This disc is mostly taken from a recital given by Ricciarelli in Switzerland in 1979, with the final two items from a concert given the following year. The programme is a good one, starting with bel canto items and finishing with verismo, with early and middle period Verdi bridging the gap.
The voice is mostly in good shape, though it develops a slight beat on high when under pressure, more noticeable in the verismo items than it is in the gentler bel canto she chooses, and it is the items by Bellini, Donizetti and Verdi that make the greatest impression.
We start with Giulietta’s Oh quante volte from I Capuleti e i Montecchi, a role that suited her like a glove and for which she receieved rave reviews when she sang it at Covent Garden in a revival of the production first mounted for Gruberova and Baltsa. I also heard her sing the aria at a recital at the Barbican Hall in 1987 in a programme very similar to the one we have here. This aria was undoubtedly the highlight of the night and she was forced to encore it at the end of the evening. She spins out the phrases quite deiciously and with superb musicality and, as she never has to force her voice, the result is mesmerisingly beautiful.
The Donizetti items are also beautifully moulded, the lines caressed, though one notes that she does not sing the more forceful cabaletta to the Anna Bolena aria, and I imagine it would have taxed her limits, though she did sing the role quite a lot, apparently with much success. The Lucreia Borgia is also an elegiac piece and again she fills its phrases with signifcance, her phrasing unfailingly musical.
Of the two Verdi items the first from Il Corsaro suits her better and I rather wish that she had been cast in Gardelli’s Philps recording of 1976. Norman, who sings Medora, isn’t bad by any means, but Ricciarelli is more inside the music, more stylish. The following year she joined the Philips early Verdi stable, singing Lucrezia in I Due Foscari and Lida in La Battaglia de Legnano and she is superb in both.
The Forza aria suggests that the role may have been a bit too big for her and the voice does rather glare on the climactic Bb on Maledizion. The floated one on Invan la pace is better, but still sounds a mite insecure.
The verismo arias also have their attractions and are very well received by the audiences, possibly because they were better known, but again climactic high notes are apt to glare uncomfortably, particularly in the exposed climax to Wally’s lovely Ebben. Ne andro lontana. None the less the aria is beautifully felt and delivered with a sighing loneliness that is most effective. She also differentiates nicely between Tosca’s utter desperation and Butterfly’s single minded conviction that Pinkerton will return.
All in all, then a rewarding programme. Ricciarelli is a singer I have come to admire more with the passing years. More vocally fallible than such contemporaries as Freni or Caballé, less individual in her response to the text than Scotto, her singing is unfailingly musical and I derived a lot of pleasure from this recital.