Commented
Discography of Puccini Operas
In this page there are comments either by RML or by Olivier (to be found
on the salmon-coloured table)
re:opera
Manon
Lescaut | La Bohème | Tosca
| Madama Butterfly | La
Fanciulla del West
La
Rondine | Il Trittico | Turandot
~Manon Lescaut
1 - Montserrat Caballé (Manon), Plácido Domingo (Des
Grieux), Vicente Sardinero (Lescaut), Philharmonia Orchestra, Bruno
Bartoletti
2 - Raina Kaibavanska (Manon), Giuseppe Giacomini (Des Grieux), Nelson
Portella (Lescaut), Bulgarian TVR Symphonic Orchestra, Angelo Campori
3 - Kiri Te Kanawa (Manon), José Carreras (Des Grieux), Paolo
Coni (Lescaut), Teatro Communale di Bologna, Riccardo Chailly
4 - Renata Scotto (Manon), Plácido Domingo (Des Grieux), Pablo
Elvira (Lescaut), Metropolitan Opera, James Levine
5 - Mirella Freni (Manon), Luciano Pavarotti (Des Grieux), Dwayne Croft
(Lescaut), Metropolitan Opera, James Levine
6 - Nina Rautio (Manon), Petr Dvorsky (Des Grieux), Gino Quilico (Lescaut),
La Scala, Lorin Maazel
7 - Renata Tebaldi (Manon), Mario del Monaco (Des Grieux), Mario Boriello
(Lescaut), Accademia di Santa Cecilia, Francesco Mollinari-Pradelli
8 - Licia Albanese (Manon), Jussi Björling (Des Grieux), Robert
Merrill (Lescaut), Opera di Roma, Jonel Perlea
9 - Maria Callas (Manon), Giuseppe di Stefano (Des Grieux), Giulio
Fioravanti (Lescaut), La Scala, Tullio Serafin
10 - Mirella Freni (Manon), Plácido Domingo (Des Grieux), Renato
Bruson (Lescaut), Philharmonia Orchestra, Giuseppe Sinopoli
11 - Kiri Te Kanawa (Manon), Plácido Domingo (Des Grieux), Thomas
Allen (Lescaut), Covent Garden, Giuseppe Sinopoli
~La Bohème
1 - Bidú Sayão (Mimì), Mimi Benzell (Musetta),
Richard Tucker (Rodolfo), Francesco Valentino (Marcello), Metropolitan
Opera, Giuseppe Antonicelli
2 - Victoria de los Angeles (Mimì), Lucine Amara (Musetta),
Jussi Björling (Rodolfo), Robert Merrill (Marcello), RCA Victor
Orchestra, Thomas Beecham
3 - Angelina Réaux (Mimì), Barbara Daniels (Musetta),
Jerry Hadley (Rodolfo), Thomas Hampson (Marcello), Accademia di Santa
Cecilia, Leonard Bernstein
4 - Angela Gheorghiu (Mimì), Elisabetta Scano (Musetta), Roberto
Alagna (Rodolfo), Simon Keenlyside (Marcello), La Scala, Riccardo Chailly
5 - Barbara Hendricks (Mimì), Angela Maria Blasi (Musetta),
José Carreras (Rodolfo), Gino Quilico (Marcello), Orchestre de
la Radio Télévision Française, James Conlon
6 - Katia Ricciarelli (Mimì), Ashley Putnam (Musetta), José
Carreras (Rodolfo), Ingvar Wisell (Marcello), Covent Garden, Colin Davis
7 - Daniela Dessì (Mimì), Adelina Scarabelli (Musetta),
Giuseppe Sabbatini (Rodolfo), Paolo Gavanelli (Marcello), Teatro Communale
di Bologna, Gianluigi Gelmetti
8 - Luba Orgonasova (Mimì), Carmen Gonzales (Musetta), Jonathan
Welch (Rodolfo), Fabio Previati (Marcello), Slovak Radio Symphony, Will
Humburg
9 - Mirella Freni (Mimì), Adriana Martino (Musetta), Gianni
Raimondi (Rodolfo), Rolando Panerai (Marcello), La Scala, Herbert von
Karajan
10 - Mirella Freni (Mimì), Elizabeth Harwood (Musetta), Luciano
Pavarotti (Rodolfo), Rolando Panerai (Marcello), Berliner Philharmoniker,
Herbert von Karajan
11 - Anna Moffo (Mimì), Mary Costa (Musetta), Richard Tucker
(Rodolfo), Robert Merrill (Marcello), Opera di Roma, Erich Leinsdorf
12 - Renata Scotto (Mimì), Carol Neblett (Musetta), Alfredo
Kraus (Rodolfo), Sherrill Milnes (Marcello), National Philharmonic,
James Levine
13 - Teresa Stratas (Mimì), Renata Scotto (Musetta), José
Carreras (Rodolfo), Richard Stilwell (Marcello), Metropolitan Opera,
James Levine
14 - Fiamma Izzo d’Amico (Mimì), Madelyn Renée (Musetta),
Luciano Pavarotti (Rodolfo), Roberto Servile (Marcello), Opera di Genova,
Leone Magiera
15 - Barbara Frittoli (Mimì), Eva Mei (Musetta), Andrea Bocelli
(Rodolfo), Paolo Gavanelli (Marcello), Israel Philharmonic Orchestra,
Zubin Mehta
16 - Antonietta Stella (Mimì), Bruna Rizzoli (Musetta), Gianni
Poggi (Rodolfo), Renato Capecchi (Marcello), Teatro San Carlo, Francesco
Mollinari-Pradelli
17 - Leontina Vaduva (Mimì), Ruth Ann Swenson (Musetta), Roberto
Alagna (Rodolfo), Thomas Hampson (Marcello), Philharmonia Orchestra,
Antonio Pappano
18 - Renata Tebaldi (Mimì), Gianna d’Angelo (Musetta),
Carlo Bergonzi (Rodolfo), Ettore Bastianini (Marcello), Accademia di
Santa Cecilia, Tullio Serafin
19 - Mirella Freni (Mimì), Mariella Adani (Musetta), Nicolai
Gedda (Rodolfo), Mario Sereni (Marcello), Opera di Roma, Thomas Schippers
20 - Cheryl Barker (Mimì), Christine Douglas (Musetta), David
Hobson (Rodolfo), Roger Lemke (Marcello), Australian Opera, Juliam Smith
21 - Montserrat Caballé (Mimì), Judith Blegen (Musetta),
Plácido Domingo (Rodolfo), Sherrill Milnes (Marcello), London
Philharmonic, Georg Solti
22 - Licia Albanese (Mimì), Anne McKnight (Musetta), Jan Peerce
(Rodolfo), Francesco Valentino (Marcello), NBC Symphony, Arturo Toscanini
23 - Maria Callas (Mimì), Anna Moffo (Musetta), Giuseppe di
Stefano (Rodolfo), Rolando Panerai (Marcello), La Scala, Antonino Votto
~Tosca
1 - Eleanor Steber (Tosca), Carlo Bergonzi (Cavaradossi), George London
(Scarpia), Metropolitan Opera House, Kurt Adler
2 - Raina Kabaivanska (Tosca), Plácido Domingo (Cavaradossi),
Sherrill Milnes (Scarpia), Philharmonia Orchestra, Bruno Bartoletti
3 - Raina Kabaivanska (Tosca), Nazzareno Antinori (Cavaradossi), Nelson
Portella (Scarpia), Sophia Philharmonic Orchestra, Gabriele Bellini
4 - Montserrat Caballé (Tosca), José Carreras (Cavaradossi),
Ingvar Wixell (Scarpia), Covent Garden, Colin Davis
5 - Tamara Milashkina (Tosca), Vladimir Atlantov (Cavaradossi), Yuri
Mazurok (Scarpia), Bolshoi Theatre, Mark Ermler
6 - Maria Caniglia (Tosca), Beniamino Gigli (Cavaradossi), Armando
Borgioli (Scarpia), Opera di Roma, Oliviero de Fabritiis
7 - Leontyne Price (Tosca), Giuseppe di Stefano (Cavaradossi), Giuseppe
Taddei (Scarpia), Wiener Philharmoniker, Herbert von Karajan
8 - Katia Ricciarelli (Tosca), José Carreras (Cavaradossi),
Ruggero Raimondi (Scarpia), Berliner Philharmoniker, Herbert von Karajan
9 - Zinka Milanov (Tosca), Jussi Björling (Cavaradossi), Leonard
Warren (Scarpia), Opera di Roma, Erich Leinsdorf
10 - Renata Scotto (Tosca), Plácido Domingo (Cavaradossi), Renato
Bruson (Scarpia), Philharmonia Orchestra, James Levine
11 - Birgit Nilsson (Tosca), Franco Corelli (Cavaradossi), Dietrich
Fischer-Dieskau (Scarpia), Accademia di Santa Cecilia, Lorin Maazel
12 - Régine Crespin (Tosca), Gianni Raimondi (Cavaradossi),
Gabriel Bacquier (Scarpia), Metropolitan Opera House, Zubin Mehta
13 - Leontyne Price (Tosca), Plácido Domingo (Cavaradossi),
Sherrill Milnes (Scarpia), Philharmonia Orchestra, Zubin Mehta
