Customer Reviews

Bellini: I Puritani

5 star:		(32)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(4)

 

 

Sutherland recorded two fantastic Puritani. The first one with Duval has a girlish, opulent, open sound, with bigger voice and more spectacular high notes. The trills are stunning, as is the runs and chromatic downward fioratura. So it's my favorite. It is certainly infinitely superior to Sill's or Callas's.
The second Puritani finds a more mature Sutherland. The voice sounds bored at times, but the coloratura still stunning. But the voice have lost half its size. Although still big enough to compete with the great Luciano Pavarotti. (usually Dame Joan's high notes drown out everyone, including the chorus). But in this 1974 recording the highest notes are half it's former size. Pavarotti is the reason that makes the second set competitive with Sutherland's first since Sutherland's first finds the soprano in so much better voice and high notes.
I'm not a huge fan of Pavarotti's. But he must be given credit for singing all the notes written by Bellini for Rubini. And that is quite an accomplishment. The opening aria for the tenor is splendid, the D flat a knockout. But it's the two high Ds in the last end that floored me. They were huge, and for the first time ever, he upstage Dame Joan in the above high C stratosphere. Plus Pavarotti is in his absolute prime here, making this an essential recording.
Actually, both Sutherland's Puritani's are essential recordings. The first featuring a Dame Joan with a superhuman voice and even more breaktaking coloratura and especially HUGE high notes. The second Sutherland Puritani features a more refined Dame Joan with smaller but still spectacular high notes and still perfect coloratura. The difference in the second set is a not quite as gorgeous tones for the diva. A fault that is made up for by pavarotti's best performance on record.
So which set to get? I have both, and so should you. Callas also has a nice one, but it is tame next to Dame Joan's.

This is the best overall rendition of Puritani, why isn't it available? Arguably Bellini's best score (Norma is admittedly more dramatic, but the melodies really soar in this work), this is the only recording to present it complete. As if that wasn't enough, you have a 'Puritani Quartet' that was pretty much unbeatable at the time (mid 70's). One wishes that the Met's cast from the period (substitute Milnes for Capucilli) was used, but that's a quibble. After its initial appearance, this recording was a must have. Where did it go?

Callas' interpretation of Elvira was always considered classic, but her recording is sliced to ribbons. Here this score is not only complete, but Bonynge restores the middle section of the soprano/tenor duet that Bellini removed prior to the Paris premiere (but had already shipped to Milan). Pavarotti sings the F in alt as written, and Sutherland sings the rondo finale with true abandon (She also sings this on her original recording. Sills was the only other soprano to record it, also unavailable.). Besides, Sutherland is magnificent here. The voice is not as fresh as her initial recording (which has been unavailable for ages), but she is more than a match for this music. So she isn't Callas. She's Sutherland, with an amazing technique combined with a achingly beautiful instrument and a real performing intelligence.

Pavarotti became an international sensation with this role (this is when he hit to covers of Time and Newsweek). No one has ever sung this role with more stunning results. The tessitura is brutal, but he makes it sound easy, with just enough effort to make it exciting.

If you find this recording, buy it. Bel Canto rarely sounded better. This is a work that you just float away on. I can't recommend this one enough.

... Everyone in opera knows that Sills is America's Queen of opera. But there are other divas who are as good as her... I am a big fan of Sill's too. In fact, she used to be my favorite singer in my college days. I have mature then, and found that Callas, Sutherland, Caballe and Price as well as Renee Fleming are equally enjoyable.
With that over with, I can comment on this Puritani. It is on the same level as both Sill's and Callas's efforts. But it is not on the same level as Sutherland's earlier one. The reason is Puritani is the epitomy of a bel canto opera, and opulence of tone and impeccable technique is a must. With the drama being of less importance since the plot is so silly.
Because of this, Sutherland's earlier Elvira with its radiant tone and classic coloratura is my favorite. But I can see how others would consider the Callas, Sills, or even the later Sutherland Elvira as being the best. It's all a matter of taste. And all of these puritani is delightfully delicious to me.
Elvira aside, I will have to say that Pavarotti in Sutherland's later set is the classic Elvino. With his sweet tenor, he handles the fiendishly high tessitura effortlessly, edging out Gedda.
So this makes a difficult decision. Which Puritani is the best overall. I still say the Sutherland's first one because Sutherland's then clear silvery tone is just too beautiful to be true. But I also have Sutherland's second Puritani, Callas's, and Beverly Sills, and enjoy all of them immensely.

A true Puritani Quartet was assembled under Richard Bonynge, a bel canto stylist if ever there was one, to produce a rare gem. Luciano Pavarotti's Arturo excels and surpasses his live Met Puritani performances with Joan Sutherland. She is in glorious form and her ensemble work, so important in this, the outstanding bel canto ensemble opera, is marvelous. Piero Cappuccilli's baritone is a caress for the ears and even basso Nicolai Ghiaurov, more noted for his dramatic diabolic roles, fully renders the bel canto music in style. The orchestral and choral passages are as exciting as they are beautiful, showing the depth of Bonynge's research into Bellini's final and greatest opera. Some incredibly lovely passages are included that are usually (why?) cut, to make this the most complete recorded Puritani as well. That this CD should be out of print is disgraceful! Please find a way to make it available again, before my cassette-made-from-33s gives up the ghost!

