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For the second issue of Volume 67 (June 2025) we feature two tenors, both of whom celebrated important careers but one is almost forgotten today, even by collectors. The first, Giovanni Malipiero (1906-1970), was a very popular tenor who was active during the years 1932-1954. He was much in demand because of his specific vocal qualities, his great professionalism and his committed performances of all roles entrusted to him.

Our article is by the well-known Italian author and researcher Paolo Padoan. Paolo traces the tenor's career, which was one of superlatives almost from the start. He covered himself with glory for three decades, including appearances in consecutive seasons at La Scala from 1937 to 1949.

Malipiero's discography is not extensive, but covers the roles in which he was most famous. He recorded for Fonotipia, Cetra and Columbia. The recording which helped to make his a household name was his participation in the complete recording of Lucia di Lammermoor, with Pagliughi, Manacchini and Luciano Neroni, conducted by Ugo Tansini.

No greater contrast with the career of Malipiero is afforded than that of our second tenor, Werner Alberti (1861-1934). Though he was only one-and-a-half-metres in height his career, mainly in Europe, was stratospheric, for he boasted two ace cards: a brilliant top, rising with ease to top D, and a spinto tenor which allowed him to excel in the heroic roles of the tenor repertoire. He was greatly admired as Manrico, Eléazar, Radames, Turiddu, Arnoldo (Guillaume Tell) and others. His top C created a sensation wherever he went. Audience members soon forgot the contrast of the diminutive figure on stage wth the thrilling sound of the voice before them.

Alberti's author is the well-known German collector and dealer Axel Weggen. This is Axel's first article for us and it is a superb piece of research, quoting extensively from newspaper sources of the time and describing the tenor's extensive career. He shows that Alberti was not just a top-note stunter but was also acclaimed in lieder and in operetta roles.

Unlike Malipiero, Alberti's discography, compiled by Chris Zwarg, is extensive: nearly 200 recordings by a number of companies. For the collector there is much duplication of repertoire, but it enables an appraisal of the artist's exceptional qualities.

Although the June issue contains only two articles we are sure that collectors will agree that these are both exceptional works.