Pavarotti are inevitable, yet Di Stefano’s distinctive approach—marked by a willingness to wear his heart on his sleeve—sets him apart as a true original.
This recording stands as a testament to Giuseppe Di Stefano’s enduring legacy, encapsulating the fervor and emotional depth that defined his artistry. The performances are not only a celebration of a remarkable voice but also a reflection of the rich operatic traditions from which he emerged. For those seeking to understand the power of Italian tenor singing, this collection is not merely a recommendation—it is essential listening.