This is consider the definitive recording of I Puritani. It shows the two biggest giants of our time who rules the operatic universe for decades.
They, Sutherland and Pavarotti and at their best here
Sutherland nails her mad scene with perfect trills, runs, coloratura and a hugh high E. She also sings the best polanaise I've ever heard.
Pavarotti sings his a te o cara with beauty and line. And his high D flat kills Geddas. I'm sorry, I'm a fan of Gedda, but he is way past his prime in his Arturo, and even cracks. His high D is a shout. Pavarotti, however, sings the most chilling high D I've even heard from a tenor.
This is a gorgeous performance.
And eventhough the Callas and Sills are ok. They don't compare to this. Just read the reasonable reviews. Not the obviously hateful once. You be the judge. La Stupenda, or two other otherwise great divas who don't have the voice or technique to tackle Bellini's great masterpiece.
I, as a opera major, can tell you, if you want the most spectacular vocal Puritani, get this or the earlier Sutherland one. I don't recommend an old Sills or Callas singing the role with drama but no clue to true bel canto style.
Taste is taste.
But to attack a great Prima Donna by saying she stinks just because you're jealous... I think you're making the fans angry. Because Sutherland is a great artist and human being.
There is something call respect. And those Callas and Sills fans who are posting negative reviews about all of Sutherland's stupendous performances.
You don't have to like Sutherland. But you don't have to bash her just to promote your diva. Promote Sills or Callas on their own sites. Doing it here, I'm sure you're making some ppl very upset.
Well, good people will ignore these childish people. And make an effort to vote their remarks down.

Maestro Serafin, who coached Maria Callas, later also coached Sutherland for a short time. At that period, which was before Sutherland caused a riot with her triumphant debut as Lucia at Convent Garden, Serafin was to have said that Sutherland will be a great Elvira, that she will be as great as Callas in a few years. And he was also said to have called Sutherland's coloratura and high notes to be phenomenal. He even gives her a sixpense everytime he hears one of those famous high E flats.
Well, since Sutherland's high E flats are so renowned, Maestro Serafin must have gone broke giving out sixpenses to the diva.
Anyhow, obviously we have a few immature bashers here who think that if they insult La Stupenda and phrase Callas or Sills it would make Sutherland look bad and their favorite divas look better.
I have news for them. Americans are very smart. They can see a vicious review written for self-gain a mile away. As for me, just to stop this madness, I will not take the advice of these childish Hippocrates. I like Sills and Callas, but I'll wait for this nonsense to stop before I buy any of their releases.
As for this wonderful Puritani, I must have it. I do love La Stupenda, but I'm getting it because of the 3 high Ds of Pavarotti. I heard them on radio and was floored. They even match Dame Joan's in its beauty and size.
Hey, I love high notes and beautiful voices.

Bravissimi, Dame Joan, Pavarotti, Milnes. This is perhaps the greatest bel canto recording I owned.
Bravisimmi especially to, Dame Joan, for being not only the greatest Elvira, the greatest singer, but the greatest person.
To the negative person...You've written, I've counted about 50 negative reviews all together, All with a rediculous
one star to Dame Joan's greatest moments - moments that are the stuff of legends.
I know who you are. And so do Sutherland's fans who
read all those reviews.
You said that you are entitled to your opinion that you don't like Sutherland. That's clear. But
Enough is enough, ok?
How would you like it if non fans of Callas and Sills do this to them. You know the Australian and
British and Canadian not to mention American fans are very devoted to Dame Joan.
You can dish it, but
can you take Sutherland fans fighting back with their negative remarks about Callas and Sills? Fortunately, Sutherland fans are usually lovely people, like the diva herself, and will not go to that low level.
You have a right to hate her. But at least stop attacking her. Or you must really be a
bitter person and I feel sorry for you.
Don't invite bad kharma.
She is the greatest coloratura of the century, and you are so jealous you can't accept it.

Beverly Sills was to debut as Elvira in Puritani in 1975-76. But Bing decided to give the new production to Pavarotti/Sutherland. The result is a complete truimph.
Sutherland's was the epitomy of Bellini's vision of Elvira. And Pavarotti can deal with the high tessitura of Bellini's fiendishly difficult writings for the primo tenore of those days, the great Rubini. But Pavarotti sings the Bellini's masterpiece in full voice, with 3 high D's and an F in head tone.
He surely wipes out Gedda's shaky high register in the Sills' set. Sills also screamed her high D's. That is not the case with Sutherland's impeccable bel canto technique. Sutherland well known gigantic high notes are spine tinkling. And her Elvira's 's arias are all top with the highest notes of D's and E's at least...powerful and effortless. Which is not the case with Sills. Although Callas, though not in the same league with La Stupenda's celebrated higher register, La Callas did have a few great high notes as well.
Sutherland sang with great beauty of tone, and coloratura incomparable.
This is bel canto at its best. And one of the great collaboration of Sutherland/Pavarotti. They make Puritani possible. All other version have the voices screaming. Which is too bad.
Sills is a great singer. But Elvira in Puritani is out of her league, as is Gedda. The two of them should attempt lighter roles calling for lower tessituras and smaller voices. Perhaps the Rosina in the "Barber of Seville".

When someone goes to review a prima donna's great performance, and say it stinks. It shows how immature they are. And then this person says how great another singer is.
This is not what opera is about. I know Beverly Sills, Bubbles, and she will not be happy with this person's insult at Sutherland. Who I know Sills admires.
Sills, your are great. Sutherland you are even greater. But it's all a matter of taste.
But to call Sutherland, who is generally consider a "phenomenal singer of our times", stinks? That is an insult. La Stupenda has sung Puritani 10 times more often than Sills to standing ovations. That is a fact. Look it up in the annals of opera. Stop this bashing, you are getting bad Kharma.

Sutherland is truly the greatest singer of the 20th century. She is the best diva to sing Elvira in Puritani. Forget Sills, Callas, and Caballe.