This recording was
made during the Second World War. Italy
was the only country recording complete
operas for commercial release at that
time. Gigli was in his 50s at the time
of the recording and his voice no longer
had the sheer honeyed beauty that it
does in his early recordings. But what
is remarkable is how much has survived
and how lovely the tone can be. The
experience gained over the years has
enhanced his expressiveness in such
roles as this. Gigli turns in a magnificent
portrait of the revolutionary poet,
Andrea Chenier. His arias based on recitations
of the real Chenier’s poetry are some
of the high points of the opera; Gigli
gives a fine dramatic performance. Unfortunately,
it is rather self indulgent as well;
full of sobs and intrusive aspirates
and emphasis at the beginnings of phrases.
These are all Gigli trademarks and one
must accept them with the good points
as they make up the whole singer, but
they do rather give Chenier a self-pitying
air.
With such star recordings,
what can too often happen is that the
remainder of the cast are just not of
the same quality. But happily this is
not the case here. The recording company
surrounded Gigli with a strong cast
and the result has a dramatic flair
that is very appealing, despite whatever
cavils I might have about details of
a particular singer’s performance.
As Maddalena, Maria
Caniglia is moving and dignified. There
are moments when she sounds a little
stiff, where I would have liked more
flexibility; but she makes the aristocratic
Maddalena a moving figure. As the villain
of the piece, Gerard, Gino Bechi is
simply tremendous. He was under 30 when
the recording was made. His voice itself
has a burnished quality and he gives
a grippingly dramatic performance as
the complex Gerard. Simply thrilling.
Unfortunately it was not to last, and
by the 1950s much of the beauty of his
voice had diminished.
What rather gives this
recording its special quality is the
depth of the casting in the minor roles.
Maddalena’s mother, the Comtesse de
Coigny is played by Giulietta Simionato
who went on to sing Adalgisa and Amneris
opposite Callas at Covent Garden in
1953. Giuseppe Taddei, who went on to
become a renowned Rigoletto and Scarpia,
sings a number of minor roles as does
Italo Tajo. Maddalena’s maid, Bersi,
is sung by Maria Huder. Whilst not a
really big role, Bersi has a significant
part to play in the plotting and Huder
does well, though in the opening of
the important scene at the beginning
of Act II, she sounds a little taxed
by the role’s tessitura.
Despite its set numbers,
the dialogue and the concerted scenes
are very important in the opera and
with such a cast the opera really comes
to life. Listening to it is a very satisfying
experience. Usually, such historic recordings
are of great interest but not really
a primary, library recording. Here,
Ward Marston has made a magnificent
job of the transfer so that, with such
a dramatic performance from a superb
cast, I recommend this recording to
everyone. It also has the added advantage
of an appendix containing a selection
of arias from the opera recorded by
such artists are Lauri Volpi, Claudio
Muzio and Pertile; all fascinating historical
documents.
Robert Hugill
Orchestra and Chorus of La Scala Opera House,
Milan/Olivero de Fabritiis