Robert Shaw Chorale - Leoncavallo I Pagliacci (24 tracks) +Album Reviews

BEAUTIFULLY SUNG BUT BLOODLESS

lesismore26 | Chicago, Illinois USA | 12/13/1999

(4 out of 5 stars)

"This 1954 "Pagliacci" is probably the best-sung version of this opera ever to have been recorded. Moreover, the sound has been digitally remastered, and the results are good enough to make it a valid contender. Rarely has this one-act shocker been as lavishly cast as it is here. Jussi Bjoerling only performed the role of Canio in "Pagliacci" a few times onstage during his career, probably because his basically lyric tenor would have been pushed beyond its endurance in this very heavy role. On this recording, however, he sings beautifully, without ever pushing for volume and power. His voice, of course, was one of the greatest of the century and his "Vesti la guibba" is really something to hear and cherish. For sheer singing, he cannot be faulted for anything, but to me Bjoerling sounds curiously detached and uninvolved, but in his case it was his voice that was his glory, and his presence in this recording is a real luxury. The luxury is further augmented by the presence of two of the greatest baritones of the period ---- Leonard Warren, who sings a superb Tonio (and who operates at a somewhat higher degree of intensity than does Bjoerling) ---- and Robert Merrill who is given a role which has one requirement: that he sing beautifully in the love duet with the soprano, which Merrill certainly does. Compounded into this plethora of vocal gold is the legendary soprano Victoria de los Angeles, who sings a very beautiful and lyrical Nedda, but this is a character who is torn by conflict, remorse, and real anxiety. Unfortunately, de los Angeles sounds a little staid and mature-sounding, and where she should be powerful, she sounds merely petulant. Thus we have a Nedda and Canio who seem uninvolved in the drama, which of course takes a lot of punch out of the performance. Part of the problem may be the conductor. Renato Cellini was a competent conductor in his time, but he opts here for a very static and serene approach to this opera which I find to be inappropriate to meet the needs of the drama. I would recommend this performance of "Pagliacci" solely for the caliber of the singing, which is exemplary, though cool and to my ears, very reserved. This recording has another advantage: it is packaged by itself, whereas most other recordings of "Pagliacci" couple it with "Cavalleria Rusticana", its operatic "twin". Of course, if you want both operas, you might try the classic EMI coupling with Callas, di Stefano, Gobbi and Panerai --- conducted by the veteran Tullio Serafin. On two CD's at mid-price, and with highly dramatic and intense performances from its cast, it makes a great first-choice for these operas (in good remastered mono sound). But if you want a "Pagliacci" by itself, and if you are primarily interested in beautiful singing, you are bound to appreciate this recording."

Fabulously cast Pag

John F. Schlesinger | London | 03/12/2002

(5 out of 5 stars)

"I tend to disagree with the other reviewers (especially the one that thinks Leonard Warren is a tenor, but also the one that thinks Bjoerling has a lyric tenor), perhaps because I am besotted with the (spinto) voice of Jussi Bjoerling. I spend an entire afternoon comparing Bjoerling's final aria (No, Pagliacco non son) with the others in my collection. Cura can't compare. Caruso is strikingly similar but doesn't have the vocal colour. How anyone can hear this performance and say he is uninvolved defeats me. The second half of the aria has every emotion (fury, depression and hate) so clearly delimited. The final curse with its faultless notes above the staff integrated into the line (even Caruso can't do this) is heartbreaking.If you want to hear great singing this is a great performance."

