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ABOUT THE PERFORMANCE:
This is the first of two concerts presented in successive years by renowned dramatic tenor Thomas LoMonaco and accompanied by Assistant Conductor/Coach of the Metropolitan Opera, Alberta Masiello for the New York University Opera Club.
ABOUT THE RECORDING:
When this concert was originally recorded (on tape), it was cut to a single lacquer disc at 33 1⁄3 rpm. Unfortunately, the original lacquer had several selections with “locked tracks” due to poor cutting. Two subsequent pressings were made from the master lacquer for family and friends, omitting the damaged tracks. The second generation was cut using a better quality blank than was the third generation, accounting for a significant loss in sonic quality between generations. By the time I became involved in an effort to restore this recording for Tommy, the original lacquer was in poor condition with many skips and damage additional to the original locked tracks. Heavily weighting the tone arm and wetting the surface, I was able to retrieve most all of the original sonic information and began the painstaking process of digitally patching it together. All the original tracks were recovered with the exception of the Brahm’s "Verrat", which was too damaged. After an exhaustive search, several alternate disks were acquired from Tommy’s friends and family. Ultimately, I had a digital tape copy of the original disk, a second-generation pressing and several third-generation copies with which to work. The third generation copies that were loaned to me were in the best condition, but had the worst sonic quality. After consulting with a Grammy Award® winning audio restoration specialist who would be handling the noise reduction duties, we decided that though the original disk had the best sonic information, the level of noise was prohibitive, leaving the second generation disk as the best source for a quality, modern listing experience. So, the bulk of this recording came from a second-generation disk provided by Dave Rapp, a long-time friend of Tommy’s. The selection from Verdi’s OTELLO, "Niun mi tema" is the only selection present from the original lacquer. Due to it’s “locked tracks,” this selection did not appear on any subsequent pressings. The Brahm’s "Verrat" was taken from a tape transfer of the original lacquer that was recorded in the 1970’s. Unfortunately, the recording was done with the gain too high and is “over recorded.” This track too, did not appear on additional pressings, so the locked tracks were pieced back together digitally. The concert is now complete with the lone caveat being the quality of the "Verrat". The concert can now be enjoyed in its entirety for the first time since it was recorded. Aside from the Cedar® Cambridge NR-4 noise-reduction process, there were no EQ adjustments or manipulation of sound. Therefore, this representation is as close to the integrity of the original sound as possible. The first attempt to restore the recording was assumed when I worked for Tommy as his secretary/assistant around 1992, resumed in 2002 and ultimately abandoned due to various difficulties. Upon his death in 2012, I "jump started" this project as a lasting tribute to a very special man. Fortunately, I had saved all my original research notes, including possible sources of additional pressings. Articles and reviews were found after yet another exhaustive search of several newspaper archive sources. Friends provided additional production photography and memorabilia. All the performance articles, reviews and photos date to the time of the concert, presenting a complete “capture” of this unique artist during this period of his life. Tommy possessed a musical sensitivity that was truly unique and in my opinion, his flowing mellifluous quality is unmatched by any dramatic tenor. The beautiful color, rolling portamenti, effortless dynamic regulation, iconic rubati, and thrilling top notes are some of the most interesting and arresting qualities of Tommy’s singing. At his best, he was among the very best and we are fortunate to have this document of him. Tommy enjoyed playing this concert (loudly, with constant EQ fidgeting) for family, friends and favored students, and felt this concert represented his singing accurately. To those who loved him, this was a cherished experience. I hope you enjoy this tribute to a wonderful artist!