I DON'T LIKE CLASSICAL MUSIC,

Classical Music

Taken from a live performance in February, 1992, this recording by the Bavarian State Opera bears some similarities to similar live efforts from the Vienna State Opera: the orchestra is clearer than usual and it plays very well. In this case, the balance is fairer to the singers than it has been in Vienna, and a good thing, too, because one of them, Julia Varady, is among the elite Leonoras, and is surely the reason why this set is out there, for Stefania Toczyska is merely a solid, slightly (and not inappropriately) rough Azucena, one of several good ones, while the male stars are in a bit over their heads. Dennis O’Neill’s voice is in somewhat better shape than it was on his Chandos “Opera-in-English” recordings, which came later in his career. One wants to like him because he’s a passionate Manrico who throws himself into the role. “Di quella pira” is shortened a bit, but he doesn’t transpose it and even gets off a strangulated high C. It may be it was this kind of fearless, fiery singing that did him in. Wolfgang Brendel sounds like he’s in the downward phase of his career. We can appreciate the intelligent way he finesses his way through his part. In “Il balen,” for example, his good breath control enables him to do long phrases without punching the music out, but he has to sing it too loudly. Harry Dworchak handles “Abbietta zingara” fairly well but, like all Ferrandos, he’s unable to sing “Morodi paura” at his conductor’s tempo. Although touted as a “singers’ opera,” Il trovatore responds to the ministrations of a strong conductor, and the playing of the orchestra has energy and power but not rigidity. As for Varady, she makes a beautiful sound and usually executes all the notes—in act IV she simplifies a cadenza and, at another point, resorts to a simpler option in the score, but she hits a clean high D? in act I. Such proficient singing would be impressive in itself, but it’s also expressive, beautifully nuanced singing, even if it may not be enough to make this entry a “must buy” affair; but I’ve only heard about a half-dozen Leonoras who can compare with her. There is a cued plot summary as well as a cue list and some notes about the artists. There is no libretto.

James Miller, Fanfare Magazine

Selections recorded January 5-8, 1991.

Classical Music

VERDI: OTELLO KLEIBER, FRENI,

CHOEURS DE L'OPERA DE VIENNE -

OPERA CHORUSES - AIDA, FAUST,

One of the century's legendary achievements on record confirms its reputation on this wellmanaged reissue. Here Toscanini's blazing intensity, his full comprehension of every facet of the score are evident throughout. In the very first scene the crackling of the fire in "Fuoco di gioia", the bubbling strings as illustration of Cassio getting drunk, the complete fidelity to the score of Valdengo's Iago tell of long preparation and immediately excite the ear. They are but harbingers of the legendary maestro's total command and of his wholehearted empathy with the opera's faultless structure and deep-felt emotions, all achieved within correct tempos and with an overview of the acts, each of which courses tautly to its inevitable conclusion. Just one little detail—the stab of pain in the orchestra at Otello's first thought of jealousy, before "Perche fai tale inchiesti"—shows just how intimately Toscanini knows his music; that and so much else left uncovered by other conductors sets him far above all, except his disciple Panizza on the equally satisfying Metropolitan performance on Music and Arts, 9/91.

The attack and dedication of chorus and orchestra are apparent throughout; so is the discipline and textual clarity on all sides. Nothing escapes Toscanini, yet at the same time nothing obtrudes in a manner that calls attention to itself—unless it be the conductor's groans and encouragement now more audible in the digital transfer. The sound remains dry but somehow this very close, confined quality accords with the work's own claustrophobic quality—if only Otello had gone out into the open air and thought about the reality of the evidence before him, he might not have been so easily caught up in Iago's web of deceit.

Valdengo's Iago continues to put all but Gobbi's (for Serafin on RCA-11/88; and Tibbett's, for Panizza) in the shade. His light, almost elegant and seemingly cheerful tone, his mordant, sinister delivery of the Credo, his insinuating and perfectly accurate delivery of the imagined Dream (Nucci ought to listen to its subtlety—Decca, 11/91) all tell of his willingness to follow Toscaninfs guidance, for he never sang so well for anyone else. This is a faultless performance. So, in terms of interpretation, is Vinay's Otello—the tormented, fearsomely commanding Moor to the life. It's only when you compare his too baritonal tone with Martinelli's (Music and Arts) or Pavarotti's incisive, Italianate delivery (Decca) or Domingo's absolute security (RCA, 3/87) that Vinay's thicker tone and the throb in it seem a shade below an ideal; but no one conveys better the sense of Otello's world falling about him. Nelli always turns out to be more satisfying than one expects, because her sincerity of purpose, her accuracy and her true tone compensate for a slightly pallid reading of Desdemona's thoughts and feelings. Certainly she makes more of the text than Dame Kin i Te Kanawa (Decca) and often sings with a finer line, while missing Rethberg's warmth on the Music and Arts version—and indeed the sense of suffering heard from Scotto (RCA/Levine). The smaller roles are all worthily taken.

Any incidental drawback should not prevent anyone hearing this overwhelming interpretation. Once the vivid storm is launched it is impossible to leave the performance until the tragic, stricken figure of Otello falls lifeless by his wronged wife's side: Toscanini identifies so sympathetically with the human condition, as did Verdi himself—and it is from Verdi, at whose feet he sat, that Toscanini learnt his trade.

-- Gramophone [3/1992]

From Tutto Verdi: The Complete Operas, three hardcover slipcase boxes representing Verdi's early, middle and late operas are now available. Tutto Verdi: The Operas Vol. 2 includes the operas from 1847-1853.

From Tutto Verdi: The Complete Operas, three hardcover slipcase boxes representing Verdi's early, middle and late operas are now available. Tutto Verdi: The Operas Vol. 1 includes the operas from 1839-1846.

One of RCA’s great stars was the glamorous American soprano Anna Moffo, and one of her most celebrated Verdi roles is featured in this new release. From 1965, we have Moffo in the title role of Luisa Miller, “one of her best recordings” (MusicWeb International). The rest of the cast is no less distinguished: “Carlo Bergonzi is his usual, aristocratic self and also is in excellent voice. Cornell MacNeil is exactly right for Miller, the quintessential Verdi baritone role” (ClassicsToday).

Italian opera conductor Tullio Serafin enjoyed a long career and an extensive repertoire. He became particularly known for his revival of 19th century bel canto operas, as well as being an authority on composers such as Bellini, Donizetti, and, as this recording proves, Verdi. This release is a 1960 recording of Serafin conducting Verdis Otello in Rome. Based on Shakespeares play Othello, this work was Verdis penultimate opera. The four act work is set to an Italian libretto by Arrigo Boito. This particular recording by RCA was deemed by BBC Music Magazine as the preferred version and benchmark recording of the work. No conductor is more understanding of Verdian pacing than Serafin. (The Penguin Guide)

Soprano Aprile Millo's golden voice is in best form. This is another of those vintage Met ensembles vividly guided by Levine, with Vladimir Chernov especially affecting in the father-daughter duet.

– BBC Music Magazine

Spanish soprano Montserrat Caballé stars as a ravishingly rich-voiced Violetta, alongside consummately stylish Italian tenor Carlo Bergonzi and ever-thrilling US baritone Sherrill Milnes as Germont fils et père, plus an absolutely complete musical text, in a 1967 set that the Penguin Guide still calls “consistently satisfying”.

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REVIEW:

All three singers are excellent. Caballé is dramatically involved and vocally brilliant. Bergonzi is an ideal Alfredo, and Milnes is excellent. Some critics have not liked Prêtre’s conducting, but he supports the singers well. The minor roles are not particularly well sung, some just barely competent.

– Fanfare