“Heroes”, the title of this disc proclaims, though in honesty only two of the characters represented here (the Marquis de Posa and Simon Boccanegra) might be considered to fall into that category. The rest (Figaro, Enrico, Rigoletto, Germont, Renato, Tonio, Scarpia, Iago and Falstaff) hardly qualify, and some of them are downright villains.
What we do get however (and this is not always evident in compilation or recital records) is eleven sharply differentiated voice characters. Like Callas, Gobbi, though his voice is always recognisable, was adept at the art of vocal make-up and there is a world of difference between his genial, but venal Figaro and his blackly evil Ernesto, which follows. Gobbi’s may not always be the most beautiful voice you will hear in his chosen repertoire, nor the most graceful (though he could indeed sing with both beauty and grace) but it is the one I often hear in my mind’s ear in the roles I have heard him sing. To the characters included here, I could add his Amonasro, his Michele and Schicchi, his Don Giovanni and his Nabucco.
All but Iago’s Credo on this compilation are taken from complete recordings of the operas, and we also hear the voices of Victoria De Los Angeles in the duet from Simon Boccanegra and Callas in part of the Act II duet from Tosca from La povera mia scena fu interrotta, both a locus classicus of Gobbi’s art.
The last item here is Falstaff’s Honour monologue, and I can do no better than quote here John Steane in The Record of Singing
Play, for example Falstaff’s Honour Monologue in a succession of recordings (Scotti, Ruffo, Stabile, Fischer-Dieskau, Gobbi) and Gobbi’s is quite markedly the most satisfying, partly because he attends to what Verdi has written and sees the point of it. The phrase ‘voi coi vostri cenci’ is marked with a crescendo on the first word, followed by three staccato syllables. Scotti takes no notice, Ruffo and Stabile take little; Fischer-Dieskau observes the markings, as ever, but it is Gobbi who sees the pictorial force, the crescendo carrying a comical menace and the staccatos punching or flapping at the despised company as with a broom handle.
Steane’s prose is as ever quite pictorial itself, but he also understands that, as with Callas, Gobbi’s genius is not just to execute the notes, but to understand the point of [them].
That said, isolated excerpts don’t really represent Gobbi at his best, and really one needs the complete sets from which these excerpts are taken.