Don't listen to the other reviewers

Jon Ludwig | Australia | 02/20/2002

(5 out of 5 stars)

"What an opera! The great singing of Warren, Bjorling, and de los Angeles has never been equalled. The only rival I have to this recording is with Corelli, Gobbi and Amara, both are very different but compeling.In this recording Bjorling makes Canio into a person with some honour, a person everyone can relate to not just a man who's emotions range from jealous to cold blooded killer, (he makes canio into what Callas made medea). The ease and absolute passions rage in his voice unlike anyone I have heard. Warren for me is the greates tenor of all time along with Gobbi. Their is now a live recording of Warren, Raoul Jobin, Albenese in Pagliacci which is a must for anyone who wants to hear this opera in all its height of passion. However Warren here delivers a compeling Tonio, with all the insight of decades of performances. His lust and creapy nature all come alive in Warrens vocal timbre, (listen to his totally creapy Scarpia). Finally de los Angeles shows how easily her voice sat in verisimo roles, she delivers the trills and high notes equal of a bel cantoist but with the voice that suit.This recording out does any conteporary singers, their is no yelling, and awful timbres in this recording. Plus, it is really cheap for a single CD, what a bargin the great Bjorling, Warren, and de los Angeles for mid price. Bravo!!!!"

Exquisit!

lesismore26 | 02/07/2004

(5 out of 5 stars)

"This was the very first opera recording I had of this work. I bought it way back when, and it was originally released under the "Seraphim" label. I even wrote the price on the box (at that time, a huge $5.98). It was part of the Great Recordings of the Century series, and with the opera itself was included a side of arias sung by Bjoerling. Of course, at the time I bought this recording I knew nothing of the opera, excepting the famous "Vesti la giubba" (from recordings of Caruso), and the Prologue (but not sung by a great baritone of the opera, but Jim Nebors of Gomer Pile fame). I was instantly entranced. The story really grabbed me, and hearing it was a real revelation. The drama was very much alive, for me, and I find it hard to imagine people claiming it is really a very dead recording. The recording was a mono recording back then, and is often the case when remastered for CD, there are flaws in the sound quality. At times, one actually does think the opera was recorded with wool in front of the mikes, a sound quality not found in the originally released records. The only "uninvolved" singer of the lot is de Los Angeles. I have always found her very emotionless. She is very pretty, and has a very mellow caressing sound, but for some reason it reveals very little in the way of character, even in her very famous Butterfly recording. Her Faust and Barbiere di Seviglia did little for me either. Yet, in live performances, she was enchanting. I really suspect that it was the way her voice records. It is so mellow it records fairly faithfully as far as sound is concerned, but lacks her real fire that was there in life. Still, her singing is beautiful, and I loved it for beautiful singing. Bjoerling was simply wonderful, and every note was filled with emotion. Personally, I much rather hear him sing this role than Pavarotti (who is wonderfully vocally, but has little acting to his style). Domingo is closer in dramatic truth. Of course, Bjoerling sings with all the traditions of the time, high notes and all that are now removed in most recordings. He even speaks the final words of the opera (a very long tradition of doing so) when in the score they belong to the character of Tonio. Personally, I don't mind the high notes, even if they are not in the score. For me, it seems, one really has to go back in time to find singers who knew how to sing this role (Canio) and give life to it dramatically through their sound. I agree the recording of Gigli is incredible. Some sobs should be there, after all, this is verismo, and even Caruso used some sobbing now and again. Yet, one usually is treated to either nothing at all, or something quite over done. This recording is based more on the music and less on affects. Leonard Warren was the voice that stunned me. I had never heard of him, and of course, by the time I bought this recording he was long dead. I knew nothing of his tragic death right on stage. It was his voice that grabbed me. He made the prologue something special. I actually listened to it first hearing about five times before I even listened to the rest of the opera. There was a haunting quality, particularly in the passages where he tells us that the story we are about to see is about real people. The orchestra is wonderfully exciting. The score is cut, though some of the cuts in the second act are not that important. The music cut often just meanders or gives the impression of instruments tuning up. Some of the choral parts, though, were not a wise choice to cut. I rate this recording so highly because it is worthy of it. It is exciting, and it is an old recording. For those interested in things being "authentic", this is not your recording, as like I said, it follows traditions of the time. The sound quality isn't the best, so those expecting modern studio sound, you will be disappointed. For those interested in a great performance that is well sung, and is exciting, even if somewhat dated, then this is a great recording. It is still my very favorite recording of this work, and it always will be."

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