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Giacomo PUCCINI
(1858-1924)
My Puccini - Angela Gheorghiu (soprano) Disc 1: CD[75:26] La Bohème
Si, mi chiamano [5:02]
Donde lieta usci [3:09]
Orchestra Sinfonica di Milano Giuseppe Verdi/Anton
Coppola
rec. Auditorium di Milano, July 2004
O soave Fanciulla (with Roberto Alagna) [3:46]
Orchestra of the Royal Opera House Covent Garden/Richard
Armstrong
rec. Lyndhurst Hall, Air Studios, London, September 1999 La Rondine
Chi il bel sogno di Doretta [3:10]
Orchestra Sinfonica di Milano Giuseppe Verdi/Anton
Coppola
rec. Auditorium di Milano, July 2004
Denaro! Nient’altro che denaro! (with Patrizia
Biccire, Patrizia Ciofi, Monica Bacelli) [5:31]
Forse come la rondine [1:10]
Figliuolo, tu mi dici [4:45]
No! Non dir questo! … Ma come puoi lascarmi? (with
Roberto Alagna) [6:00]
London Symphony Orchestra/Antonio Pappano rec.
No. 1 Studio, Abbey Road, London, August 1996 Suor Angelica
Senza Mamma [5:00]
Orchestra Sinfonica di Milano Giuseppe Verdi/Anton
Coppola
rec. Auditorium di Milano, July 2004 Gianni Schicchi
O mio babbino caro [2:12]
London Symphony Orchestra/Antonio Pappano
rec. Lyndhurst Hall, Air Studios, London, August
1999
Manon Lescaut In quelle trine morbide [2:37]
Sola, perduta, abbandonata [6:03]
Orchestra Sinfonica di Milano Giuseppe Verdi/Anton
Coppola
rec. Auditorium di Milano, July 2004
Tosca Mario! Mario! Mario! … Son qui! … Mia gelosa! (with
Roberto Alagna) [12:56]
Tosca: Vissi d’arte [3,26]
Senti, l’ora è vicina [6:24]
Come è lunga l’attesa! (with Roberto Alagna Gwynne Howell, David
Cangelosi, Sorin Coliban) [3:41]
Chorus and Orchestra of the Royal Opera House Covent Garden/Antonio
Pappano rec.
No: 1 Studio, Abbey Road, London, August 2000 Disc 2: DVD [66:44]
Madama Butterfly
Un Bel Di, [5:00]
EMI promotional video - Published 2004 Turandot
Tu, che di gel sei cinta [2:54] Gianni Schicchi
O Mio Babbino Caro [3:50]
Orchestra of the Royal Opera House, Covent Garden/Ion Marin
Published 2002 Madama Butterfly
Vogliatemi bene (with Roberto Alagna) [14:00]
Staatskapelle Dresden/Giuseppe Sinopoli
Published 1999 Angela Gheorghiu, Reflections on Puccini -
Angela Gheorghiu
in conversation, recorded for this DVD: [30'00]
1 CD + 1 DVD presentation pack EMI CLASSICS 2174412 [75:26 + 66:44]
This is yet another issue to celebrate the 150th anniversary of
Puccini's birth. The audio disc is a compilation drawing on five
of the soprano's earlier recordings. The CD and associated DVD
are contained in a 6-panel digipack along with a forty six-page
booklet that includes colour photographs of the diva, track-listings
and recording details along with the sung texts of the sixteen
CD tracks with translation in English. There is an interview-based
note in English, German and French.
As the advertising
blurb says, Angela Gheorghiu's voice and stage presence have
established her firmly as an international opera super-star.
Born in a small Romanian town she graduated from the Bucharest
Music Academy. In 1992, she made her international debuts
at the Royal Opera House, Covent Garden as Zerlina in Don
Giovanni, at the Wiener-Staatsoper as Adina in L'elisir
d'amore and at the Metropolitan Opera as Mimi in La bohème.
But it was as Violetta in Verdi’s La Traviata at the
Royal Opera House, Covent Garden, in 1994 that she really hit
the big time, with the BBC clearing a channel to broadcast a
performance live, pretty well unheard of since … and probably
before. That performance is on Decca DVD (074 3090) and CD (452
194-2).
It was in London
that she got together with her future husband the Franco-Italian
tenor Roberto Alagna, an EMI artist. In 1996 the two married
backstage at the Metropolitan Opera between performances of
La bohème in a ceremony conducted by the Mayor of New
York. Matters were fixed between the recording rivals and Alagna
and Gheorghiu came under the EMI umbrella. With the appointment
of Antonio Pappano as Musical Director of Covent Garden the
two singers joined him in a series of recordings including Puccini’s
La rondine and Tosca from which selections are
included here.
