This disc takes one third of the famous
Trittico conducted
by Serafin and presents it in splendid isolation. Hearing
the operas individually like this gives the listener a
chance to weigh up their individual merits and to admire
them as the perfectly formed gems they are in their own
right.
This might be 1957 sound, but the opening bells of
Suor Angelica
that usher in the “Ave Maria” are believable and ring forth gently
and most beautifully. The cast is excellent all-round. It falls
to Corinna Vozza to open the opera, and she does so with great
beauty. Lidia Marimpietri is a wonderfully light-voiced Suor Genovieffa
(“O sorelle, sorelle!”) but when de los Angeles sings “I desideri
sono i fiori dei vivi” it immediately becomes clear who is the
star of the show. Everything she sings is has intensely integrity
in a way that raises her above most of the rest of the excellent
cast: try “Madre, Madre, parlate!”: only Barbieri truly matches
de los Angeles in this regard. Suor Angelica’s distress at the
news of her son’s death is palpable, climaxing in the famous “Senza
mamma”, here in de los Angeles’ hands a moment of unbearably tender
torment that becomes intensified at “La grazia è discesa”. Her
realisation that she is damned (“Ah! Son dannata!”) is remarkably
intense, and that moment propels the action and the piece to its
conclusion.
Mina Doro is an imposing Abbess. Fedora Barbieri takes
the role of Angelica’s elderly aunt, bringing a necessary
doleful yet sinister element to “Il Principe Gulatiero
vostro padre”. The scene between Angelica and her aunt
is gripping music-drama, a true meeting of equals between
Barbieri and de los Angeles. Teresa Cantarini is an acceptable
La suora infermiera.
Pacing is perfect from the ultra-experienced Serafin,
who also has the ability to turn the mood of a passage
on a pin and who oversees the passages of swift vocal exchange
with an easy expertise. His handling of the choral work
towards the end reveals the hand of a true master of the
theatre.
Those who prefer modern recordings will probably find
themselves with Pappano (
EMI)
but, surely, at the price, this Serafin is, even for those
who prioritise sound quality, an essential supplement.
For those who are less recording quality-obsessed, the
Serafin is clearly the version to have.
The excerpts from
Boheme are taken from the classic
Beecham set, currently available in full on
an
EMI Great Recording of the Century
release (5677502)and Regis (RRC2075). As fillers,
they make one ache to hear the entire performance. “Si, mi chiamano
Mimì” reveals more of the infinitely touching brilliance
of Puccini. De los Angeles is simply superb, and Björling
is a superb foil for her in “O soave fanciulla”. Finally
comes a “donde lieta usci” suffused with the atmosphere
of crepuscular farewell.
Well worth the low investment.
Colin Clarke