14 - Catherine Malfitano (Tosca), Plácido Domingo (Cavaradossi),
Ruggero Raimondi (Scarpia), Orchestra Sinfonica della RAI Roma, Zubin
Mehta
15 - Renata Tebaldi (Tosca), Mario del Monaco (Cavaradossi), George
London (Scarpia), Accademia di Santa Cecilia, Francesco Mollinari-Pradelli
16 - Carol Vaness (Tosca), Giuseppe Giacomini (Cavaradossi), Leo Nucci
(Scarpia), Philadelphia Orchestra, Riccardo Muti
17 - Maria Guleghina (Tosca), Salvatore Licitra (Cavaradossi), Leo
Nucci (Scarpia), La Scala, Riccardo Muti
18 - Raina Kabaivanska (Tosca), Luciano Pavarotti (Cavaradossi), Ingvar
Wixell (Scarpia), , Daniel Oren
19 - Maria Callas (Tosca), Carlo Bergonzi (Cavaradossi), Tito Gobbi
(Scarpia), Orchestre de la Societé des Concerts du Conservatoire,
Georges Prêtre
20 - Mirella Freni (Tosca), Luciano Pavarotti (Cavaradossi), Sherrill
Milnes (Scarpia), National Philharmonic Orchestra, Nicola Rescigno
21 - Galina Vishnevskaya (Tosca), Franco Bonisolli (Cavaradossi), Matteo
Manuguerra (Scarpia), Orchestre de la Radio Télévision
Française, Mstilav Rostropovich
22 - Maria Callas (Tosca), Giuseppe di Stefano (Cavaradossi), Tito
Gobbi (Scarpia), La Scala, Victor de Sabata
23 - Antonietta Stella (Tosca), Gianni Poggi (Cavaradossi), Giuseppe
Taddei (Scarpia), Teatro San Carlo, Tullio Serafin
24 - Mirella Freni (Tosca), Plácido Domingo (Cavaradossi), Samuel
Ramey (Scarpia), Philharmonia Orchestra, Giuseppe Sinopoli
25 - Hildegard Behrens (Tosca), Plácido Domingo (Cavaradossi),
Cornell MacNeil (Scarpia), Metropolitan Opera, Giuseppe Sinopoli
26 - Eva Marton (Tosca), José Carreras (Cavaradossi), Juan Pons
(Scarpia), Hungarian State Orchestra, Michael Tilson-Thomas
27 - Magda Olivero (Tosca), Eugenio Fernandi (Cavaradossi), Scipio
Colombo (Scarpia), Orchestra della RAI Milano, Emidio Tieri
|
Tosca is a frantic opera : in nothing more than sixteen hours
of action and one hour and a half of music several very strong
dramatic events take place: an evasion, man hunting, torture,
suicide, attempted rape, murder, a supposedly fake execution and
a spectacular jump to death from Castel San Angelo. Verdi himself
told Puccini he was really envious of the libretto (but refused
when Puccini proposed to compose the opera himself). This is one
of the most spectacular works in History of opera. It requires
true dramatic voices, but capable of infinite subtleties. The
match of both voice and style will be rare in the discography.
If Cavaradossi only requires a seductive tenor with a bit of sense
of humor (for first act) and tenderness, casting Scarpia involves
to find a very good actor without exaggeration (Scarpia receives
orders from the queen, and has both huge political responsibilities
and an aristocratic position). Casting Tosca is almost impossible.
The required voice is a powerful spinto with easy top register,
but also the ability to sing legato and piano with sweetness;
the singer must also show outstanding acting gifts, femininity
and sensuality, and be able to render anger, anxiety, jealousy,
despair, love, hypocrisy and passion..
The first recording in our discography is the typical Mussolinian
Tosca, conducted by Fabritiis. People who already know how the
Roman monument to Vittorio Emmanuele looks can have an overview
to the style of this version. Caniglia, Gigli and Borgioli, the
three of them display a tame style of dramatic expression. And
Caniglia and Borgioli are a good example of what malcanto is.
Only Gigli's legato and refinements in mezza voce have some interest
here, as well as the legendary beauty of his voice, of course.
The RAI recording starring Magda Olivero is interesting in order
to discover a passionate and moving Floria, supremely well sung
in the most elegant true verismo style. Her partners, the both
poetic and heroic Eugenio Fernandi and the decent Scarpia sung
by Scipio Colombo do not interfere with the pleasure I get with
this wonderful Floria Tosca. The sound of the 10-year-old very
cheap Cetra edition is rather poor for a radio transmission.
The 1953 HMV De Sabata recording is one of last century’s
greatest opera recording and without any doubt the best Tosca.
First, Victor De Sabata conducts this opera with musical sobriety:
without emphasis or nervousness, but with fast tempi and a unique
naturalness never found again in the discography. This spontaneity
is shared by all singers, even comprimari : there is neither excess
nor mannerism here, and everything sounds true. Of course, this
version is also Callas' Tosca. She is here in her best voice and
dramatically perfect. The jealousy, the anxiousness of Tosca,
but also her fantasy are perfectly rendered by Callas, in a role
which is definitely hers because of the perfect understanding
and rendering of the various psychological moods of her character.
Di Stefano is in beautiful voice too and offers something unique
in the discography: the ability to smile when singing, tenderness,
but also pride. His naturalness is unique and in 1953 the voice
was heavenly (although the top register had already begun to be
difficult). The third character, Tito Gobbi, is Scarpia : violent,
perverse, but never caricature: his inflections are always credible
despite the powerful dramatic impact. Definitely a recording to
own.
Decca's answer to the HMV recording was, of course, made with
Renata Tebaldi. The voice is magnificent, but dramatic truth is
absent and her attempts at dramatic gestures are quite often ridiculous.
I don't think such a role was quite appropriated for her qualities.
Her partner Del Monaco is heroic but psychologically rather weak…
and does not sing with the best style. As the conductor and the
orchestra are only decent, only the legendary terrifying Scarpia
sung by George London is interesting here. His voice is impressive
and frightens by itself, especially as it is a performance without
excesses.
If you want to listen to London's Scarpia with better partners,
I strongly recommend the Met live with the wonderful Tosca of
Eleanor Steber, so musical, so elegant and with so much beauty
in the voice, the most elegant Mario from Bergonzi and of course
George London, under the baton of Adler. This live recording published
by Myto is first-rate, and sound it decent enough for the year
it has been recorded.
In the 50s, RCA also recorded their Tosca with their usual team
too. Milanov is tame and dramatically uninteresting, in spite
of the beauty of the voice. It was nevertheless too late. Jussi
Björling lacks inspiration. The voice is beautiful, but he
is neither dramatically involved nor passionate and definitely
without Di Stefano's or Bergonzi's sense of humor and imagination.
