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Raina Kabaivanska Live in Concert Gioacchino ROSSINI (1792-1868)
Il barbiere di Siviglia: Overture [8:02]
L’assedio di Corinto: Giusto ciel [6:25]* Giuseppe VERDI (1813-1901)
Otello: Piangea cantando (Canzone del salice) – Ave
Maria [17:43]*
I vespri siciliani: Overture [9:11]
La Traviata: Act III: Prelude [4:21], Addio del
passato [5:12]* Giacomo PUCCINI (1858-1924)
Manon Lescaut: Act III: Intermezzo [5:32]
Tosca: Vissi d’arte [3:40]* Francesco CILEA (1866-1950)
Adriana Lecouvreur: Act IV: Prelude [4:20], Io
son l’umile ancella [3:48]* Giacomo PUCCINI
La Bohème: Quando men vo [2:53]*
Raina Kabaivanska
(soprano)*
Orchestra della Radiotelevisione della Svizzera Italiana/Nino
Bonavolontà
rec. live, 19 June 1987, Palazzo dei Congressi, Lugano (Switzerland)
Extra: Giorgio Gualerzi interviews Raina Kabaivanska [25:03] FABULA
CLASSICA FAB29913 [60:19 (concert) + 25:03
(extra)]
Most readers will need no reminding that Raina Kabaivanska
is one of the major singing actresses of our age, with a particular
specialization in verismo. Readers who rely for their
knowledge on recordings, however, may barely know of her
at all. Briefly, she was born in 1934 in Bulgaria but came
to Italy in her early twenties for further study and has
remained there ever since. In 1961 she appeared at La Scala,
singing in “Beatrice di Tenda” alongside Joan Sutherland.
In 1962 she was called to sing at the Metropolitan and thereafter
appeared in practically every theatre of importance, alongside
the greatest singers (Del Monaco, Pavarotti …) and under
the greatest conductors, including Karajan. She has been
noted especially for her Tosca and for her reinstatement
in the repertoire of semi-forgotten works – especially outside
Italy – such as “Adriana Lecouvreur” and “Francesca da Rimini”.
Her career is by no means over; in 2008 she added the Countess
in Tchaikovsky’s “Queen of Spades” to her repertoire. But
she has made few recordings and those few have reinforced
the view that, while as a singing actress she may be able
to communicate a total experience, the voice in itself has
a vibrato that doesn’t record well. She has in any case been
a reluctant recording artist. In the interview which follows
the present concert she states quite bluntly that there are
artists who are good at singing in the theatre and artists
who are good at making recordings, and she is one of the
former.
This 1987 recital, however, does not suggest that vibrato is a problem.
Her tone is always full, controlled and steady. In concert
she “acts” the concert artist. That is to say, she makes
few theatrical gestures, but adopts a slightly regal pose,
one that immediately conveys authority. The acting is done
with the voice, which always combines emotional weight with
tonal beauty. Kabaivanska was a singer I had previously had
problems in relating to, but here it is easy to see what
the fuss was about. Only the slightly odd choice of Musetta’s
waltz as a closing item caused me some misgivings, since
the voice seems too fundamentally heavy for this piece. However,
this item should be heard in relation to the comments she
makes during the interview about the role, which she does
not see in the traditional way.
Somewhat curious, I fished out the only other example of Kabaivanska’s
singing I have, a concert she shared with Carlo Bergonzi
at Lucca in 1973, with arias from “Manon Lescaut” and Act
III of “Tosca”. I realize now that the “vibrato problem” is
not what is normally understood by that term, that is to
say a great big wobble à la Gwyneth Jones. Rather,
hers is a small, tight vibrato, rather fast, with the result
that in top notes in the more dramatic moments of “Tosca” the
voice, at least on record, can actually seem too straight,
or “white”. It didn’t help that in 1973 she had Maurizio
Arena’s noisy orchestra to contend with. Even so, she comes
across as one of the best Toscas of recent years. In 1987
she had a more tactful conductor, but maybe the voice itself
had also acquired greater body over the years.
The reader will have noticed that only about half the programme is
actually sung, the rest consisting of preludes and intermezzos
under a conductor not many will have heard of. Is it so much
wasted space?
