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Giuseppe VERDI (1813–1901) Presenting Aprile Millo - Verdi Arias
Ernani:
1. Sorta č la notte … Ernani, involami [5:05]
Il trovatore:
2. Tacea la notte [4:15]
Macbeth:
3. Una macchia č qui tuttora! [7:32]
Otello:
4. Mi parea … Piangea cantando … Ave Maria [17:28]
La forza del destino:
5. Pace, pace mio Dio [6:20]
Un ballo in maschera:
6. Morrķ, ma prima in grazia [4:52]
Don Carlo:
7. Tu che le vanitā [11:53]
Aida:
8. Ritorna vincitor … L’insana parola … I sacri nomi [6:48]
9. Qui Radames verrā … O patria mia [7:20]
Aprile Millo
(soprano)
London Philharmonic Orchestra/Giuseppe Patanč
rec. St. Barnabas Church, Woodside Park, London. publ. 1986
Texts and translations included. EMI CLASSICS 47396 [71:41]
One of the finest Verdi
recitals from the final quarter of the 20th century … should
be in every opera collection. Super!
The liner-notes for this reissue quote Richard
Dyer of the Boston
Globe, saying that during most of last century there
has been only one great Verdi soprano at a time: Rosa Ponselle
in the 1920s and 1930s, Zinka Milanov in the 1940s and
1950s; when she withdrew, Leontyne Price was there to take
over. In 1985, when Dyer wrote this, Ms Price withdrew
from opera and at that very moment Aprile Millo was the
rising star. All of this is of course from an American
point of view. There have been other important Verdi singers
during the same period, notably Maria Caniglia and Renata
Tebaldi to mention two distinguished Italians and German-born
Elisabeth Rethberg shouldn’t be overlooked either. Anyway,
Dyer’s prophecy concerning Aprile Millo may not have been
completely fulfilled but the question is who should bear
the laurel? We have had a number of crown-princesses but
no distinct queen though Aprile Millo was undoubtedly a
strong contender.
The present disc was practically universally praised when it
was first issued more than twenty years ago. Ms Millo took part
in
a couple of complete Verdi opera recordings for Sony: Luisa
Miller, Il trovatore and Aida, in all three singing
opposite Placido Domingo. But for many years now she has
been absent from the recording studios, even though she is
still singing, having appeared as Aida at the MET earlier
this season.
Coming back to this recital after so long a time was like
witnessing again a volcanic eruption. Here was a singer at
the beginning
of her career and already fully fledged. Hers was a true
spinto voice with shining top notes and an ability to expand
dynamics seemingly forever. When Maestro Patanč lets loose
the London Philharmonic in this impressively recorded recital
Ms Millo is still there, on top of the orchestra. It is not
just a matter of volume and stamina. What is most stunning
about her is her truthful obedience to Verdi’s dynamic markings.
This is felt in every part of this taxing programme. Leonora’s
act 1 aria from Il trovatore has some ravishing soft
singing and a superb crescendo followed by a diminuendo in
one long phrase. Lady Macbeth’s aria is even more sensational.
She manages to wring every drop of emotion out of this bleak
music and colours the voice impressively. The long scene
from Otello is soft and inward but so intense that
one sits glued to the chair. Her sudden outbreak of terror
on Ah, Emilia, addio comes as an explosion straight
out of nowhere. The arias from Forza, Ballo and Don
Carlo are all superbly executed and she is not for a
second hampered by Patanč’s rather measured tempos. Aida
was one of her great roles and she sang it in Verona in 1989
when I was there but unfortunately not in the performance
I saw; something I regretted even more when listening to
her readings here. Her magical final note in O patria
mia is something to return to over and over again.
It is a shame that this disc has been out of circulation
for so long and lovers of great singing should be deeply
grateful to
ArkivCD for bringing it back to the catalogue. There are
full texts and translations and moreover a short introduction
to each aria, giving some historical background and placing
the aria in its context. Super!
One of the finest Verdi recitals from the final quarter of
the 20th century. It should be in every opera collection.