This is quite a cold performance. Leonard Warren sings quite well,
but his Scapia is not unforgettable; a nice performance anyway.
Leinsdorf is really prosaic.
Karajan's first recording is a classic. The Wiener Philarmoniker
offers a fascinating slow and sensual reading of the score, incredibly
colourful. This is the opposite of De Sabata's style and as efficient
as. Leontyne Price's first Tosca is pure vocal splendor (but she
is not a first-rate tragédienne like Callas, Olivero, Scotto or
Kabaivanska). Di Stefano is vocally tired but keeps some charisma,
and Taddei is probably the best sung Scarpia of the discography
and a perfect actor. As the stereophonic Decca sound is first-rate,
this version is probably the one for those who want perfect sound
standards
Prêtre's version requires putting up with two drawbacks if one
wants to esteem it at its right value. In 1964 Callas top register
is damaged and can be a pain for the listener, and Georges Prêtre
is far from being De Sabata or Karajan. On the other hand, the
second act has such intensity, violence and dramatic truth as
you won't find again in the discography. Vocally tired, Callas
and Gobbi reach here the top of tragedy, and some accents are
difficult to forget. The refined Bergonzi is a wonderful oasis
of beautiful singing and poetry in the middle of the duel between
the two others.
Ten years ago, Rodolphe published an incredible live performance
from New York, matching Régine Crespin and Gabriel Bacquier. Considering
the supreme dramatic mastery of both artists, I guess this must
be wonderful, especially because Crespin has the perfect voice
and the sensuality needed for Floria Tosca. As this performance
also stars Gianni Raimondi as Cavaradossi and is conducted by
Zubin Mehta, I think a re-edition is needed by any editor. Not
having bought this set when it was available is one of my deepest
regret.
Maazel's recording was his first one ever. It is very analytic,
but without passion or real interest. The quite compact sound
does not help the orchestra to breath. Birgit Nilsson's Tosca
displays a wonderful femininity, some passion and, of course,
a voice of steel and is the tragédienne needed for the role; but,
from the emotional point-of-view, she lacks the je-ne-sais-quoi
great Italian prime donne always provide. Franco Corelli is in
magnificent voice, but does not succeed in creating a believable
character. Fischer-Dieskau's Scarpia is something strange: all
the nuances, the mezza voce, the legato are there, but, on the
other hand, the voice is ugly, and the character unbearable. The
most disappointing thing about this Scarpia is that he seems more
psychotic than perverse, and sounds like he has fled from a psychiatric
hospital: it is hard to believe such a guy might be the chief
of the police of the Roman state. Except for Nilsson or Corelli
fans or people attracted by this exotic trio, it is hard to recommend
this version.
Mehta's is an excellent modern recording. The recorded sound
is beautiful, and the orchestra is impressive, ample and dramatic
with beautiful colors. Past her prime, Leontyne Price still displays
wonderfully rich tone, but the acting can be caricature sometimes
(especially at the end of the third act). Domingo's Cavaradossi
is entirely successful. It is a modern character, full of life,
quite interesting indeed. The voice is beautiful and the legato
perfect, but Domingo's upper register sounds strained here. Milnes
sings well, his Scarpia is aristocratic but perhaps too much lightweight.
A very good version.
I am not sure Rostropovitch's Tosca has ever been published
on CD. I have never seen it on any music store's shelves. It is
a pity, as I guess Vishnevskaia may be a wonderful Tosca. She
is a great tragédienne and one with a dark powerful voice. Rostropovitch's
usually very expressive baton should be interesting too. I also
imagine the sexy Bonisolli and the intelligent Manuguerra are
certainly interesting partners. Alas, this studio performance
does not seem to be on its way to reedition.
Colin Davis' version is another classic. Caballé is a wonderful
Tosca, perfectly sung, and as often with her in dramatic roles,
quite believable. The young Carreras is ardent, with a voice full
of seduction and ease as he did not keep for long. This is probably
his best recording ever. Ingvar Wixell is a brutal and theatrical
Scarpia with weight in the voice and in acting. The young Samuel
Ramey is, of course, a superlative Angelotti. Davis is very linear,
but conducts with amplitude and richness his Covent Garden orchestra.
As the sound is first-rate, this version can be considered as
an alternative to De Sabata or Karajan. Highly recommended.
Rescigno's version was first planned to be conducted by Karajan,
after his legendary Bohème and Butterfly recordings. For some
reasons, Karajan has to be replaced by Rescigno. Of course, the
interest for the version could not be the same. On the other hand,
if Rescigno does not show too much imagination, he is rather competent
and does not disturb the listening of the wonderfully recorded
singers. Freni's own temperament is quite distant from Floria
Tosca's, and her interpretation definitely lacks imagination and
aggressiveness: this Tosca is too quiet. Pavarotti is also dramatically
quite distant, but sings supremely well, and his voice is at its
peak in 1978. Sherill Milnes is still an excellent Scarpia. The
beauty of voices and the marvelous recorded sound make this version
musically very pleasant indeed, although the truth of the drama
has to be found elsewhere. It can be easily recommended to the
several admirers of Freni or Pavarotti, once they have admitted
it cannot be a reference version.
Karajan has recorded a second version of the opera, far inferior
to his Decca performance. Ricciarelli is a sensual, almost erotic
Tosca, but the voice is definitely too light for the role. The
top register suffers a lot, and the lack of weight in the voice
prevents her to act the role. Carreras is always a seductive Mario,
but he is no more in his incredible prime. Ruggero Raimondi's
Scarpia is both intelligent, aristocratic, seductive and cruel
: this Scarpia sounds like Don Giovanni, but it is an excellent
surprise, as he is definitely impressive in his pertinence and
personality. Karajan's sound is superlative, but the drama often
seems to be hidden behind the voluptuous self-indulgent sound.
James Levine's EMI version has two fabulous assets: Renata Scotto’s
moving Tosca and the elegant Scarpia of Renato Bruson. Scotto's
voice is worn, but her level of involvement and pathos is no match
for any of her rivals, except Callas. A great incarnation. Bruson
is a sober Scarpia, and his fondness of elegance and perfect singing
creates a very efficient character, far from the usual caricatures
- this aristocratic self-controlled Scarpia is someway perhaps
more frightening than some barking ones. Domingo is a bit lazy,
and less imaginative than with Mehta, but he is always a superior
singer. Levine is impressive and spectacular, but I could imagine
a better recorded sound..
Solti's interpretation is spectacular, well recorded, but a
bit sterile : it does not match neither De Sabata's dramatic efficiency,
nor Karajan's or Mehta's impressive colors. As Te Kanawa's Tosca
is a mistake (she does not have neither the vocal power nor the
dramatic personality) and as Nucci's Scarpia is just correct,
but without imagination, this version cannot be recommended. It
is a pity, as it is one of the rare visits of Giacomo Arragal
to studios. Even recorded late, his Mario is sensuous, warm, elegant,
beautifully lyrical and seductive. But a superb Mario is not a
reason to buy a Tosca, is it ?
Tilson-Thomas' orchestra is much more interesting than Solti's.
This conductor creates fever and tension in a very efficient way.
Eva Marton's strong temperament , the usual involvement of Carreras
and the solidity of Juan Pons also contribute to the special atmosphere
of this performance. Nevertheless, although this studio recording
is quite interesting, it never creates the fascination the greatest
successes of this discography often provide.
Sinopoli's orchestra is also impressive… but perhaps too much.
There are so many details, so much exaggeration in the amplitude
of sound, and so permanently, that the mass effect of his orchestra
becomes quickly tiring and unproductive. Sinopoli does not reproduce
here the fantastic orchestral success of his Manon Lescaut and
Madama Butterfly recordings. Freni has lost the youth and beauty
of her performance for Rescigno, but has not compensated it with
any improvement the dramatic handling of the role. Domingo's third
Cavaradossi is at the level of his usual standards. Finally, Ramey
does not create something very interesting or special with Scarpia.
