This is a distinctively sung, vigorously, often sensitively conducted and played, faithfully recorded reading of the old favourite that should please anyone looking for a well-integrated modern version. My enthusiasm goes rather further in the case of Millo's reading of the title role. In the interview on page 1968, the diva tells us that she has listened to most of the notable interpreters from the past, distant and not so distant, and the study shows not in any imitative way but in an authentically spinto kind of singing that has been hard to discern in other recent renderings. The firm yet vibrant, dark-hued, voluptuous tone is leavened by an appealing brightness at the top and an ability to float that is wholly natural, never contrived. Listen to "Pieta ti prenda" in the scene with Amneris or "Numi pieta" at its end and you'll hear how Millo is able to shade her timbre and her phrasing in a way that ideally matches the music.

The conflicting emotions of "Ritorna vincitor" are faithfully delineated, the reflective, elegiac mood of "0 patria mia" perfectly caught, with the final awkward passage managed par excellence. Still better is the instinctively right shading in "La, tra, foreste vergine" in the Act 3 duet with Radames and the poised singing of "0 terra addio" in the finale (although she here fails one dolcissimo test). In these examples the voice is all of a piece and the legato seamless. All this confirms the excellent impression Mil lo made on me when the opera was televized from the Metropolitan a couple of years back, a performance that delighted not a few seasoned buffs. After hearing the whole interpretation, I took down from the shelves some famous prima donne on disc: Millo was shown to be more youthful than Milanov on the Perlea/RCA (but it's that great diva at her best that Millo most potently recalls), more vocally appealing than Tebaldi for Karajan (Decca), more reliable in voice than Callas for Serafin/EMI (though not so unique in accents), more involved and as technically skilled than Price (in her first version on Decca under Solti), fuller in tone than Caballe (Muti/EMI). I wouldn't claim that in every respect Millo is superior to these formidable sopranos or to Giannini on the old HMV set now on Rodolphe/Harmonia Mundi and Pearl, simply that she is at least their peer on this evidence.

Millo is the most urgent reason for acquiring this set, but she is worthily supported by Domingo, offering his fourth and, I would judge, best Radames to date. Try "Celeste Aida", or even better the start of the final scene, to learn how much more refined the great tenor's reading has become. In the latter passage, he sings in a mezza voce he has never attempted in the past; indeed, throughout, the approach is more thoughtful. In forte the voice may be very marginally more stretched than, say, in Muti's 1974 set, still a very strong contender, but the difference is slight. When he is finally gone from the scene, we shall treasure his sterling performances, even if we shall still think in this instance that Pertile (Sabajno), Corelli (Mehta/EMI) and Vickers (Sol ti) are the ones with true Radames voices. By the way, at the end of his aria Levine and Domingo opt for the Toscanini solution—forte high B flat followed by a piano B flat an octave lower.

So much more at home in Verdi than he is in Mozart and Wagner, James Levine conducts a performance that captures the cut and thrust of the public scenes in the first part of the opera and the private anxieties and confrontations of the second. Learning a great deal from Toscanini's reading (RCA), he reveals details of orchestration often overlooked by other conductors though certainly not by Muti. His matching of tempos and general pacing (though some speeds, like that for the final scene, are on the slow side) seem to me well conceived and attentive to the histrionic needs of the well-tried piece. He is supported by the Met orchestra, once more in splendid form. The chorus is, for better and worse, not Italianate, that is to say it is more precise, less wobbly than the choruses on some other versions, but also wanting a shade in pungency.

I shall not be dispensing with my Callas/Serafin set or my Caballe/Muti or the readings headed by Giannini (Sabajno) and Milanov (Perlea), all of which are well-tried, treasurable experiences. But the new contender, which has many similarities with the grandly sung Solti (down to the feeling that one is sitting rather near the brass), deserves to be heard in their company, most of all for its very special Aida.

