MANUEL SALAZAR, COSTA RICAN OPERA STAR

EL TENOR OLVIDADO

  DE COSTA RICA

 

COSTA RICA'S

FORGOTTEN TENOR

Edición Limitada para Coleccionistas

A Limited Edition for Collectors

During the week in September 1948 that Warren Allen Smith hitchhiked from Iowa to pursue his M.A. at Columbia University, the two met and remained companions for 40 years until Fernando's death. In 1961 the two founded Variety Recording Studio, a major independent recording studio, and Fernando until his death was a significant figure in show business from the late 1950s (working with Jerry Bock on "Fiorello" and later on "Fiddler on the Roof") until his death from AIDS in 1989, at which time Warren sold the studio that they had successfully operated for three decades, and the new owner went bankrupt within a short time.

Fernando (called Fred by most) personally worked with playwrights Arthur Miller and Paddy Chayevsky ; directors Harold Prince and Robert Whitehea d; and performers such as Liza Minnelli, Marvin Hamlisch, Paul Simon, Sun Ra, David Amram, Chuito of Bayamon, Celia Cruz, Tito Puente, and many others--for the full story, click here .

When then-President José Figueres visited New York City in the late 1940s or early 1950s and learned that Fernando was studying to be an electrical engineer, he encouraged Fernando to return to San José and help build the country's first TV station, even advising him to buy a Jeep, drive all the way, then sell the Jeep for a sufficient profit to pay all his expenses. Fernando, however, chose never to leave his newly adopted country (but also chose never to renounce his Costa Rican citizenship, even making a call upon then-Ambassador Otilio Ulate in Washington, D.C., in order to invoke an old treaty in order to avoid being drafted into the U. S. Army).

Upon Fernando's death, his will was opened in the presence of two of his relatives, and it was learned thatWarren had inherited the entire estate, including land and money in Costa Rica. Warren took the cremains, participated in the Catholic funeral (although both Fernando and Warren were well-known non-theists), donated the inherited land to one of the nieces (for she appeared to be the only one upon whose adjoining land she would build--Warren felt it appropriate to keep Elias's land in the family name), and made plans with the inherited money to produce the present CD in Fernando's memory.

However, the money held in San José's "Pennsylvania Bank" (not a bank in a New York sense) mysteriously disappeared. Warren tried unsuccessfully with Attorney Julio Ugate Strunz (whose father allegedly had a connection with the "bank") and another lawyer to obtain his inheritance, but a young member of the family had already removed the money and the bank claimed to have no records. As a result, it has taken a decade of savings for Warren to produce the present compact disk in Fernando's memory.

Warren has returned three times after first taking the cremains to be buried in the Vargas family's General Cemetery mausoleum. On one occasion, he found it necessary to have his partner's name inscribed on the tombstone, for the family had not done so. In 1994 with a generous grant from The Netherlands to the International Humanist and Ethical Union, he helped found Asociación Ibero-Amercan Ético Humanista , an association of Spanish-speaking ethical humanists in South, Central, and North America. Also, working with Guillermo Murillo  and Richard Stern , he donated money (including a generous gift from Sir Arthur C. Clarke in Sri Lanka) to Agua Buena Human Rights Association (Apartado 366-2200, Coronado, Costa Rica), an association of people living with AIDS, at which time he was proudly presented with a plaque dated 1 May 1998.

Only 1,000 copies of the present compact disk have been manufactured, 50% of which have been donated to the two above Costa Rican associations.

Warren Allen Smith , New York City, May 2001

Bizet

Agnus Dei

Bellini

Norma

Meco all'altar di Venere, Acto 1

Verdi

La Forza del Destino

La vita è inferno, Acto III

O tu che in seno agli angeli, Acto III

Wagner

Tannhäuser

Rome Narrative, Acto III (en Italiano)

Verdi

Otello

Dio! Mi potevi scagliar, Acto III

Niun mi tema, Acto IV

Producido por

Warren Allen Smith , ASCAP

Co-fundador del Estudio de GrabaciónVariety, Nueva York

A la Memoria de

Fernando Rodolfo de Jesus Vargas Zamora (1928-1989)

Co-productor e Ingeniero de Grabación quien realizara la matriz del LP original en 1970.