This whole version can be easily forgotten.
Riccardo Muti's first Tosca is first of all an outstanding orchestral
success . The Philadelphia Orchestra under his baton is a splendor,
and Muti renders both sensuality (wonderful colors and phrasing)
and tension and also the intensity of the action. More symphonic
than De Sabata's (but less natural), more dramatic than Karajan
(but less sensuous), his performance is quite close to those two
high-level performances. Carol Vaness is dramatically decent and
surprisingly does not show any vocal weakness in such a spinto
role. Giacomini is gray-voiced, unimaginative, but strong and
more sober than usual. Finally, Zancanaro is a wonderful Scarpia,
nicely sung with a magnificent round and colorful voice. All three
singers are faultless in dramatic expression. A very good live
(concert performance in Philadelphia) recording… and we are still
waiting for a Turandot by Muti.
The interest of Oren's version is the possibility to listen
on CD to a performance of Tosca with Raina Kabaivanska on good
sound.. Wonderful tragédienne, she is one of the most convincing
Toscas in the discography, although the voice is no longer fresh
this late in her career. Pavarotti and Wixell were then old too
and cannot match the quality of their excellent performances with
Rescigno and Davis. A veteran singers' recording, conducted by
a young uprising conductor, but far from the musical and dramatic
mastery of the older ones. For Kabaivanska’s fans only (but
it is probably better to try the Parma 1976 performance with Carreras
and Bruson, in spite of a very difficult sound).
The second Muti recording is a live from La Scala. The orchestral
sound was better recorded in Philadelphia, and singers are more
satisfactory too in the previous recording. Although Guleghina
has a more appropriated color than Vaness, the American soprano
is much more under control as Floria Tosca. Zancanaro is much
better than Nucci in every way, and Licitra only is slightly superior
to Giacomini (but with less voice). Finally, this recording is
unnecessary compared to Muti's first recording.
Pappano's recent Tosca seems to have received mixed and quite
opposite reviews. A review will be added later, as soon as I am
able to listen to the recording.
|
From the audio recordings not mentioned by Olivier, I would like
to add short comments on the Bellini and Ermler recording, both of
which I listened to in radio broadcasts. The Bellini had a nice orchestra
and recording - Kabaivanska not in her best shape, but insightful
as always, a big-voiced and routine Antinori and a light intelligent
portrayal of Scarpia by Brazilian baritone Nelson Portella. The Ermler
is a different affair. The recorded sound is favourable to singers
in an unflattering way - they get an edge on their tones. The conducting
and playing seemed to be quite predictable but honest. Tamara Milashkina
has a beautiful full creamy voice that takes beautifully either to
forte or to pianissimo. There is a kind of metallic quality in her
voice that can become harsh in the most outspoken moments, but it
is lovely most of the time. Vladimir Atlantov trumpets his way out
formidably and Mazurok high baritone follows his example, with similar
little care to interpretation.
Then there are the videos. First of all, Giancarlo de Bosio’s
glamourous film shot in the real locations in Rome. There is a great
sense of grand-guignol in the strong colours and demonstrative acting
employed here, but’s all for the best. The recorded sound is
full and big and Bartoletti leads a decent enough performance. Raina
Kabaivanska was in her best voice here. Although the tone itself is
not immediately beautiful, she uses it with utmost sensitivity and
is always ready to float high pianissimi when necessary. She seems
completely at ease with the demands made on her and dedicates to build
a moving performance, where the predicaments of her character are
intensely protrayed without resourcing to effects. Domingo is also
in strong voice here and Sherrill Milnes offers a vocally and dramatically
gripping performance.
The Sinopoli video from the Met counts with Zeffirelli’s cinematographic
production (it really looks as if they transported those buildings
from Rome!) and a superior performance from the Italian conductor,
far more impressive than the studio recording, especially because
of the stronger connection with the drama and the extra spontaneity.
The Metropolitan Orchestra is also in its best behaviour under Sinopoli’s
baton. With the exception of a truly commited Domingo, always more
interesting in live performance, the cast is excentric. Hildegard
Behrens’ straying from German repertoire is a controversial experience.
In her favour, she has her legendary top notes and mezza voce, but
her awkward register problems become really more apparent in Italian
opera - the first octave is messy throughout, resulting in some really
ugly sounds. Moreover, the more violent the situations become, the
more careless with her singing she gets. Her handling of Scarpia’s
murder is more than exaggerated - it’s downright grotesque. Because
of her lack of subtlety, the character lacks charm and there is little
sensuousness going on. Cornell MacNeil’s case has to do with
a completely worn voice. That’s a pity, since he could have been
really nice in this role in the good days.
Jacquot’s film is
a disappointing experience. First of all, the piling up of different
techniques is amazingly distant of what an opera film, especially
a Puccini opera film, is about. The stylization, including the replacement
of the sceneries’ wall for a black "screen", is a complete
nonsense. What’s the point of making a film who resorts to "theatrical"
effects? What’s the point of those takes from above during long
scenes? One just needs to go to the upper balconies in an opera house
to see the whole show from above! Then there are the silly things
- such as making the actors speak their lines ABOVE what they sing.
What’s the point? I thought that a musical line enhanced the
text in such a way that things like that were unnecessary. Roberto
Alagna’s acting is short of funny, but Angela Gheorghiu, under
a better direction, could have done a better job. She is not bad,
though. Even if defeated by hair-style, make-up and costumes. She
looks old and ugly in a way she doesn’t in her videos made live
in regular opera houses. The hair, the costumes are exaggerated and
artifficial. I guess that M. Jacquot wasn’t told that the style
they were poratrying is VERISMO. Pappano’s conducting is rather
"Straussian" with gentle orchestral playing to accommodate
the light-voiced singers in the cast. As a result, impact is not always
there. Gheorghiu offers a very good Tosca, although it sounds like
a performance for the microphone. One notices that top notes lack
cutting power, but she doesn’t force and that’s all for
the best. It is beautifully and sensitively sung and shows a performer
in complete control of her resources. I can’t say the same of
Alagna. His voice sounds worn and effortful and seriously lacking
brightness. He does some creative things now and then, such as in
E lucevan le stelle, but he will ruin his voice if he keeps in this
track. As for Raimondi, it’s intelligent and well sung, but his
performance for Karajan is still preferable.
