Recorded two years
later, this is a companion to the Arts
Archive La Traviata I reviewed
recently . That was a performance originally
made for TV transmission. I do not know
if this recording originally had the
same purpose. Certainly, except for
some added bloom to Raina Kabaivanska’s
Tacea la notte placida (CD 1
tr. 4), it has similarly good recording
clarity and balance. Other common features
are the excellent orchestral and choral
forces used and Franco Bonisolli in
the tenor lead. I found Bonisolli an
ardent if not particularly sensitive
Alfredo in Traviata and expected his
more heroic tone and approach to be
more suitable for Manrico. In the act
2 duet with Azucena he sings with strong
lyric tone and expression (CD 1 trs.
11-14). Regrettably as the opera progresses
his singing becomes coarse as he puts
too much pressure on the voice with
the tone becoming throaty and squeezed.
He really overdoes the vocal histrionics
in Ah! Si, ben mio and Di
quella pira (CD 2 trs. 5 and 8)
and makes a crude meal out of the concluding
high note. His lover is the Bulgarian
soprano Raina Kabaivanska (b. 1934).
She made her La Scala debut in 1961
with Covent Garden and the Met following
in 1962. Her fach was Verdi and Puccini
as well as the title roles Francesca
da Rimini, La Wally, and Adriana Lecouvreur.
Like Bonisolli she had a strong stage
presence. But with rival lyrico spintos
such as Tebaldi contracted to Decca,
Leontyne Price to RCA, Callas and Scotto
to EMI, she did not appear on many recordings
whilst at her vocal peak. Her voice
is well-tuned and true but had developed
a flutter by the time of this recording.
Nor had she the colour of her famous
contemporaries. Maybe the added resonance
referred to seeks to cover up any vocal
deficiencies, Her singing in the two
great arias Tacea la notte placida
and D’amour sull’ali rosee (CD
2 tr. 10) does nothing to erase
memories of Leontyne Price in her 1969
recording with Domingo conducted by
Mehta (RCA). Despite these reservations
Kabaivanska characterises well and is
fully involved in the unfolding drama.
She launches the Miserere (CD
2 tr. 11) with commitment.
Of the lower voices,
Giorgio Zancanaro sings with well-coloured
and covered tone as well as smooth legato.
However, his characterisation of the
role of the vengeful Di Luna is bland.
Giulini in his 1984 recording of the
work (DG) drew more involvement from
Zancanaro than is found here. His Il
Balen (CD 1 tr. 16) is beautifully
sung and a pleasure to listen to, but
for beautiful singing fired by characterisation
in abundance turn to Viorica Cortez
as Azucena, the gypsy who in her delirium
threw her own child on the pyre. At
one stage of composition Verdi had wanted
to name the opera Azucena as she is
very much at the centre of the story.
Cortez’s portrayal here would justify
that. Her singing and characterisation
allied to beauty of tone and phrasing
at least matches the distinguished portrayals
of Cossotto (DG ‘Double’ and RCA) and
the other great Italian mezzos who have
recorded the role. Her Stride la
vampa (CD 1 tr. 9) and Ai nostri
monti (CD 2 tr. 15) are veritable
tours de force. Bruno Bartoletti,
a man of the theatre, is inclined to
give the participants their heads. Whilst
this is to the benefit of the vibrant
singing of Cortez, the downside is that
his interpretation encourages Bonisolli
into his cruder vocal manners. It has
to be said that the tenor is little
better in Karajan’s second studio recording
of 1977 where he is partnered by a Leontyne
Price somewhat past her sell-by date
(EMI).
With the RCA set with
Leontyne Price and Placido Domingo available
at mid-price, and the DG ‘Double’ with
Carlo Bergonzi the most elegantly sung
Manrico on CD in an all-Italian cast
at bargain price, this issue will struggle
to find a niche in the market. Despite
that competition Viorica Cortez’s singing
will appeal to many Verdians. The accompanying
booklet has a short essay on the opera,
a good synopsis, regrettably not track-related,
in English, German and French. The libretto
is given in full in Italian without
any translation.
Robert J Farr
Chorus
of the Staatsoper Berlin. Orchestra of the Staatskapelle
Berlin/Bruno Bartoletti 