Co-fundador del Estudio de GrabaciónVariety, Nueva York

Y de

Harold H. Bonilla (Fallecido en 1987)

Co-Productor Costarricence del LP en 1970

Autor: Nuestros Presidentes (1942); Historia Política de los Estados Unidos y de sus Presidentes (1981)

Vice Consul Costarricence y Consul en Nueva York, Consul General en Chicago.

Para

©2001

-- fue el tenor drámatico de Costa Rica que cantó con la compañía de Opera Metropolitano de Nueva York. Nació el 3 de Enero de 1887 en San José, Costa Rica, y pasó sus primeros años en la provincia de Cartago, donde se mudaron sus padres cuando tenía nueve años. En Turín, Italia, se casó con Angolina Viassone Cantero a quien el llamaba Lina. La pareja nunca tuvo hijos .

-- was the dramatic tenor from Costa Rica who sang with New York City's Metropolitan Opera Company. He was born 3 January 1887 in San José, Costa Rica, and spent his early years in Cartago, where his parents moved when he was nine years old. In Turin, Italy, he married Angolina Viassone Cantero, whom he called Lina. The couple had no children.

-- cuando tenía diez años participó en diferentes presentaciones estudiantiles. En 1903, cantó en público por primera vez en eventos de aficionados. En 1907 en su primer viaje al extranjero estudió música en Milán. En 1910 y 1911 se presentó en Cuba, México, América Central, y Panamá. En su debut en Costa Rica, Interpretó Cavalleria Rusticana y Aida en el Teatro Nacional. De 1911 a !914 realizó una gira por la mayor parte de los Estados Unidos con la Compañía Lambardi. En 1913 fue cedido por esa compañía para que interpretara el papel de Don José en la premier de Fortunato, con la Compañía de Opera de San Carlo en Nueva York.

-- when ten appeared in different student performances. In 1903 he first sang publicly in amateur events. In 1907 on his initial voyage abroad, he studied music in Milan. In 1910 and 1911 he sang throughout Cuba, Mexico, Central America, and Panama with the Alfredo del Diestro Company. He sang Cavalleria Rusticana and Aida at his Costa Rican debut at the National Theatre in 1911. From 1912-1914 he toured much of the United States with the Lambardi Company. In 1913 he was borrowed from that company to sing the role of Don Jose in Fortunato Gallo's San Carlo Opera Company's premiere in New York City.

-- estudió en Italia con Guilio Moretti en 1914 y cantó en Vicenza en la ópera Lucia de Lammermoor asi como en Italia y España en Gil Zingari de Leoncavallo. En 1916 se traslada a Boston para cantar con la Compañía de Opera de San Carlo y se presenta en casi todas las principales ciudades de Norte América.

-- studied in Italy with Giulio Moretti in 1914 and sag at Vicenza in the opera Lucia di Lammermoor. and in Italy and Spain in Leoncavallo's Gil Zingari . In 1916 he moved to Boston, signing with the San Carlo Opera Company and performing in almost all major cities in North America.

-- cantó en la Habana Cuba, en 1919. En una velada reemplaza a Erico Caruzo en Trovatore cuando el gran tenor se indispuso justo antes de que subiera el telón. Luego de que Salazar cantara de nuevo durante varias noches, Caruso, totalmente recuperado, estaba en la audiencia y al final del tercer acto de la presentación de Otelo, se dirigió al camerino y de la mano, guió a Salazar para su primer solo en le escenario, despues del cual recibió una tremenda ovación. Tiempo despues, cuando Salazar estaba en Nueva York, Caruso asistió a dos de sus presentaciones.