It might make a good quiz question. Put 30 seconds or so on YouTube,
choosing a shot where the conductor is seen from a certain
distance. With his tall, lean, erect figure, receding white
hair, heavy spectacles, long baton and clear-cut gestures,
you might just convince someone you’ve found footage of Mravinsky
conducting music Mravinsky never conducted. Closer up, you
see that he isn’t quite as emaciated as Mravinsky, and though
he gets playing of considerable tension from his orchestra,
it clearly isn’t the Leningrad PO, nor does he inspire that
level of fanatical fervour. As to the gestures, I’m reminded
of Vernon Handley’s explanation that the main difference
between his technique and that of his mentor Boult was that
he conducted more beats since he was used to preparing semi-amateur
groups with a minimum of rehearsals. Not for the likes of
Nino Bonavolontà the luxury of twenty-plus rehearsals for
works in the standard repertoire. His gestures are well primed
to obtain reasonable precision, dynamic shading, colouring
and balance with the least possible fuss. I don’t know if
he always found the inspiration he shows here, but it’s clear
from the opening of the Rossini that he means business, the
various intermezzi are not just makeweights and he has the
players swooning into the big tunes the way Italian orchestras
used to in the days of Serafin et al. With all due respect
to Kabaivanska, the piece I enjoyed most of all in the entire
programme was the Intermezzo from “Manon Lescaut”. Quite
frankly, I haven’t heard Puccini conducted like this since
Gavazzeni included this same piece in one of his very last
RAI concerts.
Nino (really Giovanni) Bonavolontà was born in Rome in 1920. His father,
Giuseppe Bonavolontà (1886-1957), was a Neapolitan composer
of popular songs, of which the best known is probably “Fiocca
la neve” (1927). His elder brother, Mariuccio (1913-1960),
under the pseudonym of Mario Riva, can be seen as an actor
in a number of films, including some with the wonderful Italian
comedian Totò. He achieved his greatest popularity, however,
as a TV personality. His musical quiz programme, “Il Musichiere”,
is claimed to be the first of its kind.
Much of Nino’s career was spent in Sardinia, where he was not only
conductor of the Cagliari opera house but also director of
the city’s Conservatoire. He did much to encourage local
talent – Giusy Devinu was a particular beneficiary – and
to rediscover Sardinian composers. Elsewhere in Italy he
conducted from time to time for the RAI while his numerous
appearances abroad included a considerable period in Spain.
However, he was mainly limited to the provincial operas houses
and his encounters with the greatest singers were usually
confined to concerts like this one – Fabula have issued another
with Teresa Berganza (1990). He made no records as such that
I can trace but a few live appearances have circulated. He
was on the podium for Pavarotti’s first RAI performances – some
arias in 1967 – and his 1972 RAI edition of Giordano’s “La
Cena delle Beffe” with Giangiacomo Guelfi in the cast has
also been made available. His career had a curious pendant
in 1994. Though a Socialist until a few years previously
he allowed himself to be used by the first Berlusconi government
as a pawn with which to oust the Municipality of Rome’s candidate,
the lawyer Vittorio Ripa de Meana, for the post of “Subcommissario” to
the Rome Opera House. The principal aim of the exercise,
as far as the government was concerned, was to enrage left-wing
Mayor Rutelli. To those who asked Bonavolontà if he felt
he was being “used”, he disarmingly replied that he knew
he was but someone had to do the job. Maybe he hoped to end
his career with an important post in the opera house of his
native city, but a “Subcommissario” is neither a Superintendent
nor a Music Director. The claim that at least a musician
was getting the job all too easily met the response that
he was a “Series B conductor” and that “he wasn’t Abbado”.
He faded from view and his death in 2007 seems to have been
noticed only in the Sardinian press. Possibly I have over-praised
his performances here, but I expected a time-beater and I
found a real conductor, which was certainly a pleasure.
The DVD is completed by an interview with Kabaivanska conducted by
the major Italian opera critic Giorgio Gualerzi. The menu
at the beginning offered various language choices. What I
was actually served up with was Italian with no subtitles,
which was fine for me but won’t be for everybody so I trust
that a version with either a dubbed translation or subtitles
is in there somewhere. Kabaivanska speaks with a notable
Slavonic accent but is very articulate and frank about her
career and the music she sings. It seems that the interview
was recorded to make up a TV portrait of her into which the
arias from the concert would be slotted. As it is, after
each aria is discussed and introduced, there is a short pause,
after which the interview continues. It will be evident from
my comments above that I, at least, am glad we have instead
the complete concert including the orchestral items. Incidentally,
Kabavainska reveals amazingly that she has never had an agent.
She conducts personally all negotiations for her appearances.
I doubt if a young singer who tried that today would get
anywhere, whatever his or her gifts.
The booklet has a useful introduction to Kabaivanska’s art
by Arrigo Quattrocchi, apparently marred by his bad taste in
describing
her in the past tense as though her career were over. Reference
to the original Italian text reveals that he did no such
thing; the translator confused the Italian verb tenses.
A warm welcome, then, to a video that provides full justification
of the Kabaivanska legend, with the added pleasure of a little-known
conductor to be discovered.
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