Rosanna Grosoli Carteri, soprano

During the first year of my career, the theatres often called on me to stand infor a sick colleague. In the far-off 1950, they phoned to ask if I would take theplace of Renata Tebaldi in the role of Margherita in Gounod’s Faust at the TeatroNuovo in Turin. The other members of the cast were Cesare Siepi and GiacintoPrandelli, both already quite famous.

I went to the theatre for the first stage rehearsal and entered on the opposite sidefrom my two colleagues. Even before I could open my mouth, I clearly heard avoice saying, “Who’s that then?”

I was rather put off but I started singing the first few lines of my part anyway. Duringthe performances both Siepi and Prandelli were very kind to me and I foundthat a great help.

Some time later I found out that Prandelli had been the first to speak well of mewith the directors of La Scala!

And it was a year or so later that they offered me the leading role in La BuonaFigliola by Piccinni, and the tenor was Giacinto Prandelli! Once again he showedhimself to be a valuable friend and colleague.

In 1954 I was engaged for a long tour in America, which was to end in San Franciscoand Los Angeles.

In San Francisco there was a never-ending series of rehearsals and performances,and after singing in La Bohème, Cherubini’s Osteria Portoghese and Mozart’s Marriageof Figaro, I performed in Massenet’s Manon alongside Prandelli. He wasmagnificent in the role of Des Grieux – it suited him down to the ground both vocallyand scenically. It was a great success, despite our initial misgivings, and wewere delighted. We sang together in Manon in other great Italian theatres, includingLa Fenice in Venice and the Teatro Grande in Brescia.

Personally I have always admired Giacinto Prandelli and held him in great esteemboth as an artist and as a person. He was always very frank with everyone, just sayingwhat he really thought. I really don’t think he has ever come to any sort ofcompromise in his whole life.