-- sang in 1917 and 1919 in Havana, Cuba. One evening he replaced Enrico Caruso in Trovatore, when the great tenor became indisposed just before curtain time. When Salazar sang again several nights later Caruso, fully recovered, was in the audience and, at the end of a third act of a presentation of Othello , went backstage and led Salazar out by the hand for his first solo curtain call, at which he received a tremendous ovation. Soon afterwards, when Salazar was singing in New York, Caruso attended two of his performances.

-- luego de la muerte de Caruso, mientras interpretaba el papel de Radames en Aida, Salazar fue escuchado por Giulio Gatti-Casazza, director general de la Opera Metropolitana de Nueva York. Impresiondo, Gatti visitó a Salazar en el camerino y lo persuadió para que se uniera a la metropolitana. Salazar aceptó con reservas porque no se consideraba realmente listo - Salazar era muy conocido por su modestia personal. En una conferencia de prensa el 6 de Octubre de 1921, un reportero del New York Times le peguntó a Gatti-Gasazza acerca de los papeles de Caruso. "No tenemos ningún papel de Caruso," contestó. Tenemos tenores que interpretan los papeles Italianos, otros los franceses, e incluso otros los alemanes. Cuando se le cuestionó sobre el sucesor de Caruso, dijo que era cuestion de tiempo, que era algo que el público mismo debía decidir y luego continuó on el anuncio de la adquisición de un nuevo tenor&emdash;Manuel Salazar&emdash;quien cantaría "todos los papeles italianos."

-- after Caruso's death, while singing the role of Radames in Aida , was heard by Giulio Gatti-Casazza, general manager of the New York's Metropolitan Opera. Impressed, Gatti visited Salazar in his dressing room and persuaded him to join the Metropolitan. Salazar accepted reluctantly because he did not consider himself quite yet ready and because he was known for his personal modesty. At a 6 October 1921 press conference reported by The New York Times , Gatti-Casazza was asked about the Caruso roles. We have no Caruso roles, he replied. We have tenors who sing the Italian roles, others the French, and still others the German ones. When asked about the Italian Caruso's successor, he said that it was a question of time, that it was something for the public itself to decide, then proceeded to announced the acquisition of a new tenor&emdash;Manuel Salazar&emdash;who he said would sing "all the Italian roles."

-- un tenor dramático conocido por su fuerte voz y sus notas altas. su debut en la Metropolitana se dió durante la presentación de Andrea Chenier con Claudio Muzzio. Gatti- Gasazza lo llamó a última hora tan sólo dos dias despues de regresar de Costa Rica por barco y luego de un periodo de no cantar en lo absoluto. Le pidió a Salazar que sustituyera a Giovanni Martinelli, quien estaba demasiado enfermo para cantar en la presentación de gala de la Forza del Destino con Rosa Ponselle. Salazar por consiguiente, hizo su primer aparición con la compañía sin haber antes pisado el escenario de la Metropolitana, sin haber ensayado antes con la orquesta, incluso sin haberse reunido antes con el reparto (con excepción de Pinselle, con quien el había cantado antes). Su siguiente asignación fue con Lucrezia Bori en Pagliacci.

-- a dramatic tenor known for his strong voice and high notes, was scheduled to make his debut at the Metropolitan in Andrea Chenier with Claudia Muzzio. Gatti-Casazza called him one evening on short notice, only two days after returning from Costa Rica by ship and after a period of no singing at all. He asked Salazar to replace Giovanni Martinelli, who was too ill to sing at a gala performance of La Forza del Destino with Rosa Ponselle. Salazar therefore made his first appearance with the company without ever before having set foot on the Metropolitan stage, rehearsing with the orchestra, or personally meeting the cast (with the exception of Ponselle, with whom he had sung before). His next assignment at the Metropolitan was with Lucrezia Bori in Pagliacci.

-- recibió comentarios favorables de los críticos de la época quienes fueron generosos y dadivosos en sus elogios. Henry Krehbiel, W.J Henderson, Richard Aldrich, James G. Huneker, Deems Taylor, Olin Downes, todos evaluaron su trabajo positivamente, a excepción de Krehbiel cuyos comentarios fueron menos favorables.

