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Giuseppe VERDI(1813-1901) Il Trovatore(1852) [128:48] Leontyne
Price (soprano) – Leonora; Franco Corelli
(tenor) – Manrico; Ettore Bastianini (baritone) – Conte di Luna;
Giulietta Simionato (mezzo) – Azucena; Nicola Zaccaria (bass) – Ferrando;
Laurence Dutoit (soprano) – Ines; Siegfried Rudolf Frese (tenor) – Ruiz;
Chorus of the Vienna State Opera.
Vienna Philharmonic Orchestra/Herbert von Karajan
rec. live, Neues Festspielhaus, Salzburg, 31 July 1962. mono.
ADD DEUTSCHE
GRAMMOPHON 4476592 [67:22 + 61:26]
This recording is the
stuff of legend. The sound is mono and the cuts are regrettable,
but if you could choose to be present at only one evening
in the history of the Salzburg Festival, it would surely
be this one.
Karajan was responsible
for effectively reinventing the Salzburg Summer Festival
- as well as starting up the Easter Festival - after the
Second World War. This set’s booklet note talks in depth
about how important his interpretations of Verdi were. This
recording represents the most famous of these. Karajan has
always been a controversial interpreter of Verdi, mainly
for his choices of tempi. His studio recordings have been
criticised for controversial tempi and, in his later EMI
recordings, for manipulation of the voices and orchestra
in a false acoustic. Here, however, we hear the great maestro
at his greatest in the element in which he thrived the most:
the live performance. There are imperfections in the singing
and playing, the audience noise is sometimes intrusive and
the sound is rather dry; but over-riding all of this is an
undeniable sense of throwing caution to the winds and everyone
involved giving of their absolute best. Never have I come
across a live opera recording with such a palpable sense
of electricity.
The soloists are all at
the peak of their form. Leontyne Price was famous for the
role of Leonora: she recorded it successfully in the studio
for Mehta (on RCA) and later for Karajan (EMI). This was
her first recording of it and her voice is caught in full
flow. The rich, creamy tone is ravishing in the first act
aria and cabaletta - get your ears around the endless top
note with which she ends Di tale amor! - and ecstatic
at Manrico’s reappearance at the end of Act II. The poignancy
of D’amor sull’ali rosee is unrivalled on disc, even
by her later performances, yet she also summons all of her
dramatic powers for her ensuing confrontation with the Count.
It is only a shame that Karajan saw fit to cut Tu vedrai
che’amore in terra. As the Count himself, Bastianini
has never sounded better on disc. He achieves the almost
impossible by making this stock character sympathetic and
believable. Even at his first entrance in Act I he sounds
virile and exciting and his frustrated rage turns believably
into vindictive joy in the first scene of Act III. He does
not cope quite so well with Karajan’s rather rushed tempo
for Il balen with a few notes going flat, but he broadens
out luxuriously for the final section of the aria.
Whatever your opinion
of Franco Corelli, this recording will merely confirm it!
If you admire him for the heft and heroics of his voice then
you will thrill to Deserto sulla terra and, especially, Di
quella pira, where he takes extraordinary liberties with
the tempo and even the written notes! If, on the other hand,
you find him vulgar with little sense of line and even less
sense of attack then this recording will give you plenty
of ammunition. The recitative-like passages are full of scooping
and swooping in a way that would never be allowed today -
why didn’t he just sing the note? - and he indulges in histrionics
that have little regard for the drama and far too much regard
for indulgent self-glorification. On balance, however, there
is more to enjoy than to criticise: I have never been a fan
of Corelli’s but even I yield to his singing in Act III (where Ah,
si, ben mio even ends with a quiet note!) and his sense
of momentum. Either way, this is infinitely preferable to
the studio recording he made with Schippers for EMI.
The stand-out star among
the soloists, however, is Giulietta Simionato who redefines
the role of Azucena. It is well known that Verdi was originally
going to name the opera after Azucena and he saw her as the
principal character. Simionato hammers home her primacy in
the drama, and she does this by singing in a deeply resonant
chest voice throughout. When you first hear her in Stride
la vampa it feels like a contralto is telling the story.
She moves on to a thoroughly hair-raising Condotta all’era
in ceppi, conveying her unhinged hysteria in a way I
have never heard before: at the end she sings :”My hair still
stands on end when I remember it.” So did mine! She is good
at playing the wounded mother in her subsequent duet with
Manrico and she is a convincing caged animal in the first
scene of Act 3. Her clarion call of vengeance rings out at
the end of the opera in a way that no other mezzo has ever
done. Fassbaender (Giulini on DG) and Obratszova (Karajan
on EMI) come closest to matching her but she remains a nonpareil
in this role.
In short, Caruso famously
said that all you need to perform Trovatore is the
four best singers in the world. On this recording you get
them. The smaller roles are well done too. Zaccaria, in particular,
is inspired by the occasion to raise his game significantly
higher than he had done for Karajan’s studio recording at
La Scala with Callas, and he points the opening narration
most effectively. The orchestral playing is predictably good
throughout, as is the chorus, though they are not helped
by being balanced relatively far back, especially problematically
at the end of Act III.
Karajan is at the centre
of this whole recording. Trovatore was always a favourite
of his and you can hear it in the loving detail he builds
around each moment of the score. He changes his conception
to meet each moment, whipping up the tension for a thrilling
conclusion to Act I, but framing a surprisingly tender opening
to the final scene in the dungeon. What is most telling,
however, is the way he responds to his singers. He never
imposes a view on them but opens out to allow them to express
themselves in the role as they see fit, especially in the
slower solo moments. Listen to D’amor sull’ali rosee to
hear how Price repeatedly bends the tempo to suit her view
of the role but, more remarkably, how Karajan ensures that
the orchestra follows her as closely as her own shadow, allowing
her the freedom to take the music how she wants it
rather than imposing his own view on her. Singers famously
loved Karajan: Elisabeth Schwarzkopf once said the “he sticks
to you like gum to a shoe”, and this recording illustrates
that sense of collaborative partnership working wonders.
Those who see Karajan as a hysterical dictator will find
this recording illuminating.
All told, then, this recording
is an unmissable treat. If you’re looking for studio perfection
or modern stereo sound then this recording won’t do for you.
It’s worth pointing out though that the sound on this Austrian
Radio recording is a million miles better than the various
pirate versions doing the rounds, and is surprisingly immediate
and clear, particularly for the soloists. If you want to
hear the sheer theatrical magic that can be produced by the
best in the world in a live performance then do not hesitate.
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