~Madama Butterfly
1 - Renata Scotto (Butterfly), Anna di Stasio (Suzuki), Carlo Bergonzi
(Pinkerton), Rolando Panerai (Sharpless), Opera di Roma, John Barbirolli
2 - Raina Kabaivanska (Butterfly), Alexandrina Milcheva (Suzuki), Nazzareno
Antinori (Pinkerton), Nelson Portella (Sharpless), Sofia Philharmonic
Orchestra, Gabriele Bellini
3 - Ying Huang (Butterfly), Ning Liang (Suzuki), Richard Troxell (Pinkerton),
Richard Cowan (Sharpless), Orchestre de Paris, Joseph Conlon
4 - Victoria de los Angeles (Butterfly), Anna Maria Canali (Suzuki),
Giuseppe di Stefano (Pinkerton), Tito Gobbi (Sharpless), Opera di Roma,
Gianandrea Gavazzeni
4 - Maria Callas (Butterfly), Lucia Danieli (Suzuki), Nicolai Gedda
(Pinkerton), Mario Borriello (Sharpless), La Scala, Herbert von Karajan
5 - Mirella Freni (Butterfly), Christa Ludwig (Suzuki), Luciano Pavarotti
(Pinkerton), Robert Kerns (Sharpless), Wiener Philharmoniker, Herbert
von Karajan
6 - Anna Moffo (Butterfly), Rosalind Elias (Suzuki), Cesare Valletti
(Pinkerton), Renato Cesari (Sharpless), Opera di Roma, Erich Leinsdorf
7 - Leontyne Price (Butterfly), Rosalind Elias (Suzuki), Richard Tucker
(Pinkerton), Philip Maero (Sharpless), RCA Italiana, Erich Leinsdorf
8 - Renata Scotto (Butterfly), Gillian Knight (Suzuki), Plácido
Domingo (Pinkerton), Ingvar Wixell (Sharpless), Philharmonia Orchestra,
Lorin Maazel
9 - Hayashi Yasuko (Butterfly), Hack-Nam Kim (Suzuki), Petr Dvorsky
(Pinkerton), Giorgio Zancanaro (Sharpless), La Scala, Lorin Maazel
10 - Maria Chiara (Butterfly), Trudeliese Schmidt (Suzuki), James King
(Pinkerton), Hermann Prey (Sharpless), Munich Bavarian Broadcasting
Orchestra, Giuseppe Patanè
11 - Miriam Gauci (Butterfly), Nelly Boschkowá (Suzuki), Yordi
Ramiro (Pinkerton), Georg Tichy (Sharpless), Slovak Radio Symphony,
Alexandre Rahbari
12 - Victoria de los Angeles (Butterfly), Miriam Pirazzini (Suzuki),
Jussi Björling (Pinkerton), Mario Sereni (Sharpeless), Opera di
Roma, Gabriele Santini
13 - Renata Tebaldi (Butterfly), Fiorenza Cossotto (Suzuki), Carlo
Bergonzi (Pinkerton), Enzo Sordello (Sharpless), Accademia di Santa
Cecilia, Tullio Serafin
14 - Mirella Freni (Butterfly), Teresa Berganza (Suzuki), José
Carreras (Pinkerton), Juan Pons (Sharpless), Philharmonia Orchestra,
Giuseppe Sinopoli
~La Fanciulla del West
1 - Renata Tebaldi (Minnie), Mario del Monaco (Johnson), Cornell MacNeil
(Rance), Accademia di Santa Cecilia, Franco Capuana
2 - Mara Zampieri (Minnie), Plácido Domingo (Johnson), Juan
Pons (Rance), La Scala, Lorin Maazel
3 - Birgit Nilsson (Minnie), João Gibin (Johnson), Andrea Mongelli
(Rance), La Scala, Lovro von Matacic
4 - Carol Neblett (Minnie), Plácido Domingo (Johnson), Sherrill
Milnes (Rance), Covent Garden, Zubin Mehta
5 - Eva Marton (Minnie), Dennis O’Neill (Johnson), Alain Fondary
(Rance), Münchner Runfunk, Leonard Slatkin
6 - Barbara Daniels (Minnie), Plácido Domingo (Johnson), Sherrill
Milnes (Rance), Metropolitan Opera, Leonard Slatkin
|
Observing History of Art, I have the feeling that cinema has
been the successor of opera as 'total work of art' concept. It
is not surprising that the operatic production began to disappear
at the same time that the influence of cinema was about to grow
stronger and stronger. Looking in depth in different genres of
movies and opera, lots of common kinds of stories may be found
: romantic (Lucia), comic (Falstaff), historic (Hughenots), fantastic
(Contes d'Hoffmann), political (Nozze di Figaro), epic (Ernani),
psychological (Peter Grimes), even erotic ones (Incoronazione
di Poppea), heroic-fantasy-kind (Der Ring) or peplum (Aida)… All
kinds of movies' stories were already described on stages of European
opera houses since the XVIIth century. The slow decrease of new
operatic works that pleased the audiences after the death of Puccini
and Strauss, the lack of interest in American History in the old
world, and perhaps the lack of American operatic composers made
it difficult for us to fin on operatic stages works corresponding
to all the kinds of movies. In fact, there is no operatic version
for westerns… except La Fanciulla del West, of course. Puccini
had longed for exotic settings throughout his artistic career,
from his view on the Parisian bohemian days to his final fascination
for Asia with Butterfly and Turandot. Of course, Puccini could
not resist the richness of the Far West, and so he invented the
concept of western ten years before John Ford began to shoot his
legendary and genial movies with John Wayne.
But, let us forget movies and let us talk again about opera,
and about Fanciulla, because the interest of this work is much
more than just a curiosity of pre-western creation. In fact this
score is probably the most advanced and modern one created by
the maestro from Torre del Lago. Puccini's harmony is quite close
to Stravinsky's here, but the score keeps the quality of melodic
invention and warmth of Italian opera. The result is quite impressive
: the mix of lyricism for emotional moments and bold harmony for
theatrical effects is an evidence of the greatness of a composer
too many intelligent people only consider like the operatic correspondent
of Barbara Cartland.
To deal with the highly dramatic situations of the plot (the
genial poker game at the end of 2nd act, the execution of Dick
Johnson in the final act), Puccini required large voices, quite
close in fact to the ones he'd like for Turandot and Calaf (Emmy
Destinn and Caruso were the creators), but singers have to be
much more involved with the rendering of the text and dramatic
expression.
Our discography begins with the indispensable conductor for
unconventional epic operas : Dimitri Mitropoulos. As in his Ernani
or Forza live recordings, Mitropoulos has the ability to make
this opera sound according to his very personal way - highly dramatic,
with a true understanding of the psychological impact of the various
dramatic situations. Of course, his musical mastery is characteristic
of one of the greatest conductors of the XXth. century. Mario
Del Monaco had always been inspired to transcendent performances
by Mitropoulos and offered under his baton much more subtle portrayals
than his usual excessive brutal unique views of what a hero is.
The beauty of tone, lyricism and pathos of his Johnson is top
of the list in the discography, and makes me think of the young
Marlon Brando, in his youth, beauty, brutality and strength. To
find Eleanor Steber as Minnie is a wonderful surprise, as this
is the most beautiful soprano voice in this discography, offering
much more subtlety and elegance than her rivals, with power in
the whole range and an astonishing blond tone - Grace Kelly perhaps?
Besides those two real heroes, Guelfi, a dark Lee Van Cleef, is
less subtle but very efficient, and the voice is incisive and
large. A truly outstanding night at the opera.
Mario del Monaco will be less successful later in his official
Decca recording. Most of his youth and beauty is lost without
Mitropolous, and his usual studio mannerisms and verismo excesses
deprive us of almost all the seduction of what he did in his Florence
performance. It is true that the caricature Minnie of an already
old Tebaldi does not also offer the same level of stimulation.
Tebaldi is most of the time more ridiculous than moving in her
dramatic expression, and her voice was far below the demands of
this difficult role. Capuana is excellent and imaginative, but
compared to the other conductors in the discography he cannot
justify by himself a real interest for this well-stereo-recorded
version.
EMI answered Decca on starring Birgit Nilsson, a famous Turandot,
as Minnie. I have never been able to find this record. I can guess
the role is vocally without any problem for her (which role could
have been a problem for such a voice ?), but I have some doubts
about her ability to render the warm and passionate virgin from
the West. Regarding her partner, I will rely on Rodrigo's comment
on his compatriot : João Gibin was a beautiful, powerful, unsubtle
voice, which can suit to the role. I guess Von Matacic may be
interesting, but I am unsure he may be more than the competition
offered by the likes of Mitropoulos, Mehta or Maazel.
Mehta's version is the reference for the opera, and probably
the best in high-fidelity sound. Plácido Domingo has a magnificent
voice, and his elegance is welcome in such an opera. He has created
an unconventional seductive bandit, with less heroism but much
more humanity and seduction. His legato, his dramatic truth, and
the golden warmth of the voice are wonders, and this cow-boy is
certainly closer to Gary Cooper than to Burt Lancaster. The other
male protagonist is the only elegant, subtle, refined view of
the Sheriff Jack Rance : in fact, Milnes transforms Rance into
a true human character and not a caricature of violent Sheriff
lost by his feelings… Dean Martin, or Henry Fonda perhaps ? Carol
Neblett has certainly not neither the seduction of Steber, nor
the vocal possibilities of Nilsson, but sings with technical fluency
and good taste. As Zubin Mehta offers a passionate, lyric and
very efficient view of the score, and as the recorded sound is
perfect, this version is certainly the one to begin with.