-- received favorable review from critics of the era, who were generous and lavish in their praise. Henry Krehbiel, W. J. Henderson, Richard Aldrich, James G. Huneker, Deems Taylor, Olin Downes, all evaluated his work positively, Krehbiel being the least favorable and Aldrich and Henderson the most.

-- estuvo con la Compañia de Opera Metropolitana en Nueva York en 1921, 1922, y 1923 al mismo tiempo en que Beniamino Gigli, Giovanni Martinelli, y otros mas, estaban compitiendo por tomar el lugar de Caruso. Al final ninguno lo logró, aun cuando tanto los seguidores de Gigli como los de Martinelli sienten que sus ídolos ganaron.

-- was with the Metropolitan Opera Company in New York in 1921, 1922, and 1923 at a time when Beniamino Gigli, Giovanni Martinelli, and others were similarly fighting for Caruso's mantle. In the end no one actually took the irreplaceable Caruso's place, although followers of both Gigli and Martinelli feel that their idol won out.

-- cantó en la Metropolitana con Rosa Ponselle, Lucrezia Bori, Elisabeth Rethberg, Claudio Muzzio, Queena Mario, Frances Peralta, Antonio Scotti, Guiseppe de Luca, Guiseppe Danise, Renato Zanelli, Jeanne Gordon, José Mardones, y Adamo Didur, entre otros.

-- sang at the Metropolitan with Rosa Ponselle, Lucrezia Bori, Elisabeth Rethberg, Claudia Muzzio, Queena Mario, Frances Peralta, Antonio Scotti, Giuseppe de Luca, Giuseppe Danise, Renato Zanelli, Jeanne Gordon, Jose Mardones, and Adamo Didur, among others.

-- Entre otras compañías ademas de la Metropolitana, apareció junto a otras estrellas como Gladys Swarthout, Tito Gobbi, Mario Basiola, Vicente Ballester, y Marie Tiffany.

-- Other than at the Metropolitan, he appeared with such other stars as Gladys Swarthout, Tito Gobbi, Mario Basiola, Vincente Ballester, and Marie Tiffany.

-- no estaba contento con la estricta disciplina de Gatti-Cassaza. Pero Gatti no quería que abandonara la Metropolitana, de hecho, tomó la inusual decisión de otorgarle un permiso de tres meses para que pudiera cantar con la Compañía de Opera de San Carlo de Gallo durante el receso de la Metropolitana. Para sorpresa de muchos, Salazar decide permanecer con San Carlo debido a su profundo sentimiento por Callo. En parte esto se debió tambien a que Salazar en ocasiones solía pasar algunas noches en la ciudad y tenía ocacionales excusas para ausentarse, cosas que Gallo solía pasar por alto, además, Gatti no necesitaba a Salazar tanto como Gallo.

-- was not happy with Gatti-Casazza's strict discipline. But Gatti did not want him to leave the Metropolitan. In fact, he took the unusual step of giving Salazar a three-month leave of absence in order that Salazar could sing with Gallo's San Carlo Opera Company during the Metropolitan off-season. To the surprise of many, Salazar chose to remain in 1924 with the San Carlo because of his deep feeling for Gallo. In part this was because Salazar, the boy from a small locality, had nights on the town and occasional excuses from duty the next day&emdash;Gallo would overlook such. Also, Gatti did not need Salazar that much. Gallo did.

-- Algunos críticos desinteresados generalmente sostenían que la razón por la que Salazar no pudo permanecer por mas tiempo en La Metropolitana no se debió a un problema de voz, ya que la misma era exelente: Su problema fue su falta de disciplina. a algunos oyentes les molestaba cierta calidad nasal en su voz, pero este rasgo no era poco común principalmente en los tenores franceses de aquellos días. John McCormack la poseía notablemente además de su acento irlandés, y un cantante tan popular como Rudy Valee tambien poseía esa característica.

