I
have made an inventory of vintage
Rigoletto recordings
a couple of times on this site. The last time was when
I reviewed a reissue of the Molinari-Pradelli set with
Nicolai Gedda as the Duke of Mantua (see
review).
There I concentrated on the early stereo recordings. But,
before that, there was an earlier generation of complete
sets, in mono. The present one has by many been regarded
as the true classic. It has been reissued on numerous occasions
and is available on EMI as well as on Naxos (since the
copyright has expired). Now comes this Brilliant Classics
issue, licensed from EMI and consequently using the same
re-mastering as EMI’s own issue. At super-budget price
it could be invested in without delay by anyone who still
hasn’t got it, but let’s make a fresh assessment.
The
competition in the old days consisted of three sets. There
was the very early RCA Victor (1950) conducted by Renato
Cellini with Leonard Warren, Erna Berger, Jan Peerce and
Nan Merriman. The Cetra from 1954 was conducted by Angelo
Questa and with Giuseppe Taddei, Lina Pagliughi and Ferruccio
Tagliavini. The RCA remake dated from 1956 but was still
in mono. It was conducted by Jonel Perlea and had a cast
that included Robert Merrill, Roberta Peters and Jussi
Björling. These are fine casts, all of them, though variably
successful. The Cellini and Perlea are both on Naxos and
the Questa is on Fonit-Cetra.
Cellini’s
trump-card is Warren’s Rigoletto. He was one of the finest
Verdi baritones from around 1940 until his untimely death
in 1960. His daughter Gilda was the German soprano Erna
Berger, a splendid Mozart singer and in later years a good
Lieder singer too. By 1950 she was fifty and while the
agility was still intact the tone had aged. Jan Peerce
was a mainstay at the Met for many years and a reliable
singer. He was appreciated not least by Toscanini but couldn’t
quite stand up against the competition. This is a Metropolitan
Rigoletto as
it might have been heard after WW2.
Cetra
was an Italian company and they recorded most of the standard
operas plus quite a few Italian rarities. They employed
Italian radio orchestras and almost entirely home-bred
singers. This cast boasted the baritone who was the only
serious challenger to Gobbi, Giuseppe Taddei. He had an
impressive voice – better than Gobbi’s – and was almost
his equal as an actor. The Duke was sung by the natural
heir to Beniamino Gigli, with the same honeyed pianissimos:
Ferruccio Tagliavini. Gigli never recorded the role complete
but to get a notion of what it would have been like one
should listen to Tagliavini. Cetra’s Gilda was also a veteran.
Lina Pagliughi had participated in a complete
Rigoletto in
the late 1920s when she was still just around 20. Halfway
into the 1950s she wasn’t as youthful as she once had been
but she still made a more than decent job (see my colleague
Robert Farr’s
review).
The
RCA remake, recorded in Rome, had Robert Merrill in the
title role; few singers have sported a more beautiful voice.
He has also been accused of being rather bland or, at least,
generalized in his readings. That said,
Rigoletto was
obviously a role close to his heart and this reading isn’t
without merits, even though the stereo version under Solti
a handful of years later, is even better. Gilda was sung
by his then ex-wife Roberta Peters. As opposed to Berger
and Pagliughi she was young and fresh. Though maybe lacking
in individuality hers is a reading to savour, not least
for the final duet
Lassù in cielo. Björling wasn’t
really on top form until the last act, where
La donna
e mobile and the quartet are fabulous but a Björling
in less than top form is still highly competitive (see
review).
So
where does the Serafin set stand in comparison? First of
all it is the best recorded of the four. The Perlea set
suffers from overload and distortion. Cetra was never known
to be a high-tech company and the Cellini was made in the
very infancy of the LP era. The Serafin isn’t free from
blemishes but the orchestra is recorded with fine full
string sound and biting brass. The choral passages are
lifelike and thrilling. As for the conducting, Serafin
wins hands down. Though never an interventionist conductor
favouring ‘clever’ interpretative details, he has a way
of always being right. He chooses sensible speeds, is lenient
with the singers yet secures a rhythmic incisiveness that
very often is truly infectious.
