Janet Baker, Yvonne Minto, Frederica von Stade
Lucia Popp, Stuart Burrows, Robert Lloyd
Orchestra & Chorus of the Royal Opera House Covent Garden
dir: Sir Colin Davis
Philips (1990) 420 097-2 2 CDs ADD Stereo
[flac & cue, cover, inlays, booklet & disc scans]
Review
"Reacquaintance with this 1976 recording reminded me how we once took such a mouth-watering cast for granted and yet conversely might still have thought it was somewhat wasted on an opera which was long considered second if not third-rate Mozart. I still do not think that it is the equal of his greatest works but it contains much grand, stately and also tender music, and when it is as well sung and vocally acted as it is here it emerges as dramatically convincing, too.
One might cavil at the fact that it we hear three quite similar mezzo-sopranos - castrati being unavailable and it being too early to permit the casting of a counter-tenor as Sesto, for which I am grateful - but they are differentiated by timbre and characterisation and just happen to be three of the most beautiful voices of the era in Janet Baker, Yvonne Minton and Frederica Von Stade. Baker is still in her vocal prime with a thrilling upper extension, scintillating coloratura and both the venom and regality to bring Vitellia alive as the wronged princess who believes that she is to be passed over. Just listen to her in no. 10, the Terzetto "Vengo...aspettate", complete with ringing top B's and real vocal fire; I recently compared this with Diana Damrau's version in my review of her Mozart recital album and I'm afraid it was very much to the latter's disadvantage. Minton, by comparison is more desperate and plangent but equally resplendent of voice, while Von Stade is youthful and touching in the supporting, minor role of Annio - how I love her voice with its flickering vibrato and intrinsically gorgeous tone.
As if all this were not enough, we are treated to a sonorous, sturdy Publio from Robert Lloyd, a silvery Servillia from Lucia Popp and, finally, a noble and touching, smoothly vocalised Tito from Stuart Burrows. His mildness and sweetness of tone are not out of place in his depiction of the clement Emperor.
Colin Davis brings lithe, taut direction to the score; nothing drags and the Royal Opera House Orchestra and Chorus respond alertly and energetically. Obviously this is no period performance but there is absolutely nothing stodgy in its tempi or overblown in its textures.
Most people will not want more than one recording of this opera in their collection and will initially make a selection of either a HIP version or an earlier, more traditional performance. With its singing and playing this good and given that I have no special attachment to supposed historically informed practice per se, this set is my first choice."Ralph Moore www.amazon.com
Concerning the italian pronunciation of the english cast is interesting what Luca says at www.amazon.com:
"The only problem with the cast is that, despite the involvement of the great Ubaldo Gardini as Italian language coach, you undoubtedly feel that they are not singing or reciting in their native tongue. The pronunciation is very very good, but inflections, in several passages, are clearly not Italian. The problem affects, here and there, with ups and downs, everybody, except Lucia Popp and the Chorus, both very natural and clear in their Italian vocalization.
On the contrary, the magic touch of Gardini is clearly recognizable in the free, but always context-sensitive, pacing of recitatives.
On the whole, I do not think that many other singers could do as well in this genre of work."