Part III: Rare and unknown voices - MARIO SERENI

Part III: Rare and unknown voices. Please open the bar to read more!

Mario Sereni, Baritone (1928-2015)

Umberto Giordano - ANDREA CHÉNIER
Nemico della patria?
With Piero de Palma, Tenor (1918-2013)
Conducted by Gabriele Santini
(Recorded 1963)

My personal opinion: He was neither rare nor unknown, but too much underrepresented: Most astonishing in the career of Mario Sereni was, that he had no career (in a broader sense). Despite his success, he always remained in the shadow of other baritones of his time, even if his recordings reveal a singer "of considerable distinction, with a handsome voice, a solid technique, and a fine sense of style" (Wikipedia). "The dream of a baritone voice" wrote an unknown reviewer. Often, Sereni was compared with Bastianinis (his voice had a little bit more weight), and certainly it was his presence (and the public condolence in the destiny of the early deceased singer ) which expelled Sereni in the second row. How strange, because on records Sereni always was steady and constant, much more than standard class. He always was an adequate partner: For Freni and Gedda in LA BOHÈME and L´ELISIR D´AMORE, for Victoria de los Angeles in LA TRAVIATA and MADAMA BUTTERFLY, for Corelli in AIDA and ANDREA CHENIER. With Anna Moffo he recorded LUCIA DI LAMMERMOOR and LA RONDINE, and two times he sang Puccini with the great Jussi Bjoerling: in BUTTERFLY and TURANDOT. A handsome voice, a solid technique, and a fine sense of style - obviously not enough to became prevalent against Warren (who died already in 1960), Merrill (who took over Warrens mantle at the Met), Panerai and Cappuccilli (both favorites from great stage directors). Sereni was born in Perugia. At the accademia in Siena, he was a pupil of Mario Basiola. Four years after his debut, Sereni sang already at the Met (Gérard in ANDREA CHÉNIER) and he was second cast, when Leonard Warren died during a performance of FORZA DEL DESTINO. In 27 seasons, Mario Sereni sang most of the italian baritone repertoire at the Met, and he also was a regular guest in Chicago, San Francisco, Dallas, Vienna, Milan, London and Buenos Aires. He was Alfredo Kraus father Germont père (half a year his senior) in the famous Lisbon TRAVIATA with Maria Callas (1958). "Sereni is superb. He acts through his voice, not through ridiculous gestures", admired a YouTube-commentator. Personally I estimate him even more than Bastiannini which often sang a little bit to campy. Compare his version of Nemico della patria with Serenis rendition. No doubt, Bastianninis voice was more appealing, but at the same time also exceedingly declamatory; the pure line of his singing was far less bound. I believe, for Sereni it was the wrong time to sing at the Met (against Warren and Merrill), and after Bastiannini passed away, Mario Sereni was already a man aged forty. And Cappuccilli had the luck to sing alongside attractive names in the studio: First Callas, and then with upcoming stars like Freni, Domingo and Pavarotti. Under other circumstances, Mario Sereni would have been a good candidate for the first and second part of 100 Singers. What´s your opinion?
Here is the famous aria of Charles Gérard from Giordanos opera ANDREA CHÉNIER, in which he mourned his own destiny and the fate of his homeland during the vicissitudes of the french revolution.

THE COMPLETE OVERVIEW: GO TO ALL SINGERS IN THIS LIST
http://www.youtube.com/watch?v=fBsScnQWVlU

Видео Part III: Rare and unknown voices - MARIO SERENI канала 100Singers