Two Turandots

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Not having listened to this set for some time, it was good to be reminded that it certainly justifies its reputation. I even found the Ping Pang Pong episodes less irritating than I usually do.

Sutherland seemed strange casting at the time (and she never sang the role on stage) but it’s a casting decision that definitely paid off. Her diction is better here than it usually is, though she doesn’t make as much of the text as Callas does. On the other hand, by the time Callas came to record the complete role in 1957, she couldn’t disguise the strain the role made on her resources. (Too bad she didn’t record it a few years earlier, when she recorded a stunningly secure, and subtly inflected version of In questa reggia for her Puccini recital.) Anyway for my money, Sutherland has much more vocal allure in the role than Nilsson, and surely Turandot has to have allure if one is to make any sense at all out of the plot.

Pavarotti is caught at his mid career best and Caballé sings beautifully, spinning out her fabulous pianissimi to glorious effect. If I’m absolutely honest, I prefer a slightly lighter voice in the role, like, say, Moffo, Freni, Scotto or Hendricks, who is the Liu of the Karajan set reviewed below. Caballé sounds as if she could sing Turandot, which indeed she did, but there’s no doubting her class, even if there is something of the grande dame about her. The rest of the cast is superb and Mehta conducts a splendidly dramatic and viscerally beautiful version of the score. On balance, it’s probably still the best recording of the opera around.

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It was interesting then to turn to Karajan’s 1981 digital set, and this, I would say, is definitely the conductor’s opera. Sonically it is absolutely gorgeous. Karajan’s speeds tend to the spacious, allowing him to reveal beauties in the orchestration I’d never heard before, not even in the superb Mehta.

When it comes to the cast, Barbara Hendricks’s Liu sounds just right, a lovely lyric soprano, perfectly suited to the demands of the role, as she was when J heard her sing the role in concert at the Barbican. By contrast Caballé sounds too grand, Schwarzkopf too much the Princess Werdenberg, though both of them sing divinely. Domingo makes a most interesting, more psychologically complex Calaf than Pavarotti, but I do miss Pavarotti’s ringing top notes. Domingo is taxed by the upper reaches of the part.

The set’s biggest stumbling block however remains Ricciarelli. Truth to tell, this time round I didn’t find her casting quite as disastrous as I once thought. A most intelligent and musical singer, she adapts the role to suit her basically lyric soprano. She sings the opening of In questa reggia with a white, vibrato-less sound which is most effective, but she can’t really disguise the fact that, even in the recording studio, her voice is a couple of notches too small. As I intimated above, she has to use all her intelligence to survive the role’s treacherous demands, where Sutherland sounds as if she was born to sing it, and the Mehta remains a much safer choice.

This set is certainly worth hearing though for Karajan’s superb realisation of the score, for Hendricks’s wonderful Liu, and, apart from at the very top of the voice, Domingo’s musical Calaf.

The famous Giulini Don Giovanni

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Like the Karajan Der Rosenkavalier, Warner’s luxury presentation of this latest re-mastering of the famed Giulini Don Giovanni just adds a little more lustre to one of the greatest opera recordings of all time.

It seems incredible to think that Giulini was actually a last minute replacement for Otto Klemperer, who was originally scheduled to record the opera with this cast but fell ill just as sessions started. We can be thankful now that he was available, for I can’t imagine that Klemperer could have produced the kind of quicksilver, thrillingly exciting performance we get here. The Philharmonia Orchestra were at that time at the top of their game and the orchestral playing is beyond praise. One of the main attractions of the set is the execution of the recitatives, which are brim full of drama and character, no doubt a result  of Walter Legge’s excellent production, and the whole recording feels like a real performance, with the singers brilliantly interacting with each other.

The cast is, without exception, superb; Sutherland, in her first major recording, a beautiful and technically assured Anna; Schwarzkopf, who adopted, in her words, “a sharp, unfriendly tone” to offset Sutherland’s creaminess, a real firebrand of an Elvira; Sciutti a delectably seduceable Zerlina. The men are hardly less brilliant, with Wächter’s dangerously sexy Don almost the equivalent of a swashbuckling Douglas Fairbank Jnr character and Taddei’s manipulative Leporello nicely complementing him. Cappuccilli is a real bully of a Masetto and Frick a commanding and ultimately terrifying Commendatore. If Alva makes slightly less of an impression, that has more to do with the rather passive character of Ottavio than his singing of Ottavio’s lovely arias.

One of the all time classics, beautifully re-furbished in this new re-master.

Joan Sutherland – The Art of the Prima Donna

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So what more can one say about this famous two disc recital? It was recorded in 1960, not long after Dame Joan had enjoyed a spectacular success in Lucia di Lammermoor, in 1959, at the Royal Opera House, Covent Garden. She was already 33 and had been a member of the company since 1952, when she had sung Clotilde to Callas’s Norma and the Priestess in Aida. She had sung a wide number of roles there, including Agathe, the Countess, Gilda, Pamina, Eva and even Lady Rich in Gloriana and Jennifer in Tippett’s The Midsummer Marriage, but none of these undertakings had prepared anyone for the spectacular success she would have as Lucia, with Serafin, Callas’s mentor, in the pit. The role became her calling card and shortly afterwards she sang it in Paris, at La Scala and at the Met, performances that put her firmly on the map and paved the way for the direction her career would take. Thereafter she concentrated almost exclusively on the bel canto repertoire and many operas were resurrected specifically for her.

Let us try and listen now with fresh ears, as if, for instance, this was the work of a singer new to us today. First impressions would be of the beauty of the voice, the fullness of tone, the ease on high and the way those top notes ring out with brilliance but without a hint of shrillness. We would also notice the rocketing virtuosity and the stunningly accurate coloratura. She also sings with feeling, but the first impressions are definitely vocal. This is an exceptional instrument used with great technical accomplishment. What I don’t think we quite get is a true impression of the size of the voice, which, according to all who heard her in the theatre, was quite exceptional.

Some of the arias (particularly the opening track, Arne’s The soldier tir’d, Handel’s Let the bright Seraphim and Semiramide’s Bel raggio) have become yardsticks against which all subsequent comers might be judged, and almost all the others would no doubt be considered amongst the best versions available. Vocally she has few limitations, though these might include a relative weakness in the lower register. Nor is she ever likely to suddenly throw into relief a word or a phrase and her diction, though a lot better than it was later to become is not particularly clear. We might also note that characterisation is not her strong point. As one aria follows another there is little to distinguish one character from another. We do not get a gallery of different people, as one would with a Callas or a Schwarzkopf.

For many these reservations will not be a problem and of course there is a great deal of pleasure to be had from the purely visceral experience of hearing such a beautiful voice in full bloom tackling with accomplishment a wide range of music. For others, and I would count myself among them, that certain sameness of interpretaion will be a problem and I for one prefer to listen to the recital piecemeal rather than all in one sitting. When listening in sequence, I start out being stunned by the singing but, after a while, my mind starts to wander as one interpretation emerges much the same as the one before. The best arias are, as I intimated above, those in which Sutherland can display her amazing vocal dexterity.

Going back to first impressions, though. There is, as far as I’m aware, nobody singing today who can even approach the accomplishment of what Sutherland achieves here. This two disc set stands as testament to her greatness, before the mannerisms (the poor diction, the mushy middle voice, the droopy partamenti) became apparent and should be in the collection of all those interested in singers and singing.