Claudia Muzio Sings LP Record Album NM, Scala 836 MONO

This listing is for Claudia Muzio – Claudia Muzio Sings Vinyl LP Record Album SCALA 836.

Label: Scala Records – SCALA 836

Format: Vinyl, LP, Compilation, Mono

Country: US

Released: 1958

Genre: Classical

Style: Romantic, Opera  

Condition:   Jacket:     Very Good         Vinyl:    Very Good

Tracklist:

A1 Ernani : Ernani Involami

A2 Tosca : Vissi D'Arte

A2 Il Trovatore : D'Amor Sull' Ali

A4 Louise : Depuis Le Jour

A5 La Boheme : Mi Chiamano Mimi

A6 La Boheme : Musetta's Waltz

A7 Wally: Ebben

A8 Cavalieria Rusticana: Voi Lo Sapete

B1 Pagliacci: Ballatelea

B2 William Tell: Romance

B3 Masked Ball : Ma Dall'Arido

B4 Manon Lescaut : In Quelle Trine

B5 Aida : O Patria Mia

B6 Otello : Ave Maria

B7 Madama Butterfly : Entrance

B8 Mefistofele : L'Altra Notte

Claudia Muzio (7 February 1889 – 24 May 1936) was an Italian operatic lyric soprano who enjoyed an international career during the early 20th century. Claudina Emilia Maria Muzzio was born in Pavia, the daughter of Carlo Muzio, an operatic stage manager, whose engagements during her childhood took the family to opera houses around Italy as well as to Covent Garden in London and to the Metropolitan Opera in New York. Her mother was a choir singer, Giovanna Gavirati. Muzio arrived in London at the age of 2 and went to school there, becoming fluent in English, before returning to Italy at the age of 16 to study in Turin with Annetta Casaloni, a piano teacher and former operatic mezzo-soprano who had created the role of Maddalena in the world première of Verdi's Rigoletto. Muzio then continued her vocal studies in Milan with Elettra Callery-Viviani. She also took the stage name of Claudia Muzio.

Muzio made her operatic début in Arezzo (15 January 1910) in the title role of Massenet's Manon, and made progress in the opera houses of Italy, leading to débuts at La Scala in Milan in 1913 (as Desdemona in Verdi's Otello), in Paris (as Desdemona) and in London at Covent Garden (as Puccini's Manon Lescaut) in 1914. She stayed on in London to sing other roles including Mimì and Tosca (both with Caruso). She was invited to the Met in New York in December 1916 (for Tosca) and was so successful that she continued to appear there during six successive years. It was at the Metropolitan that Muzio created the role of Giorgetta in Il tabarro, in the world première of Puccini's triple bill, Il trittico, on 14 December 1918. She established a special relationship with audiences at the Teatro Colón in Buenos Aires, where she first appeared in June 1919 (in Catalani's Loreley). From then until 1934 she sang there in 23 different operas, becoming known as "la divina Claudia". Between 1922 and 1932, she appeared regularly in Chicago (after falling out with the management at the New York Met). On 15 October 1932, she performed the title role of Tosca to inaugurate the new War Memorial Opera House in San Francisco. Other notable roles in her career included the title role in Aida, Santuzza in Cavalleria rusticana, Maddalena in Andrea Chénier, and Leonora in Il trovatore (all in New York), and also Violetta in La traviata and Leonora in La forza del destino (in Chicago and Buenos Aires). Her last and according to some critics her greatest role was in Rome in 1934 as Cecilia in the opera of that name written for her by Licinio Refice. Her most popular role, however, was Violetta, in which she was considered unsurpassed throughout the Latin opera world (Italy, Spain, South America). Muzio was noted for the beauty and warmth of her voice, with a richness of tonal colouring. Her performances were sometimes criticised for excessive use of dynamic extremes. Critics called her pianissimo singing "particularly admirable." She remained modest and even reclusive despite her increasing fame and wealth. 

CONDITION Descriptions:

I base the condition of each of my Records off of 's Grading System. 

• MINT (M) Looks new and unplayed. Very high vinyl luster and no noticeable label defects. Sounds new. With 45rpm records, this does not always mean there is no surface noise at all. 

• NEAR MINT (NM) Looks almost new, but has some minor flaws such as a drill hole; unobtrusive writing on label (e.g., an X on a promo copy); minor scuffing on vinyl; minor color flaking on label, or other insignificant flaws that only slightly detract from visual appeal. May have some minor surface noise, but nothing distracting. 

• VERY GOOD (VG) There may be light scuffing and some of the original vinyl luster may be lost. The vinyl and label may appear used, but well cared for. Records may have some more obvious flaws that are not visually degrading such as a sticker on the label; more noticeable writing on the label; scuffing and minor scratches on the vinyl; or minor discoloration of the label. There may be very minor warping of the vinyl. There may be a slight scratch not affecting play. 

• GOOD (G) Record has visible signs of handling and playing, such as loss of vinyl luster, minor surface scratches, groove wear, and audible surface noise. Appears well used but not abused. May have a few major flaws, such as scratches, label tears, or stickers, and/or writing. 

• FAIR (F) Appears well used and somewhat abused. Audio is not great due to surface noise and scratches. The record may have a stick or a skip. Records in this condition are those you might purchase to fill a hole in your collection until a better copy comes along. 

• POOR (P) Well played with little luster and significant surface noise, but still not cracked or broken. Record likely skips and/or sticks. Typically so bad looking that a true “collector” would just toss it out. More useful as a Frisbee. I try not to sell records in this condition.

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