- PUCCINI: LA FANCIULLA DEL WEST · 2023
- PUCCINI: LA FANCIULLA DEL WEST · 2023
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- The Student Prince (Original Music from the Show: Plus Songs from the Shows by Roberta Peters and Jan Peerce · 2020
- Verdi: Aïda - Price, Vickers, Solti · 2019
- Verdi: Aïda - Price, Vickers, Solti · 2019
- Verdi: Aïda - Price, Vickers, Solti · 2019
Essential Albums
- When South Pacific was turned into a film in 1958, the US was only about a decade out from World War II. In the intervening years, the anti-Communist sentiment that had helped validate the war had turned inward in the form of McCarthyism, a period during which a broad swath of Americans—particularly people in the arts—were cast as Communist sympathisers. Though nowhere near as outspoken as some of their creative peers, Richard Rodgers and Oscar Hammerstein II were nevertheless allied with liberal causes—a fact that South Pacific made clear. Not only did the movie venture to soften stereotypes of Southeast Asian people, it dealt head-on with questions of race and prejudice in quietly daring ways. “You’ve Got to Be Carefully Taught”—an explanation of inherited racism sung by Marine Lieutenant Joe Cable—was the most overt example. But there’s also the arc of Nellie Forbush, the American nurse who manages to look past her prejudice against mixed-race people and embrace her feelings for the French planter Emile de Becque, who has several children with a Polynesian woman (“I’m In Love With a Wonderful Guy”). Or “Happy Talk”, a song by the jovial island woman Bloody Mary, who tries to help Lieutenant Cable shake his fear of marrying a nonwhite woman. Of course, such good messages won’t spread far if the songs aren’t catchy. But the melodies on South Pacific were strong enough to endure for decades after its release.
Live Albums
Compilations
About Giorgio Tozzi
An eminent opera singer, bass-baritone Giorgio Tozzi was also thoroughly at home in American musical theater. He began to study singing at the age of thirteen. Entering Chicago's DePaul University with the intention of becoming a biologist, he changed his mind and studied voice with Rosa Raisa, Giacomo Rimini, and John Daggett Howell. His operatic debut was in the American premiere of Benjamin Britten's chamber opera The Rape of Lucretia, as Tarquinius, which was a 1948 Broadway production rather than an opera presentation. In 1949, he went to London to sing in a musical, Tough at the Top. He remained in Europe to study in Milan with Giulio Lorandi. Tozzi's Italian debut was at Milan's Teatro Nuovo as Rodolfo in La sonnambula; his La Scala debut was in 1953, in Catalani's La Wally. He returned to the United States, where his first appearance at the Metropolitan Opera was in 1955, in La Gioconda. Tozzi then joined the Metropolitan company, staying there until 1973. As his operatic career developed, Tozzi maintained a keen interest in musicals, starring in several acclaimed productions. His performance in the Broadway revival of Most Happy Fella brought him a Tony Award nomination for Best Actor in a Musical. In 1957, Tozzi won the Critics' Award for Best Actor in a Musical for the production of South Pacific in San Francisco, opposite Mary Martin. He was also on the sound track of the film South Pacific as the voice of Emile Debeque, acted by Rosanno Brazzi. The soundtrack of that film brought Tozzi a gold record from RCA Victor, and he also won three Grammy Awards. In 1958, he created the role of The Doctor in the world premiere of Samuel Barber's Vanessa at the Met. Other roles in his repertoire were the title role in Musorgsky's Boris Godunov, King Philip in Don Carlo, Mephistopheles in Gounod's Faust, the title role of Don Giovanni, Gremin in Tchaikovsky's Eugene Onegin, Don Basilio in Rossini's Barber of Seville, Gurnemanz in Parsifal, Arkel in Debussy's Pélleas et Mélisande, Figaro in The Marriage of Figaro, King Marke in Tristan und Isolde, and Hans Pogner in Die Meistersinger. Tozzi's appearance in the Hamburg Opera's film Die Meistersinger, as Hans Sachs, is, he says, his proudest professional achievement. He also filmed his roles as Boris Godunov and as King Melchior in Menotti's Amahl and the Night Visitors. Tozzi performed in all the great opera houses. In his 20 years with the Metropolitan, he sang 400 performances. In addition to his work in operas in musicals, Tozzi often appeared on film and television in singing and non-singing roles. Throughout his career, Tozzi was an enthusiastic teacher, always eager to encourage younger musicians. During his tenure at the Met, Tozzi taught at the Juilliard School in New York City. In 1991, became a professor at the Indiana University School of Music. Tozzi died in Bloomington, Indiana at the age of 88.
- FROM
- Chicago, United States of America
- BORN
- 1923
- GENRE
- Classical