Search - Tullio Serafin, Antonietta Stella, Carlo Bergonzi :: Verdi - Il Trovatore

All the five principals are great.

11/18/1999

(5 out of 5 stars)

"Bergonzi's is the best-controlled tenor voice after Caruso and Gigli and he makes the best trovatore here. Cossotto's Azucena is the only one comparable to Simionato's, beautifully vocalised. Bastianini use his sonorous baritone to great effect here too. And Vinco also makes a significant contribution. The only thing I don't agree with the last comment is that, in my opinion, Stella sings Leonora with a well-schooled voice. I don't think any soprano today can reach such a standard in such a demanding role today. Stella is a very unfortunate soprano. She is among two very great competitors, sharing similar roles. I have to admit that Callas is much better at characterization and Tebaldi surely has the most commanding and beautiful voice in the recording history as a lirico-spinto. But if Stella in her prime is singing today, there certainly aren't any sopranos in her class. As Leonora here, Stella demonstrates her versatility by singing the coloratura passages almost as well as the more dramatic ones. Serafin's conducting proves that he is still underated-he's certainly one of the best conductors, if not simply the best, in Italian operas."

You can't go wrong with Serafin & Co. in Verdi!

Malley Patrick Keelan | Lincoln, NE | 09/01/2004

(5 out of 5 stars)

"I owned this set for many years in the old deluxe red clothbound Lp set, with the deluxe libretto. Since buying it in the new, attractively-packaged 2-fer CD slimbox on the same DGG label, I have played it much more. First of all, for 1962 (not exactly the dark ages in sound, especially at DGG) the newly-digitalized sound is superb, so buy without fear if that's a criteria for you. On to the performance. While it's difficult to efface memories of Franco Corelli as the troubador, as well as Bjoerling, Tucker, and Domingo (add your other favorites!) the truth is that no one else sings a Verdi line as suavely as Carlo Bergonzi, heard here in his prime years. He gets everything "right." A "fluid-drive" voice. Sometimes, on other labels, he sounds less-significant than other tenors of his time. Not here. He's the real-deal. On that subject, I think that DGG and London/Decca recorded his voice the best. Buy his La Boheme, Madama Butterfly and La Traviata London 2-fer releases if you see them! And let's hope Universal/Decca re-releases in budget form the 1967 La Gioconda with Tebaldi, Bergonzi, Merrill and Horne. It's a WOW! For our purpose here, though, this is a completely satisfying essay of the role of Manrico, for me. Antonietta Stella would be a much bigger star today than she was in the 50s & 60s, competing with Tebaldi, Callas, de los Angeles, Milanov, et al. I'm glad that DGG and EMI recorded her in many of her best roles. The young Fiorenza Cossotto is stunning as Azucena. period. As good as anybody else who's recorded the role. And what a pleasure to hear one of my favorite singers in any voice category, Ettore Bastianini, as Count di Luna. His burnished dark bronze sound is perfect for the role. I must note, however, that 1962 was the year that he was diagnosed with the wretched throat cancer that was to take his life--and which he kept secret until the end, in 1965. This set may have been about his last recording, and the tone is more worn-sounding and technique more effortful, But that's still better than most baritones at their best! He was another singer who had to compete in his era with some major heavy-hitters like Leonard Warren, Robert Merrill, Cornell MacNeil, Tito Gobbi and Mario Sereni. Incidentally, Robert Merrill was a fan of EBs! Bless DGG and London Records for recording Bastianini during the period 1955-1962 in many of his best roles. Ivo Vinco (Cossotto's husband!) is fine as Ferrando. What can you say about the old master, Tullio Serafin, with the La Scala forces?! Excellent, as always. Even if you have other Il Trovatores on LP, cassette tape, CD, VHS or DVD, you won't go wrong adding this one. They can't cast these war-horse operas like this on a consistent basis anymore, so treat yourself to a by-gone age of great Verdi singing."

Buy it, it's great

Malley Patrick Keelan | 09/08/2001

(5 out of 5 stars)

"Though this recording may not be the best version around, but it is very good. Bergonzi has a beautiful voice and uses it to fullest extent here- listen to the Act 1 trio. His only problem is that Manrico's character is so highly dramatic that Bergonzi's more civilized tenor has nowhere near a dramatic enough level. Stella is no Callas, but she keeps her voice under good control and sings beautifully. Bastianini shines, as always, and his baritone is like gold. If HE had a problem, I'd be shocked, but I'd say that he sang a tiny bit better on his recording with Corelli and Price. Cossotto's Azucena has always been my favorite in a way- Zajick's only problem is a shrieky, "Stride la vampa" and Barbieri can sound weak next to the orchestra, and Simionato can honk in "Perigliarti ancor." Cossotto has none of these slight problems, and sings even better then on her recording with Domingo, Price, and Milnes. Serafin is fabulous, and the orchestra played well. Ivo Vinco also sang Ferrando well, so all in all, it's wonderful."