The
La Scala orchestra was on their best behaviour those September
weeks and the chorus impresses even more. One doesn’t normally
think of
Rigoletto as a choral opera but the first
scene relies on a powerful chorus to make the right impact.
The courtiers at the beginning of act II, mocking Rigoletto,
also have to be punchy.
Of
the solo singers Plinio Clabassi is a booming Monterone,
even though his lowest notes are sketchy. Nicola Zaccaria
is as usual reliable but his Sparafucile sounds too genial
in the first encounter with Rigoletto. In the final act
he is more sinister. Adriana Lazzarini can’t compete with
some illustrious Maddalenas on later sets but she is big-voiced
and dramatic; neither better nor worse than her rivals
on the mono sets.
Giuseppe
Di Stefano should have been a near-ideal Duke of Mantua.
He is ardent, vivacious and incisive with the words but
he can also be crude and lacking in elegance. The Duke
is an aristocrat and from such a person one expects style
and refinement. He has many good moments, though.
E
il sol del anima is sung with fine tone and care for
nuances. The end of the duet is magical, Gigli-like. In
between he indulges in some provincial shouting. His big
aria in act II is no doubt thrilling but his open, uncovered
vowels are disturbing, especially when with hindsight we
know that this did irreparable damage to his voice. In
La
donna è mobile he makes a fine diminuendo before the
final
can belto. The quartet is sung with verve
but he still is pushed into the background by Björling
and, especially by Tagliavini.
Maria Callas only sang Gilda twice on stage and Gilda wasn't
really her type. But she was a masterly actress and could transform
her voice to suit many different characters. Her Gilda is frail
and youthful – and she has the technique to negotiate the difficulties
in
Caro nome. There is some disfiguring vibrato and the
tone isn’t completely steady in some places but her identification
with the role is so strong that some defects can be overlooked.
Maybe she is at her most convincing in the Rigoletto-Gilda duet
in act I scene 2, which is desert island stuff.
And
this is not only due to Callas but also to Tito Gobbi.
He is magnificent throughout the performance. He made many
memorable recordings:
Don Carlo, Falstaff, Tosca, Gianni
Schicchi and
Il tabarro. This
Rigoletto is
in the same league. It is the most human and vulnerable
Rigoletto on record. The most formidable in his wrath and
the most tragic when he realises the truth. He is terrified
when he walks home after Monterone’s curse. He is fatherly
caring when he meets Gilda. He is in despair when he meets
the courtiers in act II. He whispers, whines, roars, caresses – his
supply of vocal colours seems inexhaustible. This is a
reading in a million – but it isn’t spotless vocally. Under
pressure the tone tends to become pinched. But just as
with Callas’s deficiencies this also becomes part of the
reading, part of the personality.
Of
the four sets I have analysed above none is superior in
every respect, all have their merits. For so diversified
an opera as
Rigoletto a single version cannot be
sufficient. The Serafin is theatrically superior and the
singing, though not free from blemishes, is on a high level.
I wouldn’t be without the Cetra for the sake of Tagliavini
and Taddei, and Björling, Merrill and Peters are well worth
the modest outlay for a lot of splendid singing. There
also exists another mono
Rigoletto– a live recording
from the Royal Swedish Opera in Stockholm. Sixten Ehrling
conducts at white heat, Toscanini-like, with Hugo Hasslo
as an uncommonly well-sung and expressive Rigoletto. The
guest Nicolai Gedda is on ebullient form as the Duke and
Margareta Hallin is the most ravishing Gilda on any set
(BIS 296 – 2 discs for the price of one). Among stereo
recordings Solti with Moffo, Kraus and Merrill (BMG Sony),
Kubelik with Scotto, Bergonzi and Fischer-Dieskau (DG)
and Giulini with Cotrubas, Domingo and Cappuccilli (also
DG) are highly attractive.
The
final verdict: If you haven’t got the Serafin set: grab
the opportunity at once. You will never regret it!
Göran
Forsling