The Greatest Santuzza: Voi lo sapete, o mamma (Bruna Rasa, 1938 LIVE) ["stereo" remaster]

One of the remarkably underappreciated singers of the 20th century was dramatic soprano Lina Bruna Rasa.
Trained in the verismo tradition, Bruna Rasa sang with electrifying dramatic intensity-and a very strong coordination of chest voice, even into the 5th octave.
Though limited, her recorded discography is one of the treasures of the pre-World War II operatic world.
In my own estimation, Bruna Rasa is unmatched in her rendition as Santuzza. And on this point, I stand with none other than the opera's composer himself, Pietro Mascagni, who conducts this performance given at the Hague on November 7, 1938.
The sound is remarkably good for a live broadcast from the period, and with a little re-equalization, stereoization, and some other work, I believe I have managed to unearth from it an additional dimension of life.
I will leave it to you to judge the singing, apart from one comment: the final lines of the aria end with a bloodcurdling outcry, "Io son dannata! Io son danatta!" (I am damned! I am damned!), delivered with sincerity and power that stretches the boundaries of even golden-age operatic imagination, the terror of a woman at the threshold of hell itself.
Tragically, not too long after this performance, Bruna Rasa would succumb to her own demons and go into a mental asylum for the remainder of her life, thus cutting short the career of one of the most compelling voices in recorded operatic history.
Cavalleria rusticana
Pietro Mascagni, conductor
Orchestra e Coro dell’Opera Italiana d’Olanda
Den Haag, November 7, 1938
Turiddu: Antonio Melandri
Santuzza: Lina Bruna Rasa
Mamma Lucia: Rina Gallo Toscani
Alfio: Afro Poli
Lola: Maria Meloni
Original audio source: Guild Historical
Cast info: Bel Canto Society.org

[@DominicR-y5d]

So sad to hear her career was so tragically cut short! At least we have this glorious example of her talent.

[@bodiloto]

Divina .
❤

[@alexandrkolesnikov9062]

Great soprano. Great aria. Great composer❤

[@jazzychazzy007]

Thank you for posting this, giving us all the opportunity to hear past all the static, etc. that interfered with the recordings from this era.

[@matOpera]

I’m glad you enjoyed! The original recording was thankfully already excellent for a live broadcast from 1938.

[@dottot937]

Mascagni's definitive Santuzza indeed! 👏👏👏

[@jamescantorne3720]

so many singers born in 1900-1920 is so underrated and almost forgotten, except probably for Milanov. This include Maria Pedrini. The probable reason is they are outshine by Ponselle, Tebaldi, & especially Callas. Callas career outshine Mancini & Cerquitti, although, in my very own opinion, these three are interchangeable, although Mancini had a darker voice.
Anyway, my point is not to underestimate Callas. Callas is a legend, but hollywood seems stuck in using her voice for every "opera included" background music. lol. Especially that La Mamma Morta playing in one of movies of Washington. They can use Bruna Rasa or Pedrini, why it is always Callas? Lol

[@ER1CwC]

Bruna Rasa's life was truly a tragic one.
From a vocal analysis standpoint, it would have been fascinating had she been able to persist longer. Her use of the chest register is so aggressive. I wonder if she would've lasted.

[@alexanderskarin9895]

With the right technique she would. The use of her chest voice may seem aggressive, but is visceral and exciting - they way opera should be

[@ER1CwC]

@@alexanderskarin9895 I agree that chest is important, but I have never heard anyone drag it up so high so consistently. Not even Caballe in Ballo or Tebaldi in Gioconda.

[@alexanderskarin9895]

@ER1CwC Precisely, that is what makes it so exciting. Bruna Rasa had so much chest participation in her voice and her coordinated chest voice was impeccable. Mascagni considered her the best Santuzza he'd ever heard.

[@KajiVocals]

Agnes Baltsa used it just as much. And as high.@@ER1CwC

[@vanmusician]

There's an opera legend that she was released from a mental institution in order to make the commercial recording with Gigli. I wonder if that is true?

[@matOpera]

Now that you mention it, I vaguely remember reading something similar. It may be worth checking the CD insert. I should have it somewhere.

[@vanmusician]

@@matOpera There is nothing in my cd booklet, but a lot of information on Wikipedia. She started having mental problems in the early 1930's. Shortly after this live performance she went into a mental asylum. She made the commercial recording in 1940. Gino Bechi - the baritone in that recording - said that during the recording sessions she imagined there were white horses in the wings waiting to take her away! But curiously - as soon as she started to sing she became completely lucid. Her last live performance was in 1942 and she spent the last 36 years of her life in mental institutions.

[@ransomcoates546]

She and the composer seem to have different ideas about tempo.

[@matOpera]

From what I’ve read, Mascagni took slower and slower tempi in _Cavalleria_ the older he got. Needless to say, the singers found it challenging.

[@matOpera]

Although, funnily enough, Bruna Rasa seems to be the one dragging here.

[@giovic9802]

4:04

[@Tkimba2]

Why so many GOOD sopranos of the past struggle with the high notes in this piece. Litterally 90% of them are flat up there.
She's great nonetheless