After such a performance, the Slatkin recording is far from
enthusiastic…Marton, O'Neill and Fondary have in common large
voices, but without real seduction. Marton has an important vibrato,
and neither the texture of the voice nor her acting are consistent
with the idea of a 20-year-old emotive young lady in the Far West.
Dennis O'Neill is unimaginative and his gray voice sorely lacks
slancio and pure beauty of emission to render the jeune premier
features of the role : would it be possible for an old Charles
Bronson to play a 20-year-old young rebel? No, of course. If Slatkin
is excellent as a conductor, a Western needs strong personalities
to be interesting, whatever the qualities of the art director
are…
Lorin Maazel's performance was recorded live at La Scala and
is quite satisfying indeed. Mara Zampieri has no difficulty with
the role, and her angelic tone seconded by strength of emission
is almost perfect for the role; but she is perhaps too strong
and not human enough, especially compared to the wonderful Steber.
Domingo is more concentrated than with Mehta, and offers a less
seductive but more tragic view on the score. Juan Pons is quite
good but does not succeed to create a true character like the
unforgettable Rance of Sherill Milnes with Mehta. Lorin Maazel
is very analytic and sober, and renders all the modernity of the
opera, with less lyricism than Mehta but with strength and a welcome
XXth century atmosphere, which proves to have a highly dramatic
impact.
|
We cannot forget the video from the Metropolitan Opera. The production
is quite different from the elegant and sober sceneries from Milan
and the more contained acting and discrete costumes - the Met goes
for a Broadway-like super-production with every element involved endearingly
taken care off - it has its kitch moments, but it’s irresistible
in its way. Leonard Slatkin’s conducting doesn’t try to
make any point, as Mitropoulos, Mehta and Maazel do, and he is clearly
trying to make it sound like good old Puccini. As the recorded sound
is excellent and the soloists and orchestra respond accordingly, it
is indeed a nice experience. Plácido Domingo’s acting,
voice and even his looks - he’s perfect for the role. His entrance
is simply marvellous! He interacts beautifully with his Minnie, a
100% commited performance from Barbara Daniels, who - blond pony-tail
and plump curves - looks every inch like Minnie too. She offers a
big creamy voice that takes readily to exposed dramatic notes and
also is tender enough for the subtlest moments. It is a pity that
Sherrill Milnes is no longer fresh-voiced, but his manners suit the
role wonderfully too.
~La Rondine
1 - Kiri Te Kanawa (Magda), Mariana Nicolesco (Lisette), Plácido
Domingo (Ruggero), David Rendall (Prunier), Leo Nucci (Rambaldo), London
Symphony, Lorin Maazel
2 - Anna Moffo (Magda), Graziella Sciutti (Lisette), Daniele Barioni
(Ruggero), Piero di Palma (Prunier), Mario Sereni (Rambaldo), RCA Italiana,
Francesco Mollinari-Pradelli
3 - Angela Gheorghiu (Magda), Inva Mula (Lisette), Roberto Alagna (Ruggero),
William Matteuzzi (Prunier), Alberto Rinaldi (Rambaldo), London Symphony,
Antonio Pappano
~Il Trittico - Il
Tabarro | Suor Angelica | Gianni
Schicchi
Il Tabarro
1 - Mirella Freni (Giorgetta), Giuseppe Giacomini (Luigi), Juan Pons
(Michele), Maggio Musicale Fiorentino, Bruno Bartolletti
2 - Margaret Mas (Giorgetta), Giacinto Pradelli (Luigi), Tito Gobbi
(Michele), Opera di Roma, Vincenzo Bellezza
3 - Renata Tebaldi (Giorgietta), Mario del Monaco (Luigi), Robert Merrill
(Michele), Maggio Musicale Fiorentino, Lamberto Gardelli
4 - Sylvia Sass (Giorgetta), Nicola Martinucci (Luigi), Piero Cappuccilli
(Michele), La Scala, Gianandrea Gavazzeni
5 - Leontyne Price (Giorgetta), Plácido Domingo (Luigi), Sherrill
Milnes (Michele), Philharmonia Orchestra, Erich Leinsdorf
6 - Renata Scotto (Giorgetta), Plácido Domingo (Luigi), Ingvar
Wixell (Michele), Philharmonia Orchestra, Lorin Maazel
7 - Maria Guleghina (Giorgetta), Neil Schicoff (Luigi), Carlo Guelfi
(Michele), London Symphony, Antonio Pappano
8 - Ilona Tokody (Giorgetta), Giorgio Lamberti (Luigi), Siegmund Nimsgern
(Michele), Münchner Rundfunk, Giuseppe Patanè
Suor Angelica
1 - Katia Ricciarelli (Angelica), Fiorenza Cossotto (The Princess),
Accademia di Santa Cecilia, Bruno Bartoletti
2 - Mirella Freni (Angelica), Elena Souliotis (The Princess), Maggio
Musicale Fiorentino, Bruno Bartoletti
3 - Joan Sutherland (Angelica), Christa Ludwig (The Princess), National
Philharmonic, Richard Bonynge
4 - Renata Tebaldi (Angelica), Giulietta Simionato (The Princess),
Maggio Musicale Fiorentino, Lamberto Gardelli
5 - Rosalind Plowright (Angelica), Dunja Vejzovic (The Princess), La
Scala, Gianandrea Gavazzeni
6 - Ilana Tokody (Angelica), Eszter Poka (The Princess), Hungarian
State Opera, Lamberto Gardelli
7 - Renata Scotto (Angelica), Marilyn Horne (The Princess), Philharmonia
Orchestra, Lorin Maazel
8 - Cristina Gallardo-Domas (Angelica), Bernadette Manca di Nissa (The
Princess), Philharmonia Orchestra, Antonio Pappano
9 - Lucia Popp (Angelica), Marjana Lipovsek (The Princess), Münchner
Rundfunk, Giuseppe Patanè
10 - Victoria de los Angeles (Angelica), Fedora Barbieri (The Princess),
Opera di Roma, Tullio Serafin
Gianni Schicchi
1 - Mirella Freni (Lauretta), Roberto Alagna (Rinuccio), Leo Nucci
(Schicchi), Maggio Musicale Fiorentino, Bruno Bartoletti
2 - Renata Tebaldi (Lauretta), Agostino Lazzari (Rinnucio), Fernando
Corena (Schicchi), Maggio Musicale Fiorentino, Lamberto Gardelli
3 - Cecilia Gasdia (Lauretta), Yuri Maruzin (Rinnuccio), Juan Pons
(Schicchi), La Scala, Gianandrea Gavazzeni
4 - Ileana Cotrubas (Lauretta), Plácido Domingo (Rinnuccio),
Tito Gobbi (Schicchi), London Symphony, Lorin Maazel
5 - Angela Gheorghiu (Lauretta), Roberto Alagna (Rinnuccio), José
van Dam (Schicchi), London Symphony, Antonio Pappano
6 - Helen Donath (Lauretta), Peter Seiffert (Rinnuccio), Rolando Panerai
(Schicchi), Münchner Rundfunk, Giuseppe Patanè
7 - Victoria de los Angeles (Lauretta), Carlo del Monte (Rinnuccio),
Tito Gobbi (Schicchi), Opera di Roma, Gabriele Santini
~Turandot
1 - Eva Marton (Turandot), Margaret Price (Liù), Ben Heppner
(Calaf), Jan-Hendrik Rootering (Timur), Münchner Rundfunk, Roberto
Abbado
2 - Ghena Dimitrova (Turandot), Cecilia Gasdia (Liù), Nicola
Martinucci (Calaf), Ivo Vinco (Timur), Arena di Verona, Maurizio Arena
3 - Inge Borkh (Turandot), Renata Tebaldi (Liù), Mario del Monaco
(Calaf), Nicola Zaccaria (Timur), Accademia di Santa Cecilia, Alberto
Erede
4 - Katia Ricciarelli (Turandot), Barbara Hendricks (Liù), Plácido
Domingo (Calaf), Ruggero Raimondi (Timur), Wiener Philharmoniker, Herbert
von Karajan
5 - Birgit Nilsson (Turandot), Renata Tebaldi (Liù), Jussi Björling
(Calaf), Giorgio Tozzi (Timur), Opera di Roma, Erich Leinsdorf
6 - Eva Marton (Turandot), Leona Mitchell (Liù), Plácido
Domingo (Calaf), Paul Plishka (Timur), Metropolitan Opera, James Levine
7 - Montserrat Caballé (Turandot), Mirella Freni (Liù),
José Carreras (Calaf), Paul Plishka (Timur), Philharmonique de
Strasbourg, Alain Lombard
8 - Eva Marton (Turandot), Katia Ricciarelli (Liù), José
Carreras (Calaf), John Paul Bogart (Timur), Wiener Staatsoper, Lorin
Maazel
9 - Joan Sutherland (Turandot), Montserrat Caballé (Liù),
Luciano Pavarotti (Calaf), Nicolai Ghiaurov (Timur), London Philharmonic,
Zubin Mehta
10 - Giovanna Casolla (Turandot), Barbara Frittoli (Liù), Sergei
Larin (Calaf), Carlo Colombara (Timur), Maggio Musicale Fiorentino,
Zubin Mehta
11 - Birgit Nilsson (Turandot), Renata Scotto (Liù), Franco
Corelli (Calaf), Bonaldo Giaiotti (Timur), Opera di Roma, Francesco
Mollinari-Pradelli
12 - Eva Marton (Turandot), Lucia Mazzaria (Liù), Michael Sylvester
(Calaf), Kevin Langan (Timur), San Francisco Opera, Donald Runnicles
13 - Maria Callas (Turandot), Elisabeth Schwarzkopf (Liù), Eugenio
Fernandi (Calaf), Nicola Zaccaria (Timur), La Scala, Tullio Serafin
14 - Birgit Nilsson (Turandot), Anna Moffo (Liù), Franco Corelli
(Calaf), Bonaldo Giaiotti (Timur), Metropolitan Opera House, Leopold
Stokowski
Turandot is Puccini’s last opera. For some reason, the project
took more time than expected and the two last scenes - the Turandot/Calaf
duet and the ending were left uncomposed, only some sketches remaining.
