What Opera Are You Listening to Now?

[Tsaraslondon]

Donizetti: Roberto Devereux Teatro di San Carlo - 1998 (Pendatchanska, Sabbatini, Guingal)
Superlative. Overall, I prefer it to the Sills/Mackerras version, the prevailing standard of the opera. Alexandrina Pendatchanska gives us a Bette Davis-like Queen Bess I but thankfully doesn't sing like it. Her superb performance is equaled by Giuseppe Sabbatini's stunning Devereux. Their chemistry is the highlight of the production.

I have Pendatchanska's recording of Semiramide and find it very fine, so this looks interesting. You also get nearly an hour's more music in her recording than in the famous Sutherland set.

I've never taken to Sills in any of the Donizetti Tudor operas. As always, she is very musical and dramatically alive, but I've never thought she had enough voice for them. I have a live recording of this opera with Caballé and Carreras, which I much prefer.

Incidentally, didn't Pendatchanska change hername to Alex Penda at some point?

[Florestan]

Il tabarro

Robert Merrill, Renata Tebaldi, Mario del Monaco
Orchestra e coro del Maggio Musicale Fiorentino
Lamberto Gardelli

First listen to this opera. Nothing to write home about, honestly, except some orchestral writing (particularly the barrel organ music counterfeited with flutes and clarinets is exquisite and reminded me of the similarly counterfeited accordion in Stravinsky's Petrushka) and a few vocal "numbers" here and there (of which the best was, curiously, discarded by Puccini). Clearly one of his weakest works.

[Florestan]

I have a soft spot for Stradella's vocal music, which can be safely described as '17th century belcanto'. Whether cantatas, oratorios or operas, one can always count on him to deliver cantabile arias, duetti and ensembles, eminently melodic and singable. This opera here is no exception. Add to this that he was adept at writing for strings as well and the result is a musical feast of the highest quality.

[ando]

I have a live recording of this opera with Caballé and Carreras, which I much prefer.

Incidentally, didn't Pendatchanska change hername to Alex Penda at some point?

I'll have to look out for that Caballé/Carreras version. In what year was it recorded?

Not sure about Pendatchanska's name change. It seems she dons both, professionally.

[Tsaraslondon]

Il tabarro

Robert Merrill, Renata Tebaldi, Mario del Monaco
Orchestra e coro del Maggio Musicale Fiorentino
Lamberto Gardelli

First listen to this opera. Nothing to write home about, honestly, except some orchestral writing (particularly the barrel organ music counterfeited with flutes and clarinets is exquisite and reminded me of the similarly counterfeited accordion in Stravinsky's Petrushka) and a few vocal "numbers" here and there (of which the best was, curiously, discarded by Puccini). Clearly one of his weakest works.

I don't agree. It's a darkly brooding work, a piece of operatic grand guignole. Michele is really the central character and it needs a singing actor of Tito Gobbi's stature to bring it to life. Also remember that it was meant to be performed as part of the whole Triptych, with the more sentimental Suor Angelica in the middle and the somewhat black comedy, Gianni Schicchi to finish.

[Tsaraslondon]

I'll have to look out for that Caballé/Carreras version. In what year was it recorded?

Not sure about Pendatchanska's name change. It seems she dons both, professionally.

1977 Aix-en-Provence

[Florestan]

I don't agree. It's a darkly brooding work, a piece of operatic grand guignole. Michele is really the central character and it needs a singing actor of Tito Gobbi's stature to bring it to life. Also remember that it was meant to be performed as part of the whole Triptych, with the more sentimental Suor Angelica in the middle and the somewhat black comedy, Gianni Schicchi to finish.

Well, that was my impression after the first listening. I might change my mind later. And indeed, listening live to the triple bill (is it done today, I wonder?) is probably an altogether different experience. You have to admit, though, that it lacks that melodic charm which is Puccini's (in)famous trademark.

[ritter]

I have a soft spot for Stradella's vocal music, which can be safely described as '17th century belcanto'. Whether cantatas, oratorios or operas, one can always count on him to deliver cantabile arias, duetti and ensembles, eminently melodic and singable. This opera here is no exception. Add to this that he was adept at writing for strings as well and the result is a musical feast of the highest quality.

Intersting! Will explore, as I am not acquainted with Stradella's music. And seeing the name of Marco Beasley on the cover is an added allure (his contribution to Christian Brenda's Naxos recording of Casella's La Giara —"La Storia Della Fanciulla Rapita Dai Pirati"— is quite fantastic).

[Florestan]

Intersting! Will explore, as I am not acquainted with Stradella's music. And seeing the name of Marco Beasley on the cover is an added allure (his contribution to Christian Brenda's Naxos recording of Casella's La Giara —"La Storia Della Fanciulla Rapita Dai Pirati"— is quite fantastic).

Beasley is a consummate specialist in the Italian Baroque music, including popular/folk.

[Tsaraslondon]

Well, that was my impression after the first listening. I might change my mind later. And indeed, listening live to the triple bill (is it done today, I wonder?) is probably an altogether different experience. You have to admit, though, that it lacks that melodic charm which is Puccini's (in)famous trademark.