-- Gramophone [5/1991]

Music composed by Mitch Leigh. Lyrics written by Joe Darion.
Performed by the America Theatre Orchestra, conducted by Paul Gemignani.
Principal cast: Placido Domingo (Don Quixote/Cervantes); Mandy Patinkin (Sancho Panza); Aldonza (Julia Migenes); Carolann Page (Antonia); Jerry Hadley (Padre); Rosalind Elias (Houskeeper); Robert White (Barber); Samuel Ramey (Innkeeper);
Placido Domingo, Jr. (Anselmo); Alvaro Domingo (Pedro).
Recorded at BMG Studio A, New York, New York on June 4-6, 1990. Includes liner notes by Mervyn Rothstein.

Led by a loyal and accomplished Rossinian in Ricciarelli and an exceptionally sure Ramey, this Gazza Ladra is the one to which listeners will inevitably turn for the foreseeable future.

According to an irate correspondent (February, page 1432) my "hatred of live recordings with all their inevitable characteristics" had "poisoned" my review of Philips's La Scala recording of the Italian version of Rossini's Guglielmo Tell. Given such an assumption, what chance has this new recording of La gazza ladra—"The thieving magpie"—recorded live during performances at last year's Rossini Festival in Pesaro? In the event, every chance. In the first place, the opera is being sung in the right language. Secondly, it would seem that the Teatro Rossini in Pesaro—rebuilt in 1816-18 and reopened, as it happens, with a production of La gazza ladra supervised by Rossini himself—is an excellent place in which to record. Like Glyndebourne, it is perhaps rather dry acoustically, but is a beautifully scaled theatre with a stage that is easier to cover than La Scala's. The theatre is, in fact, a kind of miniature La Scala, as handsome to look at as its big brother in Milan (where La gazza ladra had its prima in 1817) but with the intimacy of Glyndebourne or, say, the glorious Theatre Royal in Bristol. It would also seem that Michael Hampe's production was a relatively straightforward affair. There is a certain amount of coming and going in the secco recitatives (not by Rossini and musically unremarkable) but in the big scenes the principals are logically placed and unfussily directed, making for a recording that is cleanly miked, pleasantly immediate, and well arranged right across the stereophonic spectrum.

If there is an element of disappointment about this live theatre performance, it is some occasional lack of theatre atmosphere. The audience, whose responses are briefly registered and then faded out at the end of all the key movements, were clearly much taken with Samuel Ramey's remarkably fierce and Machiavellian portrait of the lecherous Mayor. But there is a slightly antiseptic feel about a good deal of the First Act and the start of the Second, where the prison scenes should really stir the emotions. They certainly did that at Wexford in 1959 with Marietta Adani as Ninetta and the young Janet Baker as the affectionate young peasant boy, Pippo; though in those days all the publisher Ricordi could come up with was La gazza ladra in the heavily re-ordered and reorchestrated version completed by Zandonai in 1942. In the present recording of the famous prison duet "E ben per mia memoria", Katia Ricciarelli and Bernadette Manca di Nissa are using no tear-jerking, sub-Puccinian revision, but the Urtext in Alberto Zedda's exemplary realization. So we must expect it to be a degree or so cooler.

That said, Act 2, which by Rossini's usual standards is unusually long and powerful, grows magnificently in this performance, culminating in the great Trial scene, Ninetta's march to the scaffold, and her deeply touching Andantino, "Deh tu reggi in tal momenta". Ricciarelli, the Ninetta, is a loyal and accomplished Rossinian and a regular visitor to Pesaro. Her vocal portrait of this wronged country girl may strike some as being too sophisticated. I recall an old 78rpm recording of Ninetta's cavatina sung by Lina Pagliughi that seemed to strike exactly the right note of unaffected artlessness. No need to count the spoons after this girl had left for town. Ricciarelli, by contrast, rather cossets the music and occasionally elaborates it, attempting in the process perhaps to suggest a degree of vocal ease that she does not now quite possess. As an old man, Rossini wrote variants and cadenzas for this cavatina for the soprano Giuseppina Vitali (see Appendix I/C of Ricordi's Italian-English vocal score of the Zedda edition; Milan, 1989: £24.95) but Ricciarelli appears to be using her own ornaments.