Five
of the items on the CD derive from sessions recorded in Milan
and conducted by Anton Coppola. I give the recording dates as
2004 as indicated in the booklet, which also states that they
were published in 1999! These tracks have a more recessed sound
for the voice, particularly when compared with the EMI Lyndhurst
Hall and Abbey Road sessions.
As
far as the singing goes, Miss Gheorghiu is not in the Freni
class as regards expression or characterisation in Si, mi
chiamano from act one of La Boheme (tr.1) although
Mimi’s change of mood in the act three Donde lieta usci is
well portrayed. The duet O soave Fanciulla with Alagna
finds the tenor in throaty mood (tr.2) with the difference in
acoustic quite marked. An immediate reaction to Gheorghiu’s
singing in these first extracts, and particularly in comparison
with the native-speaking Mirella Freni, the Mimi de nos jour,
is lack of clarity of diction. Gheorghiu tends to put beauty
of tone above clarity of words in many of these extracts, less
so in those conducted by Pappano from La Rondine and
Tosca.
The
extracts from La Rondine include the well-known Chi
il bel sogno di Doretta (tr.4). It is taken from the Milan
sessions rather than from the very enjoyable complete recording
from which the other extracts are derived (trs.5-8). This seems
to be merely to facilitate the verse normally taken by the tenor
and is a loss in respect of performance, with her also cutting
the later high note short, as well as continuity of acoustic.
Although her diction is poor in Senza mamma from Suor
Angelica (tr.9) her phrasing is most appealing. Gheorghiu’s
ability to colour her voice and inflect a phrase is heard to
good effect in the Coppola session recordings of In quelle
trine morbide and Sola, perduta,abbandonata
(trs .11-12) from Manon Lescaut. However, I suggest Gheorghiu’s
best singing and portrayal in this collection comes in her portrayal
of Tosca in the recording that became the soundtrack
of the film (trs 14-16). I guess from the inflections and nuances
she must have listened to Callas, but there are no curdled or
strangulated notes here. Her husband still has something of
that throaty emission that mars so many of his Italian language
opera recordings, but it is the diva that matters and Gheorghiu’s
is a very well sung and dramatically expressive Tosca.
The
first DVD excerpt (Ch.1) Un bel di from Madama Butterfly
shows Gheorghiu in a figure-hugging western dress in a modern
house with a man typing a regret letter. The scene moves to
another woman on the phone. Is this Pinkerton and Kate, his
American real wife perhaps? Gheorghiu looks as if she could
be miming the words. This is in a different aspect ratio to
the rest. The other DVD excerpts show Gheorghiu as the glamorous
dark hired beauty in a variety of dresses at two recitals. Her
dark flashing eyes prominent, capable of launching many ships
as well as putting the fear up many opera house intendants when
she chooses to play diva tricks such as skipping rehearsals
to hear her husband on the other side of America, or the mood
doesn’t take her, to turn up at all. In Tu, che di gel sei
cinta from Turandot she uses excessive colour and
misses much of Liu’s fraught emotion as she addresses the princess
and hopes that Calaf will win yet again (Ch.2). She is far better
expressing the emotions in O Mio Babbino Caro (Ch.4).
In the extended Butterfly extract Vogliatemi bene
she is joined by her husband as Pinkerton (Ch.3). Whilst he
sings with more open-throated Italian than he achieves on many
recordings, her expression is more facial than vocal, perhaps
reflecting her limited experience of this role on stage. There
are no subtitle words shown for the four well-known excerpts,
each having its own Chapter as noted. Confusingly the Angela
Gheorghiu, Reflections on Puccini is also divided into
five Chapters, also numbered one to five. These Reflections
owe as much to Jon Tolansky as to La Gheorghiu I suspect. There
are eulogistic contributions from Marilyn Horne and Richard
Hazel, the latter sang with her in the 2004 Royal Opera House
production of La Rondine. Musical extracts give backing
to some of the commentary. These include Gheorghiu singing In
questa reggia from Turandot. That is a role I would
not like her to move to sing on the stage in the even distant
future. Expressive and powerful as her voice is, the icy princess
would require more steely vocal chords than she possesses.
This
is a diverse collection of Puccini’s ever-popular melodies and
it is well if not uniformly outstandingly sung.
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