Under the invitation of Toscanini (who conducted the première),
the composer Franco Alfano was invited to complete the opera. He later
revised his completion, cutting almost 100 bars. Eventually, the original
ending is performed, but this is avoided because Alfano’s style
is perceptibly distinct from Puccini’s - especially his lack of
Schwung and his artificial use of bold harmony. The naturalness with
which Puccini mixed his usual melodism with some innovations - such
as bitonality and whole-tone scale - is the hallmark of this opera.
The orchestra has a special role too - with xylophones, glockenspiel
and an enormous variety of woodwind - and the most fascinating combinations
of instruments are used throughout. The fascination of Turandot also
has to do with its essentially art-nouveau atmosphere and its psychological
plot (inspired by a fable by Carlo Gozzi), dealing with the two-faced
nature of love/death, represented by the roles of Liù and Turandot.
The première featured Rosa Raisa, Maria Zamboni and Miguel Fleta,
and the leading roles of this opera, as one can imagine, are among the
most difficult of the repertoire, especially the title role, a test
for dramatic sopranos, is almost entirely sung on the two ends of the
voice. Because of that, it is considered to be a voice wrecker. The
tenor role requires a singer with a voice big and powerful enough to
sing not only with his huge voiced leading lady but above many ensembles.
However, something is wrong with a performance of Turandot if the soprano
taking the role of Liù doesn’t steal the show. The part,
more characteristic of Puccini’s usual style, requires a lyric
soprano with floating high pianissimi.
Roberto Abbado’s performance, recorded in Munich, is not really
competitive - his approach is not distinctive and tends to be "polite".
Also his soloists are a problematic bunch. First of all, there is Eva
Marton in her third complete recording - exactly when her voice had
lost most of its firmness and there is no added insight either. Margaret
Price’s Liù, despite her obvious good intentions, is foreign
to Puccinian style and has its worn moments. Ben Heppner’s voice,
on the other hand, is at its freshest and is handled with musicianship,
but he doesn’t have a clue of what he is singing in Italian - his
accent shows it all.
Arena’s video, taken from Verona, is a completely different picture
- although the conducting is not exceptional, it is competent and there
is excitement in plenty. The production is very simple and it doesn’t
intrude much in the center of interest - the distinguished cast. Ghena
Dimitrova’s dramatic soprano seems made for the role - it has a
steely power and a poise in fortissimo unavailable in most singers.
However, she is such a phlegmatic performer that you get the idea in
five minutes and then look in vain for something else. As usual, Cecilia
Gasdia’s passionate and technically finished Liù steals
the show, even with such a bronze-toned tenor as Nicola Martinucci taking
the role of Calaf.
Decca could have done something very nice back in 1955, when it took
Turandot to studio (in stereo sound), but they decided to hire a bureaucratic
conductor such as Alberto Erede. His conducting is amazingly square
and the Santa Cecilia responds accordingly - the result is disappointment
throughout. Before taking a full-time operatic singer career, Inge Borkh
was an actress. I suppose that conductors just couldn’t let go
a dramatic soprano of her calibre. A famous Elektra, she used to sing
Turandot in German. Here, her lack of intimacy with Italian language
shows and her vowel sounds tend to be indistinct. She also lacks the
brightness typical of Italian sopranos. Even so, she sings with energy
and it is nice to have anything recorded by her, since she was so neglected
by studios. On the other hand, I find Mario del Monaco’s Calaf
admirable. His trumpet-like tenor is so commanding that I can’t
resist what he does here. He is not very specific as a performer, but
offers his version of legato for Nessun Dorma and the results are more
than acceptable. Renata Tebaldi is, naturally, the best soloist here,
but she produces a very ugly note in the end of Signore, ascolta.
I have the impression that the most rejected recording of operatic
history is Karajan’s Turandot - to my complete amazement. It IS
a fabulous recording - one of my three favourite, I would add. Taking
advantage of the Vienna Philharmonic, Karajan offers luxuriant sounds
throughout taking advantage of every little note of Puccini’s score
to show how interesting this work is. Traditional voice-centered listeners
will hate the fact that this is Karajan’s (and not the singers’)
recording, but if you like music, this is a recording to pay attention
to. Katia Ricciarelli learned the role for Karajan (she had previously
sung only Liù), never to touch it again. Basically, since then,
she has repeated ad nauseam that she was practically forced to sing
the role and that she regrets it very much... but, come on, Katia, stand
up for your work! It is a beautiful performance! Of course, Karajan
accomodated a lot of things for a lyric soprano taking the leading role,
but Ricciarelli was never comfortable with top notes in spinto repertoire,
let alone in dramatic roles. Therefore, they spread a bit in the more
outspoken moments, but this is the only drawback in her performance,
which is vert rich in its unconventional characterization. Her Turandot
is built around a very alluring princess lost in a dream-like fantasy.
Her In questa reggia is exquisite in its floated tones and her pleas
to her father after Calaf’s success in the enigmas are the best
I have ever heard. To keep the proportions, Karajan invited a light
lyric soprano for Liù and again it worked really well. As a matter
of fact, Hendricks did sing the role on stage after this recording.
Her velvety tone, musicianship and control of dynamics make for a beautiful
performance. Plácido Domingo is also an unusually elegant Calaf.
The cast counts with marvellous performances of people such as Siegmund
Nimsgern, Francisco Araiza and Heinz Zednik in tiny roles.