The rest of the ensemble is a good one, as is usually the case in Pesaro, surely led by an exceptionally confident Samuel Ramey playing the Mayor not as some meddling buffoon but as an extremely unpleasant rural Scarpia. William Matteuzzi, Ninetta's lover fresh from the wars, is splendidly ardent, Manca di Nissa is a rich-toned Pippo, sensitively played, and Ferruccio Furlanetto makes a strong impression as Ninetta's father, the soldier on the run from a corrupt regime and yet one more of those Rossinian father-figures trying to live out his life in politically troubled times. Still, Furlanetto doesn't get the extra aria, a newly adapted entrance aria, which Rossini provided for the singer Remorini for the 1818 Pesaro revival. Lucia, by contrast, keeps her Act 2 aria, though it was rarely performed after the Milanese prima. In this Pesaro production it has been moved forward so that it comes before the great Trial scene. This tucks it neatly away, allowing Lucia's doubts about Ninetta's guilt to register as a kind of aria del sorbetto before the onset of the chorus, quintet, and second finale.

The text, then, is close to that of the Milanese prima and is more or less complete, some understandably small and frequent cuts in the recitatives notwithstanding. The orchestral playing under Gianluigi Gelmetti is spruce and the accompaniments are generally prompt and businesslike, though Ricciarelli is occasionally indulged.

This is not the first commercial recording of La gazza ladra. Zedda's own account of the opera appeared on Fonit Cetra's Italia label some years ago (nla). But this Sony Classical version is the one to which Rossinians will inevitably turn for the foreseeable future.

-- Gramophone [10/1990]

...Eva Marton, as we know from her other opera recordings, possesses a voice of power and warmth which she can use with a deal of flexibility. Gioconda is obviously a role with which she closely identifies. Throughout, her portrayal of the unhappy, jealous Gioconda is histrionically strong and involving and she rides the climaxes in a way Caballe (Bartoletti/Decca) couldn't quite manage: this is the true spinto sound of which we hear far too little today...

Her Enzo was to have been Domingo but he had to cancel because of a bereavement. I am not altogether disappointed because Lamberti offers us a particular style in tenor singing that is almost lost, specifically Italianate in timbre and recalling di Stefano. His tone is always open and bright, he sings off the words, and he phrases with an innate ardour that's just right for the part. He manages some nice pianissimos, sings "Cielo e mar" with a long breath, and leads the Third Act concertato "Gia ti veggo" with a properly plaintive tone. He has almost as much voice as Ferraro (Votto) and is much more subtle. For better and worse, he isn't Pavarotti (Bartoletti), but I took to his reading. Milnes's Barnaba remains a well thought-through portrait of unmitigated villainy. He was in marginally steadier voice for Bartoletti on Decca, but the performance is still one of his most telling. Livia Budai, like her Hungarian compatriot, Marton, doesn't care to make much of the text, but the voice is as vibrant as any in this role: Cossotto (Votto) has the edge simply through being Italian. Ramey makes much of little as Alvise. Anne Gjevang is a steady La Cieca, and gives her solo the grave beauty it deserves...

-- Gramophone [2/1990]

Perhaps no opera is better known by more people than Carmen. It's musical themes are universally recognizable even in isolation. An exceptional cast distinguishes this particular performance: Jennifer Larmore, Angela Gheorgiu, and Sam Ramey give standout performances that bring this alternately soaring and salacious work to it's pinnacle.

REVIEW:

A suave account of Rossini’s classic comedy, with Riccardo Chailly and his La Scala forces clearly enjoying the piece and a top-quality cast fulfilling the requirements of all the principal roles.

– BBC Music Magazine

Gioachino Rossini: Il Barbiere di Siviglia performed by Chor de Grand Theatre of Geneve and Orchestre de Chambre de Lausanne directed by Jesus Lopez-Cobos.