Giacomo Puccini (1858 - 1924)
Renata Scotto, Carlo Bergonzi, Rolando Panerai
Piero di Palma, Anna di Stasio, Paolo Montarsolo
Coro e Orchestra del Teatro dell'Opera di Roma
dir: John Barbirolli
EMI (2002) 7243-5-67885-2-7 Stereo ADD Rec.1966.
Abbey Road Technology
[flac & cue; cover, inlays, booklet & disc scans]
I don’t know if the same happens to you but in my case there are certain opera characters that I can’t help but associate with certain singers because in my opinion the fusion between character and singer is so complete that they become it. As in the case of Medea, Tosca or Norma with Callas, Isolde with Flagstad, for me Scotto is Cio-Cio San.
The emotion that her interpretation gives is not achieved by any other singer although I can also appreciate the contributions of Callas, De los Angeles or Freni.
Review
"Right from the start the performance exudes quality singing from its all-Italian cast. Track 1 introduces the elegant phrasing and golden tones of Carlo Bergonzi as the caddish Pinkerton and the unwavering steady voice of Piero de Paima as Goro the marriage broker; the ultimate comprimario, in a part so often given to a reedy unsteady voice. Track 2 brings the creamy tones of Anna di Stasio's Suzuki, and tr 5 the nut brown perfectly centred voice of Panerai as the luckless Sharpless who, ultimately, has to pick up the pieces. Track 6 heralds the arrival of Butterfly. Scotto's full tone and voice at this point poses the question, 'will she sound too old for a supposed 15 year old', as Tebaldi does (on Double Decca), also with, Bergonzi and tastefully conducted by Serafin. In the succeeding exchanges with Pinkerton, she adopts a lighter more girlish tone as she introduces her possessions and the 'marriage' ceremony is concluded.
The arrival of the Bonze of Paolo Montarsolo continues the quality idiomatic voices (tr 12), and further highlights what has been evident from the opening chords, JB’s grasp of the nuances of the score. His pacing is in no way rushed nor is it as laggardly, or over indulgent, as Karajan (Decca, 3 discs at full price). His use of rubato, combined with the shaping of the phrases and shading of the dynamics, results in an all encompassing emotional effect. The orchestra, as indicated, play superbly for their new maestro, whilst the Italian choir bring their particular 'squilla' to the singing of their own language.
The recording wears its age well. Whilst it lacks a little of the natural warmth and presence of the best modern recordings it is lucid and well balanced and set in a clear acoustic. Given the excellent diction of the singers it is a pleasure to follow the libretto, which is provided with English, French and German translations. There is also a useful track related synopsis and photographs from the sessions.
Given the foregoing one has to wonder why this performance has had such a varied career on CD, before being given the accolade, justifiable in my view, of inclusion in this 'Series'. The answer lies, I think, in the
response to the singing of Scotto who sometimes over-characterises the girlishness of Butterfly and has the odd raw note at the top of her voice when under pressure. The upside of her interpretation however, is, that she lives and breathes all of Butterfly's many emotions leaving the involved listener 'gutted' at her final tragedy. Whereas Bergonzi and Panerai can stand comparison with any other on disc, Freni, for Karajan, is the perfect Butterfly, balancing legato and subtle characterisation with a wide palate of tonal colour. However, as a total 'package' this Butterfly takes a lot of beating and is justifiably a 'GROC'."Robert J Farr -www.musicweb-international.com
Renata Scotto, Carlo Bergonzi, Rolando Panerai
Piero di Palma, Anna di Stasio, Paolo Montarsolo
Coro e Orchestra del Teatro dell'Opera di Roma
dir: John Barbirolli
EMI (2002) 7243-5-67885-2-7 Stereo ADD Rec.1966.
Abbey Road Technology
[flac & cue; cover, inlays, booklet & disc scans]
I don’t know if the same happens to you but in my case there are certain opera characters that I can’t help but associate with certain singers because in my opinion the fusion between character and singer is so complete that they become it. As in the case of Medea, Tosca or Norma with Callas, Isolde with Flagstad, for me Scotto is Cio-Cio San.
The emotion that her interpretation gives is not achieved by any other singer although I can also appreciate the contributions of Callas, De los Angeles or Freni.
Review
"Right from the start the performance exudes quality singing from its all-Italian cast. Track 1 introduces the elegant phrasing and golden tones of Carlo Bergonzi as the caddish Pinkerton and the unwavering steady voice of Piero de Paima as Goro the marriage broker; the ultimate comprimario, in a part so often given to a reedy unsteady voice. Track 2 brings the creamy tones of Anna di Stasio's Suzuki, and tr 5 the nut brown perfectly centred voice of Panerai as the luckless Sharpless who, ultimately, has to pick up the pieces. Track 6 heralds the arrival of Butterfly. Scotto's full tone and voice at this point poses the question, 'will she sound too old for a supposed 15 year old', as Tebaldi does (on Double Decca), also with, Bergonzi and tastefully conducted by Serafin. In the succeeding exchanges with Pinkerton, she adopts a lighter more girlish tone as she introduces her possessions and the 'marriage' ceremony is concluded.
The arrival of the Bonze of Paolo Montarsolo continues the quality idiomatic voices (tr 12), and further highlights what has been evident from the opening chords, JB’s grasp of the nuances of the score. His pacing is in no way rushed nor is it as laggardly, or over indulgent, as Karajan (Decca, 3 discs at full price). His use of rubato, combined with the shaping of the phrases and shading of the dynamics, results in an all encompassing emotional effect. The orchestra, as indicated, play superbly for their new maestro, whilst the Italian choir bring their particular 'squilla' to the singing of their own language.
The recording wears its age well. Whilst it lacks a little of the natural warmth and presence of the best modern recordings it is lucid and well balanced and set in a clear acoustic. Given the excellent diction of the singers it is a pleasure to follow the libretto, which is provided with English, French and German translations. There is also a useful track related synopsis and photographs from the sessions.
Given the foregoing one has to wonder why this performance has had such a varied career on CD, before being given the accolade, justifiable in my view, of inclusion in this 'Series'. The answer lies, I think, in the
response to the singing of Scotto who sometimes over-characterises the girlishness of Butterfly and has the odd raw note at the top of her voice when under pressure. The upside of her interpretation however, is, that she lives and breathes all of Butterfly's many emotions leaving the involved listener 'gutted' at her final tragedy. Whereas Bergonzi and Panerai can stand comparison with any other on disc, Freni, for Karajan, is the perfect Butterfly, balancing legato and subtle characterisation with a wide palate of tonal colour. However, as a total 'package' this Butterfly takes a lot of beating and is justifiably a 'GROC'."Robert J Farr -www.musicweb-international.com