Leinsdorf’s Rome recording is a feast for the fans of Swedish
singers, but it is quite disappointing musically. First of all, the
recorded sound is artificial and lacks atmosphere. Then, there is Leinsdorf’s
indifferent conducting. Birgit Nilsson is the singer most associated
to the role of Turandot and we’ll be speaking more of her commenting
her next recordings. Here, she is in freshest tone, but not completely
acquainted with the role. It is still a sensational vocal display, of
course. Renata Tebaldi is, on the other hand, developes from her first
performance for Erede. Jussi Björling offers his usual plangent
voice, but nothing more. This couldn’t have been a good role for
him live anyway.
Zeffirelli’s Turandot at the Met is one of the most kitsch operatic
production ever made - think of an object, it is there. There are so
much people on stage that looking for the leading singers seems like
"Where’s Wally?". Levine’s conducting is grandiose
enough, but there is the Met’s choir to deal with. Eva Marton is
in her firm voiced days, but her dynamic range goes from ff to ffff.
Leona Mitchell is a good Liù, with a warm ductile tone and commitment
enough. Domingo is again a musicianly Calaf, but the role is strenuous
to his voice live.
Lombard’s recording is another missed opportunity. His conducting
is so flaccid and the orchestra so shallow that one quickly looses the
interest. Montserrat Caballé has not an ounce of dramatic soprano
in her voice, but she cunningly adapts the role for her possibilities,
including an extra dose of her floating mezza voce. It is quite beautiful,
but I prefer Ricciarelli’s stressed top notes, because there is
more contrast in what she does. I wonder how wise was to invite Mirella
Freni to be Caballé’s Liù. Even if her tone is lighter,
it is indeed a more powerful voice. More than that - Freni goes for
a down-to-earth performance, which is more or less the contrary of what
we are used to. It has its point, but it is exotic nevertheless. José
Carreras is in freshest voice and sings beautifully throughout.
Maazel has always been a nicest Puccinian, bringing out the symphonic
and modern qualities of his music, but I can’t warm to this performance
live from Vienna State Opera. I find the recorded sound too aggressive
- and there is Ricciarelli’s worn Liù and Carreras’
grey-voiced and desperate Calaf. However, those who feel curious for
Eva Marton’s first recorded Turandot will find her in best behaviour
and fully committed, although the tone has its curdled moments.
There is no doubt about Mehta’s Decca recording being the safe
buy in the discography. First of all, it is beautifully conducted, with
wonderful orchestral playing and a symphonic feeling, but keeping with
the Italian operatic style. The recorded sound also has plenty of atmosphere.
Again, the leading lady learnt the role for a recording, but, differently
from Ricciarelli, Joan Sutherland had her top notes - and the sound
was big enough. Nevertheless, I find her only functional in the role.
She sings it beautifully and with affection, but she doesn’t seem
to have lots to tell about the role and her lifetime in bel canto makes
her too polite in the most outspoken moments. Predictably, Montserrat
Caballé has the edge on her in a role meant for her voice. She
sings it with such lyricism and poetry that one has a bad time listening
to other sopranos in this role once having sampled Caballé’s
performance. Luciano Pavarotti is similarly a lyrical Calaf, but the
brightness of his top register, the liquidity of his phrasing and his
good taste make it a favourite performance.
Mehta’s second recording is quite the opposite of the first -
it was made live in the original setting of the opera - the Forbidden
City in Beijing. The great Chinese film director Zhang Yimou was invited
to direct the stage performance and I suppose that, live, it must have
been quite characterful, especially to his Chinese audience who must
have established a connection with the symbols offered by Yimou more
readily than us in the Western side of the globe. On video, the whole
thing lacks focus - musically also. Too many microphones in an open
air event in a place too large for the enterprise. Anyway, had Mehta
used this same soloists in the Teatro alla Pergola in Florence, this
would have been awesome, since those are very good singers. The choice
of Giovanna Casolla for the title role has certainly to do with the
enormous power of her soprano (I saw her live in this role), but it
is not a voice that records really well. It sounds harsh and her sensitive
use of mezza voce comes to little help. Nevertheless, it has plenty
of energy. Her Turandot has nothing distant about her. Barbara Frittoli’s
delicate soprano couldn’t have worked in this event without microphones,
but, as it is, she sings beautifully and with utmost good taste. Sergei
Larin’s handsome tenor voice and sensitive phrasing would have
benefited from more intimacy, but it is also a nice performance.
Mollinari-Pradelli’s performance is considered a classic in the
discography - and this is still a mystery for me. Mollinari-Pradelli’s
is so workmanlike and the orchestral sound is not exactly beautiful.
The main interest here in Brigit Nilsson’s soprano superbly recorded.
Many accuse her Turandot of being a purely vocal affair, but I think
these critics have missed a point. Although there is much speculation
about Turandot’s pyschology, the FACT is that Puccini wanted her
to be an icy princess. And no-one catches this as Nilsson. There is
such a cool agressiveness in her performance that one cannot resist
her. Not to mention that she sings it as if it was nothing. She herself
said something like "I sing it to relax from my Brünnhildes
and Isoldes". Some are enthusiastic about Renata Scotto’s
gusty Liù - not me. It sounds on the metallic side and there
is a tape edition on perche un di nella reggia, m’hai sorriso.
Corelli is similarly in his worst hammery - he slides, uses glottal-attack,
ignores the sense of legato. It is so gross that it is difficult to
listen to it.
Runnicles’ video from San Francisco has to start with a nice orchestra
and choir and the conductor takes full advantage of that. The production
is ugly beyond imagination - and none of the leading singers are competitive.
Eva Marton relaxes more as Turandot now (I think this is what one does
when one has to use a wig like that), but the voice is not as brand
new as in Vienna and in New York. Lucia Mazzaria, despite a basically
attractive voice, cannot manage her resources to offer a good Liù,
and Michael Sylvester was indisposed - sounding amazinly underpowered
and looking a lot like Cheryl Studer - they could have done Sieglinde
and Siegmund.
If you are a Callas’ fan, you probably already have the Serafin
recording. Other listeners will have little to do with it. Serafin had
lots of sense of theatre, but this performance cannot dream to compete
with Mehta’s, Maazel’s or Karajan’s in terms of finish
and imagination. Maria Callas did sing the role of Turandot for a while,
but it didn’t work very well for her voice (again, I cannot imagine
someone singing bel canto and Turandot well), resulting in unstable
top notes and puffed up middle register. Anyway, when one uses a Bellini-ian
line to make so much sense as Callas did, one also finds multi-layered
shadings in the part of Turandot. So does Callas, but ideas don’t
make a role to work. She could have shared some with Elisabeth Schwarzkopf,
though. I won’t try to be original and will quote Peter G. Davis,
who says she sounds as if "she had strayed in from a Lehar operetta".
And there is Eugenio Fernandi having to deal with those divas in the
same studio (plus Walter Legge) - his voice is certainly pleasant enough,
but lacks the real projection to deal with something like Calaf. The
recorded sound is mono.
Stokowski’s recording is certainly the most exotic - and fascinating
- in the discography. Predictably, the conducting has its excentric
moments, but generally they heighten the dramatic situations. The orchestra
is very problematic, lacking ensemble at times, but the choir is really
beyond words. It sounds as if someone told them "play your parts
with all your hearts", for they sound animated in a frightening
way, shouting "aah!" as if someone had scratched their eyes
or something like that. Among the choral bizarreries offered here, I
like one - the children’s choir singing with a convincing "Chinese"
tone quality. Not only Birgit Nilsson offers a sensational Turandot
here and Corelli is in wonderful voice, singing with true richness and
beauty, but they establish a nicest competition, such as they wouldn’t
do in studio. They are always giving their best when singing to each
other and the result is more than exciting - it is unforgettable. To
make things better, Anna Moffo is in splendid voice and is entirely
satisfying, either in the lyric or in the more dramatic moments. The
minor roles are cast with too eupeptic singers with some curious effects,
but this is an irresistible portrait of an legendary night at the opera
- and the broadcast sound, mono, is clear and spacious enough. It is
particularly thrilling to feel that Birgit Nilsson’s powerful In
questa reggia is sang really from the rear of the stage.
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