This beautiful version of Macbeth signed by one of the greatest Verdi conductors of the twentieth century, Lamberto Gardelli, has its greatest strength in interpretation,...

This beautiful version of Macbeth signed by one of the greatest Verdi conductors of the twentieth century, Lamberto Gardelli, has its greatest strength in interpretation, in the role of the protagonist, Dietrich Fischer-Dieskau, who deepened the character in an extraordinary way, often surpassing the greatest Italian interpreters of Macbeth (Taddei, Cappuccilli, Nucci). Not least the remarkable interpretation of Elena Suliotis, a dramatic soprano who in those years, and for a short time, played the most impervious roles of Italian melodrama. It is useless talk about Pavarotti and Ghiaurov, in those days at their peak. An irreplaceable edition.

REVIEW

Recordings of Macbeth have been relatively sparse. [The] present Urania set [was] originally issued by Decca...in the sixties and seventies Decca’s recordings were technically speaking almost always state of the art, and this Macbeth was no exception. The LPO and the Ambrosian Opera Chorus were in those days featured on loads of opera recordings, and here the playing and singing is first-class . The witches’ choruses are atmospheric and frightening realistic. Lamberto Gardelli knew his Verdi inside out, to which his recorded legacy on various labels bear witness. He certainly was reliable, never erratic and idiocyncratic – but never dull.

Neither Macduff nor Banquo are particularly big roles. They have one aria each, and both are vocal highlights, sung respectively by Luciano Pavarotti and Nicolai Ghiaurov, both at the hight of their youthful powers. Pavarotti at 35 is brilliant and effortless and his golden tones reveal that he has learnt a thing or two from listening to Jussi Björling, whom he allegedly adored. Ghiaurov in his early forties is noble and sonorous, his deep register impresses, but what impresses the most is brilliant top, totally free from strain. He is notably fresher than he was six years later when he recorded the role again with Abbado.

[Dietrich Fischer-Dieskau's] identification with the role and his Lieder-like detailed nuancing...are deeply penetrating and heartrending, sometimes moments where his Italian counterparts merely skim the surface. His final aria, Perfidi! All’ anglo contra me v’unite! (CD 2 tr. 10) is a telling example.

--MusicWeb International (Göran Forsling)