True, but then melodic charm might be considered out of place in this opera.

I think the triple bill is still occasionally performed, though it makes for quite a long evening as each opera is around one hour and you would have to have intervals as well.

[ritter]

True, but then melodic charm might be considered out of place in this opera.

I think the triple bill is still occasionally performed, though it makes for quite a long evening as each opera is around one hour and you would have to have intervals as well.

...plus, to get to the pièce de résistance of the triple bill, which is that gem called Gianni Schicchi, you'd have to survive Il Tabarro (which I've already said I dislike) and the saccharine Suor Angelica (which I rank even lower).   

These days, single operas from Il Trittico are paired with other works. E.g., here in Madrid I saw Suor Angelica preceded by Dallapiccola's Il Prigioniero.

[nico1616]

As much as I appreciate Gobbi and Tebaldi, my favorite Trittico recording will always be the Pappano. Il Tabarro might even be the highlight here: the orchestral detail is sublime and the three protagonists are utterly compelling. Their triangle relationship is brought as a tragedy full of compassion and the tension mounts to the unbearable.
One of the rare occasions where a modern recording eclipses the ones from the classic age...

[JBS]

The key feature of this recording--restoration of the major cuts and transpositions--is lost on me, since I'm only generally familiar with the opera. (The main cuts seem to involve the chorus, which was apparently not up to the music when it was premiered).

Recorded at live concert performances. Singers and chorus seem more than adequate.

[Florestan]

True, but then melodic charm might be considered out of place in this opera.

Fair enough. In this respect it's the odd man out in Puccini's oeuvre.

[ando]

La Cenerentola (1981, Ponnelle)
It's the famous La Scala version that isn't exactly in pristine shape but remains one of the best on video.
Angelina: Frederica Von Stade
Don Ramiro: Francisco Araiza
Don Magnífico: Paolo Montarsolo
Dandini: Claudio Desderi
Director: Claudio Abbado
additional credits

[nico1616]

Pappano gave me my favorite Trittico, so I was curious about his last recording.
And I guess I am disappointed, the orchestra sounds great but the cast has flaws. Kaufmann should be the star of this recording but I really don't like him here. Maybe I am too used to Pavarotti and Corelli, Kaufmann's timbre just doesn't sound right for Calaf. The Liu is too saccharine, but Radvanovsky is a great Turandot, less steely than Nilsson but still technically accomplished and credible. Some tempo choices of the conductor are also questionable. So I'll stick with Molinari-Pradelli and Mehta.

[JBS]

Settling in for the afternoon with Erich Kleiber's recording of Rosenkavalier (1954 mono) from the Kleiber Complete Decca Recordings set

Over the years it's been issued and re-issued with a variety of covers.

[Florestan]

First listen to Antonio Smareglia's Il Vassallo di Szigeth.



Smareglia (1854-1929) was born in Pula on the Istrian Peninsula (then part of the Austrian Empire) to an Italian father and a Croatian mother. Thus, he's always been regarded as a musical representative of that crossroads of cultures (Italian, Germanic, Slavic), and seems to be regarded as a sort of local celebrity in Trieste and Croatia.

This opera, his first real success, is

Well, what is it? 

[ritter]

First listen to Antonio Smareglia's Il Vassallo di Szigeth.



Smareglia (1854-1929) was born in Pula on the Istrian Peninsula (then part of the Austrian Empire) to an Italian father and a Croatian mother. Thus, he's always been regarded as a musical representative of that crossroads of cultures (Italian, Germanic, Slavic), and seems to be regarded as a sort of local celebrity in Trieste and Croatia.

This opera, Smareglia's  first real success, is a gruesome story of deceit and revenge set in medieval Hungary. It was Luigi Illica's first libretto (written in collaboration with one Francesco Pozza, of whom I could find no information at all). Illica's  typical exalted verses and far-fetched dramatic situations are present even at this early stage of the poet's career. The opera had the honour of being first performed at the opening of the 1889-90 season of the Vienna Hofoper, conducted by Hans Richter and with emperor Franz Josef present (it was his name day). Apparently, Johannes Brahms and Eduard Hanslick both praised the work (later on, Smareglia would become more "Wagnerized").

This is the earliest of the three Smareglia works that have been commercially recorded (always by Bongiovanni), the other two being Nozze istriane (a sort of Dalmatian Cavalleria rusticana, also to a libretto by Illica) and La Falena.

The performance (it's from late 2020) is adequate, not more than that. The singing is not world-class, and the lead tenor has a very strange diction (even if he is Italian). Denia Mazzola-Gavazzeni seems to be the guiding force behind this recent spate of recordings of obscure but worthwhile Italian operas from the period 1875 to 1945 (roughly) on Bongiovanni. For this, she can only be commended, and is the worthy successor of her late husband, the great conductor Gianandrea Gavazzeni. Unfortunately, though, at this stage of her career, her voice is no longer what it used to be and is not particularly pleasant to listen to.

Still, a most interesting release.

[ritter]

Well, what is it? 

What a cliffhanger, eh? 

See my post below yours (I had hit "post" too quickly by mistake on my incomplete message)...

Good evening to you, Andrei.