Classical Editor: Rob Barnett   Music Webmaster Len Mullenger: Len@musicweb-international.com

		Although I do not wholly agree with the concept of Opera in English, there is no denying the fact that Chandos have a winner series on their hands, especially with this famous double-bill. Dennis O'Neill's status as one of the finest Italian lyrical tenors around puts him in the driving seat in this all-English production. In the 'Cavalleria' especially he is on top form with some lovely solo numbers and duets showing the full power of his match although it is also finely homespun and lyrical at the same time. The entry in 'What do you want Santuzza' is indeed thrilling although Miriciou's curse of 'Mala Pasqua' is feeble in its English counterpart, by now I had really began missing my Italian! With the choruses and Easter Hymn, you don't seem to mind much although the latter is infinitely more touching in its native language. There is nothing to fault the orchestra with though, their playing of the wonderful Prelude and Intermezzo is white-hot and they are constantly directed with exemplary panache by David Parry who shapes the final scene beautifully. All the roles are well sung although it has to be said that the Italian language is sorely missed in this most rustic of operas. 'Ahhhh…….hanno ammazzato compagne Turiddu'. 'I Pagliacci' suffers even more in this regard. You cannot fail to be thrilled by Alan Opie's wonderfully paced 'Prologue' but those words, they are almost a nightmare! It is obvious that this music was written to flow along the Italian verse but anyway, this is English. Dennis O'Neill is a splendid Canio, he sings the famous 'On with the motley' with beautiful tenderness and passion whilst Rosa Mannion's Nedda is also superbly characterized. William Dazely's Silvio is also marvelous, ranging from deep emotion to depression in admirable operatic character. For example, 'Ah, sei tu ben venga' is infinitely more dramatic than Ah it's you, You're welcome' almost as if a long lost friend has appeared. Countless other little comparisons may be cast but the end result is that I prefer Karajan's intimate and superbly paced account of this wonderful opera. The Intermezzo is beautifully played and the recording is also rich and vivid in the best Chandos tradition. The contradiction in it all is that Chandos provide full notes in about five languages whilst the libretto is in English only! Sumptuously packaged, those died in the wool Imperialists will obviously applaud this issue but you should always listen to the originals, it's like a whole new world. 'La commedia e finita' Reviewer Gerald Fenech  Performance Sound	Reviewer Gerald Fenech  Performance Sound Reviews from previous months Reviews carry sales links but you can also purchase from:
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