-- Disinterested critics generally held that the reason Salazar failed to last longer at the Metropolitan was not because of a voice problem, for he had plenty of voice: His problem was that of a lack of discipline. Some listeners disliked a certain nasal quality in his voice. But such a trait is not uncommon, particularly in French tenors of that day. John McCormack had it noticeably, in addition to his Irish accent, and a popular singer such as Rudy Vallee also had the characteristic.

-- en Nueva York Salazar era muy conocido y su fotografía o caricatura se encontraba en las paredes de los principales locales comerciales o de entretenimiento en aquellos días. Cantó en el Carnegie Hall, Twn Hall, la Casa de Opera de Manhattan, la Academia de la Música de Brooklyn, la Isla de Randall y los teatros Shubert y Jolson. Con un reparto de más de dos mil personas, apareció en Agosto de 1919 ante un auditorio de 60.000 personas en Sheepshead Bay, Brooklyn, interpretando el papel de Ramades en una presentación de Aida al aire libre. En polo Grounds ante una multitud de 30.000 nuevamente interpreta el papel de Ramades junto a Carmela Ponselle como Amneris.

-- in New York City Salazar was a well-known man about town, and his photograph or caricature was to be found on the walls of some of the leading local restaurants or places of entertainment in those days. He sang at Carnegie Hall, Town Hall, the Manhattan Opera House, the Brooklyn Academy of Music, Randall's Island, and the Shubert and Jolson theatres. With a cast of more than 2,000 persons, he appeared August 1919 before 60,000 at Sheepshead Bay, Brooklyn, singing the role of Radames in an outdoor presentation of Aida . At the Polo Grounds before a crowd of 30,000 he sang Radames in Aida on 24 June 1924 with Carmela Ponselle as Amneris.

-- fue elegido por el señor George Eastman, cabeza del imperio Eastman-Kodak, para interpretar el papel de Ramades en Aida en la inaguración del majestuoso teatro Eastman en Rochester, Nueva York. A su arrivo el mismo día desde Costa Rica, abordo de un barco de vapor de la United Fruit Company, fue desembarcado en un remolcador antes de que el barco llegara a puerto. Fue llevado a la estación del tren con una escolta de policias en motocicletas abriendo paso en medio del tráfico de Nueva York. Al llegar a Rochester una hora antes de la presentación, apenas y pudo comenzar a tiempo la presentación. Como lo explicó el mismo años mas tarde, "se apresuraron a vestirme y maquillarme y luego me lanzaron impacientemente al escenario cuando el telón para le primer acto estaba subiendo." El señor Eastman fue el primero en felicitarlo al final de su brillante presentación.

-- was chosen by Mr. George Eastman, head of the Eastman-Kodak empire, to sing the role of Radames in Aida at the inauguration of the spacious Eastman Theatre in Rochester, New York. Arriving the same day from Costa Rica on a United Fruit Company steamer, Salazar was taken off the liner by tug boat, before the ship had docked and the gangplank was lowered. He was then rushed to the railway station with a police motorcycle escort to cut through traffic. Reaching Rochester one hour before the performance, he barely made it on time. As he explained years later, "They hurriedly dressed and painted me, and then shoved me impatiently toward the stage, as the curtain for the first act was going up." Mr. Eastman was the first to congratulate him at the end of a brilliant performance.

-- hizo una gira por toda Latinoamérica con la Compañia de Opera de Bracale, la Compañia de Eugenio Barrios de Panamá y la Compañia Rotolli y Billoro, una gira por los Estados Unidos con la Asociación de Opera Cívica de Nueva York, e hizo otra gira por Italia con la Compañía Nardello-Borboni.

-- toured all of Latin America with the Bracale Opera Company, the Eugenio Barrios Company of Panama, and the Rotoli y Billoro Company; toured the United States with the Civic Opera Association of New York, Alfredo Salmaggi's Italian Lyric Federation of New York City; and toured Italy with the Nardello, Subino Company as well as the Zerboni, Borboni Company.

