Search - Giuseppe Verdi, John Pritchard, Maggio Musicale Fiorentino Orchestra :: Verdi: La Traviata

A Very Odd Production

John Cragg | Delta(greater Vancouver), B.C Canada | 07/20/2001

(4 out of 5 stars)

"This is a very strange recording of La Traviata. It features, of course, Joan Sutherland in most glorious voice. She puts on a spectacular bravura performance, with virtually flawless technique. Her performance, however, is characterized by an almost total lack of consonants (For instance, "addio" comes out sounding like "aa-eee-oo".) Even vowel sounds sometimes get distorted -- presumably in order to get an even smoother musical flow. Surprisingly, Sutherland also demonstrates just how dramatic such singing can be -- pure sound to express a wide variety of emotions. It is an amazing performance -- it needs to be heard just to see how such intense drama can be achieved with such an approach. This is all fine, except for two things. First, the sound is somewhat lacking. Especially in Act 1, it sometimes sounds as if Sutherland is singing in an echo chamber. It also makes her middle range sound surprisingly mature -- she was at the beginning of her career when this recording was made of an age where one would expect vocal freshness matching Violetta's vulnerability--she is not the rather broken down cortesan which so many sopranos well on in their careers make her sound. Second, the other principals are using a quite different asthetic. Bergonzi as Alfredo turns in a sterling, rather traditional performance, with words well articulated and designed to have their meaning bring out the drama. Unfortunately, in the duets, the contrast in approach with Sutherland does not enhance things. This contrast is also present in the duets with Germont -- sung more than adequately by Robert Merrill -- though there it matters less since Germont's character and values differ so much from Violetta's. Pritchard's conducting, which is rather eratic in the crowd scenes, taking on a frenetic agitation at inappropriate moments, broadens out in other places, allowing slow speeds which accentuate Sutherland's mooning style at the expense of the drama she is so successfully communicating. The only comparable recording I know is the one with Caballe -- again with Bergonzi -- where the eratic features of the soprano's glorious singing clash harshly with the conductor's approach. Given the peculiarities of the performance, the choices London/Decca made in bringing out this set are unfathonable. There is no libretto, but a rather poorly done "listening guide" -- and no discussion of place of the opera. In addition, there are few tracks, and those provided combine material which both logically and musically are distinct and should be on separate tracks. This makes dipping into parts of the recording frustrating.Overall -- this is a performance to be enjoyed and savored. It is not a good recording to have as a first version of La Traviata. The fact that it remains in the catalogue after so many years -- and with so many other recordings of the opera either still available or fallen by the wayside that would be substitutes for it-- speaks volumes for the essential merits and appeal of this recording."

ONE OF THE GREAT "TRAVIATAS".

Boz | 10/02/1999

(5 out of 5 stars)

"This is one of Sutherland's truly great recordings. She had the perfect voice for Violetta. Bergonzi is THE best Alfredo on cd.His recording with Caballe is also superb. This is a terrific cd at a terrific bargain price."

Almost perfect Traviata

Michel | Montreal, Quebec | 04/29/2003

(5 out of 5 stars)

"Joan Sutherland was at her vocal zenith when she recorded this
first Traviata in 1962. She is perhaps not a natural for the
complex role of Violetta but sing beautifully she could and
does in this set - she is delightfully flirtatious in the first
act and predictably dazzling in 'Sempre libera' - elsewhere
beauty of tone makes up for the lack of dramatic insight and
verbal nuance though she is surprisingly intense in the last
act. Carlo Bergonzi is a superb Alfredo - youthful and ardent -
singing splendidly. Robert Merrill's Germont is a classic -
his voice dark and rich his manner authoritative yet compas-
sionate. The score is presented complete and lovingly conducted
by John Pritchard. Good sound if somewhat boomy at times. A
great bargain!"