When this set was new, Andrew Porter, in one of his last assignments for this magazine, wrote a long and appreciative review, describing it as "an arresting, powerful and beautiful performance". He was writing before the appearance of the Abbado/DG version which has, ever since, put the Gavazzeni somewhat in the shadows. On rehearing it, I concur with Porter's original judgement and am not sure there is that much to choose between the two. Gavazzeni's direction is certainly not so assertive as Abbado's; he doesn't make the score quite so grand and histrionic, but, as with his near-contemporary, Serafin, Gavazzeni does much by unobtrusive means that his successors tend to make more manifest. I found his conducting here convincing throughout, both as regards pacing and inner tension - to quote AP again, he is "at once fiery and wise" and he obtains playing of character and bite from his orchestra, only a shade less impressive than the La Scala contribution to the DG set.

Cappuccilli's Boccanegra is already an imposing Simone here, long in phrase and well-detailed in characterization wanting only the extra light and shade Abbado persuaded him to bring to his singing. The improvement can be judged by listening to the great appeal to the Genovese in the Council Chamber scene, which is more refined and delicately shaded with Abbado, but in the tragic finale to the whole work Cappuccilli is here greatly moving: listen to the plangent accents at "Gran Dio, Ii benedici". Porter was disappointed by Ricciarelli, in one of her earliest recordings, but I find her Amelia still more touching than Freni's for Abbado though not so securely sung. She is the very image of the put-upon heroine, her tone gentle and appealing. She is also superbly partnered by the young Domingo's heroic Gabriele, his Second Act scena sung with taut passion and the earlier scene with Fiesco given the chivalrous declamation it should have. Fiesco himself is taken by Raimondi, too soft-grained and illdefined in articulation for my taste, no match for Abbado's Ghiaurov. Mastromei, whose career seems to have faded, here shows as Paolo just what an exciting singer he seemed back in the mid 1970s.

I wouldn't say there was that much to choose in the matters of choral contributions, atmosphere and recording. By a small margin the more recent set probably has the edge, but I would hate to be without this RCA and so make them a joint recommendation.

-- Gramophone [9/1987]
Review of RCA 70729

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Verdi: Rigoletto (Recorded Live 1951)

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VERDI: Falstaff (Highlights)

Carl Tanner, Iano Tamar, Zeljko Lucic, and Marianne Cornetti star in this Bregenzer Festspiele production of the Verdi opera on 2 DVDs with Thomas Rosner conducting the Vienna Symphony, Moscow Chamber Choir, and Bregenzer Festspielchor.

Verdi: Aïda (Recorded Live 1960)

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Verdi: Aida

Verdi: Rigoletto (Recorded Live 1961)

Today Don Carlos is performed in French as it is in Italian. Different productions and recordings vary considerably, however, as regards the choice of scenes and music. The extent of the original material is such that directors, drama tourists and conductors tend to stage the work in a highly individualistic manner.

Verdi's, Falstaff performed by the Chorus and Orchestra of Hungarian State Opera, Chorus Master Aniko Katona, leads under the direction of Will Humbrug.

Verdi: Il trovatore (Live)

The Italian soprano Anita Cerquetti (3.4.1931-11.10.2014) was a phenomenon. Her operatic career began in 1951 in Spoleto, debuting as Aida (!), and took her to the world's great opera houses before ending in Holland in 1960. After just nine seasons, the then 29-year-old singer retired from the stage. There are only two commercial records of her (on Decca), the record companies at the time filled the major soprano roles with Callas or Tebaldi. But thanks to numerous live recordings which circulated on the black market from the very beginning, Anita Cerquetti is still held in honour today. Why? Because here is a voice that exudes pure sensuality with the most opulent femininity. Because her voice is one of the most beautiful that opera has ever heard: never aggressive, sharp or shrill, but round, soft, lyrical and emphatic. Her voice was practically made for Giuseppe Verdi's romantic heroines - perfectly suited to the softly swinging, melancholy melodic arches of Ernani and Vespri siciliani-Elvira, Amelia in Un ballo in maschera, Don Carlo's Elisabetta, and Leonora in La Forza del destino, even for the formidable octave leaps of the imperious Nabucco-Abigaille. This box set, which honours Anita Cerquetti as the leading Verdi interpreter of her time, is now being released on the 10th anniversary of her death.

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