-- durante su carrera cantó como tenor principal en treinta y tres óperas de los repertorios, italianos, franceses, alemanes y españoles. En las óperas en las que participó con mas frecuencia fueron Aida, Pagliacci, Carmen, Othello, La Forza del Destino, Tosca, Lucia de Lammemoor, Andrea Chenier, Il Trovatore, La Boheme, Rigoletto, Fausto, Lohengrin, Tannhauser, La Gioconda, y Marina.

-- in his lifetime sang the principal tenor role in thirty-three operas from the Italian, French, German, and Spanish repertoires. The operas he appeared in most often were Aida, Pagliacci, Carmen, Othello, La Forza del Destino, Tosca, Lucia de Lammemoor, Andrea Chenier, Il Trovatore, La Boheme, Rigoletto, Faust, Lohengrin, Tannhäuser, La Gioconda, and Marina.

-- se excusó de cantar en la Metropolitana sólo en dos ocasiones por "enfermadad." Canceló su presentación en Butterfly y en un compromiso más de retorno con Muzzio en Chenier. En una ocasión se le propuso que cantara con Jeritz en Toscana y con la esposa del director Alda, en Boheme, pero se abandonó la idea.

-- excused himself from singing at the Metropolitan only on two occasions due to "illness." He canceled out of a performance in Butterfly and one more return engagement with Muzzio in Chenier. At one time it was proposed that he sing with Jeritz inTosca and with the wife of the general manager, Alda, in Boheme, but the idea was abandoned.

-- llevo una vida enigmática con respecto a la grabación de sus trabajos.Siendo joven rechazó una oferta para hacer su primeras grabaciones. Al alcanzar la fama surgierón nuevas propuestas pero se rehusó a hacerlo. Cuando la Compañía Victo Talking Machine le pidió grabar para su "Voz Maestra" tambien declinó hacerlo, como resultado de su casi total falta de grabaciones, es casi desconocido en la actualidad, excepto en América Latina. Mientras tanto su Othelo era considerado su fuerte. Ante la sugerencia de Arturo Toscanini, un amigo, fue invitado a cantar en La Scala de Milán para la temporada de 1929 y 1930, se firmaron los contratos, se colgaron las pancartas y se hizo público que Lauiri-Volpi, Schipa, Salazar, de Muro, Pertille, y Thill se presentarían juntos. A último minuto Salazar fue advertido por el Departamento de Migración de los Estados Unidos de que no viajara a Italia. Fortunato Gallo demandó a Salazar por incumplimiento de contrato. Salazar sin embargo, sostuvo que su contrato con la Compañía de San Carlo había expirado. Este fue el final de una amistad y una asociación muy lucrativa para ambos.

-- led an enigmatic life so far as recording his work. As a young man he said no to an offer to make his first recordings. Upon becoming famous he was approached in 1920 but declined. When the Victor Talking Machine Company asked him to record for His Master's Voice, he also declined. As a result of his almost total lack of recordings, he is nearly unknown today, except in Latin America. Meanwhile, his Othello was considered to be his forte. At the urging of Arturo Toscanini, a friend, he was invited to sing at La Scala in Milan for the 1929-1930 season. Contracts were signed, posters were up, and announcements were made public that Lauri-Volpi, Schipa, Salazar, de Muro, Pertile, and Thill would appear. At the last minute Salazar was legally prevented by the U. S. Immigration Department to sail for Italy. Fortunato Gallo filed a suit against Salazar, charging a breach of contract. Salazar, however, held that his contract with the San Carlo Opera Company had expired. Such was the end of a friendship and a profitable association for both.

-- continuó cantando en los Estados Unidos hasta 1935 cuando se estableció en México, hizo presentaciones en Cuba, Centroamérica, y Panamá. Retornó permanentemente a Costa Rica y cantó en este país hasta 1941, luego se retiró silenciosamente. En 1942 fundó una escuela de canto en San José, impartió lecciones de música ocasionalmente en la Universidad de Costa Rica, y en 1947 participó en "Carnaval en Costa Rica," filmada con Dick Haymes, Celeste Holm, y Cesar Romero. Trabajó mas tarde como empresario local poco tiempo antes de su muerte en 1950.

