Classical Music Forum banner
17021 - 17040 of 17043 Posts

·
Registered
Joined
·
9,356 Posts


This was quite an enterprise when it was issued in 1985. Not only was it the first major studio recording of the opera in French, but Abbado included in an appendix music cut from the first performance, excised from the 1882-83 four act version, or recomposed in that revision.

This time round, I foud this set an absorbing listen and emereged with renewed admiration for this great, but flawed score. The French language does give the score a slightly different tinta, reflected in Abbado's thoughtful conducting. Unfortunately, save for Domingo's sensitive and highly strung Carlos, much more multi faceted here than in the Italian version under Giulini, the cast doesn't really match up to those on Karajan and Giulini. Ricciarelli is a sensitive, greatly affecting Elsiabeth, but itsn't quite up to the big moments, Valentini-Terrani too light voiced for Eboli, Nucci a somehwat unimaginative Posa and Raimondi and Ghiaurov, having swapped roles since Karajan, are just past their best.

Nonetheless, I enjoyed listening to the opera yet again, even if I would place this set slightly below my others (Giulini and Karajan).
 

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,024 ·


This was quite an enterprise when it was issued in 1985. Not only was it the first major studio recording of the opera in French, but Abbado included in an appendix music cut from the first performance, excised from the 1882-83 four act version, or recomposed in that revision.

This time round, I foud this set an absorbing listen and emereged with renewed admiration for this great, but flawed score. The French language does give the score a slightly different tinta, reflected in Abbado's thoughtful conducting. Unfortunately, save for Domingo's sensitive and highly strung Carlos, much more multi faceted here than in the Italian version under Giulini, the cast doesn't really match up to those on Karajan and Giulini. Ricciarelli is a sensitive, greatly affecting Elsiabeth, but itsn't quite up to the big moments, Valentini-Terrani too light voiced for Eboli, Nucci a somehwat unimaginative Posa and Raimondi and Ghiaurov, having swapped roles since Karajan, are just past their best.

Nonetheless, I enjoyed listening to the opera yet again, even if I would place this set slightly below my others (Giulini and Karajan).
I enjoy it too. :)
 

·
Registered
Joined
·
9,356 Posts


One of my favourites from Verdi's "galley years". It's a bit short on plot, but musically it has some terrfific moments and seems to me that, along with Ernani which came just before it to be a big stride forward from I Lombardi. I should single out the prison scene for special mention.

This is a terrific performance and one of the very best in Gardelli's series of early Verdi for Philips. Ricciarelli is fantastic as Lucrezia, and in fact I'm not sure I've ever heard her do anything better, and Carreras at his early career best, is dramatically involved and sings with great lyrical beauty. The lower voices are also wonderfully filled by Cappucilli and Ramey. Highly recommended to anyone interested in investigating Verdi's early operas.
 

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,029 ·
One of the few Verdis I don't have, though I do of course have I Lombardi. I don't know how much it differs, but I believe the differences aren't as great as between Stiffelio and Aroldo.
The sound is really good. So far i really like it.
 
  • Like
Reactions: Tsaraslondon

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,030 ·
 

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,033 ·

Das Rheingold
 

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,034 ·

Done with Rheingold and Walkure and find this recording disappointing.
The conducting and singing is fine, but it was recorded at a very low volume.
I have to turn the volume knob from my normal listening level
of 15 or 16 to 20 or more and the orchestra still has a "dry" sound.
No ambiance.
The voices are too low in the mix and the orchestra difficult to hear in soft parts.
To me, a disappointing recording.
Das Rheingold
 

·
Registered
Joined
·
9,356 Posts


I doubt there's much point trying to make much of the preposterous plot. Better just to enjoy Verdi's glorious music.

Considering its relative popularity from amongst Verdi's early works, Ernani hasn't had that many recordings, possibly because of the excellence of this one, which was fist issued in 1968. Price and Bergonzi are outstanding, indeed I'm not sure if Bergonzi ever did anything finer. Sereni and Flagello aren't always models of style but are a good deal better than acceptable and Schippers has a great grasp of the needs of the score.

Hugely enjoyable.
 

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,037 ·
 

·
Registered
Joined
·
9,356 Posts


From early Verdi to his last, great, life-affirming masterpiece in this absolutely superb and perfectly cast recording, so good I've never felt the urge to acquire an alternative, though I've listened to quite a few.

It may be Verdi's last opera, written when the great man approached the age of eighty, but the music has such sparkle, such lightness, such fluidity that you would never believe it and it betrays not a single suspicion of waning resources. His mastery of ensemble is, I would suggest, unparalleled and the many tricky and complicated ensembles in the opera are performed here to perfection. Nor would I change one member of this superbly characterful cast. Some have complained that Gobbi's voice was not "fat" enough, whatever that means, but his range of expression and tone colour are staggering, his characterisation of the loveable rogue spot on. Barbieri makes a deliciously fruity and plebeian Quickly, Moffo and Alva a delightful pair of lovers, Panerai a comically pompous Ford, with an Otello-like intensity in his jealousy aria, and there are brilliantly characterful contributions from Nan Merriman as Meg, and Renato Ercolani and Nicola Zaccaria as Pistol and Bardolph. I have read plenty of comments about Schwarzkopf's Aice being unidiomatic and more of a Frau Fluth, but I simply don't buy it. This is one of her greatest studio creations, her portrayal full of sparkling good humour and fun and she fills the lyrical sections of her music with gloriously full tone.

Added to this the Philharmonia play with unbelieavable precision and virtuosity under Karajan's quicksilver baton.

Pure joy from beginning to end.
 

·
Premium Member
Haydn, Mozart, Vivaldi, Wagner
Joined
·
13,686 Posts
Discussion Starter · #17,039 ·


From early Verdi to his last, great, life-affirming masterpiece in this absolutely superb and perfectly cast recording, so good I've never felt the urge to acquire an alternative, though I've listened to quite a few.

It may be Verdi's last opera, written when the great man approached the age of eighty, but the music has such sparkle, such lightness, such fluidity that you would never believe it and it betrays not a single suspicion of waning resources. His mastery of ensemble is, I would suggest, unparalleled and the many tricky and complicated ensembles in the opera are performed here to perfection. Nor would I change one member of this superbly characterful cast. Some have complained that Gobbi's voice was not "fat" enough, whatever that means, but his range of expression and tone colour are staggering, his characterisation of the loveable rogue spot on. Barbieri makes a deliciously fruity and plebeian Quickly, Moffo and Alva a delightful pair of lovers, Panerai a comically pompous Ford, with an Otello-like intensity in his jealousy aria, and there are brilliantly characterful contributions from Nan Merriman as Meg, and Renato Ercolani and Nicola Zaccaria as Pistol and Bardolph. I have read plenty of comments about Schwarzkopf's Aice being unidiomatic and more of a Frau Fluth, but I simply don't buy it. This is one of her greatest studio creations, her portrayal full of sparkling good humour and fun and she fills the lyrical sections of her music with gloriously full tone.

Added to this the Philharmonia play with unbelieavable precision and virtuosity under Karajan's quicksilver baton.

Pure joy from beginning to end.
But do you like it? :D
 
  • Haha
Reactions: Tsaraslondon

·
Registered
Joined
·
15,527 Posts
Ernani has become one of my favorite Verdi operas. The vocal writing and melodies are just amazing and non stop. It gives me great respect for all of the incredible vocalists who have sung these parts.
 
17021 - 17040 of 17043 Posts
Top