-- continued to sing in the United States until 1935, at which time he settled in Mexico, singing there and throughout Cuba, Central America, and Panama. In 1937 he returned permanently to Costa Rica, singing there until 1941, then retired quietly. In 1942 he founded a voice school in San José, occasionally lectured on music at the University of Costa Rica, and in 1947 made a brief appearance in "Carnival in Costa Rica," which was filmed in Costa Rica with Dick Haymes, Celeste Holm, and Cesar Romero. He later served as a local impressario until shortly before his death in 1950.

-- fue sujeto de una biografía en español en 1965. Murió en la ruina y su biógrafo, Manuel Segura, escribió que Salazar pasó sus últimos años recibiendo los elogios y tratando de hacer que las piezas calzaran, agotado por sus errores.

-- was the subject of a Spanish-language biography in 1965. He died penniless and his biographer, Manuel Segura, stated Salazar spent his last few years receiving compliments and trying to make ends meet, overwhelmed by his mistakes.

-- fue esculpido por Claudio Cardona y si busto se encuentra en la entrada del Teatro Nacional de Costa Rica en San José. Dentro del teatro tambien se encuentra un retrato en óleo de Salazar como el payaso en Pagliaci de Loencavallo, pintado por Francisco Salazar, un famoso pintor costarricense.

&emdash;De las notas originales en el forro del L. P de Harold Bonilla, modificado por Warren Allen Smith

-- was sculpted by Claudio Cardona, the bust found at the entrance of San José's National Theatre. Inside the theatre is a large oil portrait of him as Canio, the clown in Leoncavallo's Pagliaci , painted by the late Francisco Salazar, a famed Costa Rican painter.

- From the Original LP jacket notes by Harold Bonilla

as modified by Warren Allen Smith

Según Bonilla.

En cualquier lista europea de los grandes tenores de todos los tiempos, los nombres de Pertille, Fleta, y de Muro necesariamente aparecerán muy alto; ocasionalmente Martinello; McCormack raramente. La lista generalmente contiene dieciséis nombres. Una lista similar hecha en los Estados Unidos normalmente con alrededor de doce nombres, invariablemente contiene los nombres de McCormack y Martinelli, en ese orden, en la cima, justo detrás de Caruso. Nunca los nombres de Pertille, Fleta, y de Muro. El nombre de Salazar difícilmente se encontraría en una de ellas. Eso es seguro. En Latinoamérica cuando se mencionan las listas de los grandes tenores, Salazar se incluye inmediatamente. ¿Será ésto poque él era Latinoamericano? Preferimos pensar que es mas bien debido al hecho de que es mejor conocido en esa parte del mundo que en ninguna otra. ¿Porqué no combinar todas las tres listas en una sola? El nombre de Manuel Salazar merece estar en una de ellas.

According to Bonilla,

On any European list of all-time great tenors, the names of Pertile, Fleta, and de Muro will necessarily appear very high; occasionally Martinelli; McCormack rarely. The list generally contains around sixteen names. A similar list, drawn up in the United States normally with about twelve names, invariably carries those of McCormack and Martinelli, in that order, at the very top, right behind Caruso. Pertile, Fleta, and de Muro, never at all. Salazar's name would not be found on either list. That is certain. In Latin America, when lists of great tenors are mentioned, Salazar is immediately included. Is it because he was a Latin American? We prefer to think that it is rather due to the fact that he is better known in that part of the world than anywhere else. Why not combine all three lists into a single one? Manuel Salazar's name deserves to be on it.

Traducción del ingles de Minor Barrientos (Costa Rica)

Revisión: Monica Methol y Reyna Piola (Uruguay); Daniel Manrique (España)

Original recordings used by kind permission of Harold Bonilla , 1970

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