Customer Reviews

Boito - Mefistofele / Ramey · Marton · Domingo · Tedesco · Takács · Farkas · Pataki · Patané

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The world of opera would certainly not be the same if Arrigo Boito chose a different career path. Boito played a significant role in the revision of Verdi's SIMON BOCANEGRA and wrote the libretti for OTELLO and FALSTAFF. Boito also wrote the libretto for Ponchielli's LA GIOCONDA. Obviously Boito knew what could work on stage as OTELLO and LA GIOCONDA's success proves, but as a composer, Boito was less successful. As a composer, was a "one hit wonder" with his opera MEFISTOFELE. The work is not widely performed, though some major opera companies do revive it from time to time.

The opera is based on the legend of Faust, and shares some characteristics of Gounod's FAUST but the story also has differences, specifically the inclusion of the Elena portion of the story. The score of the opera has beautiful and powerful moments, especially the choral pieces. In this recording, Samuel Ramey plays the role of Mefistofele, and he handles the role with power and tremendous vocal ability. There are moments of sheer beauty in his singing that gives his character a certain deceptive nature, which is in keeping with a being like the devil, but it can at times also have an eerie quality which is also appropriate. Both Placido Domingo and Eva Marton are excellent as Faust and Margherita/Elena respectively, but the real superstars of this recording are The Hungarian State Orchestra and the Hungarian Opera Chorus. Under the direction of Guiseppe Patane, the orchestra and chorus make this recording exceptional.

For those contemplating purchasing this CD a word of warning is due. No one in my opinion outdoes Samuel Ramey in sheer power and diabolical delight in singing Mefistofele. The same can be said for Placido Domingo as Faust and Eva Marton as Margarita. Although not well known outside of Hungary, the other women recorded here sing well and provide a good foil to Ramey and Domingo -- who are by far the stars and, at times, scene stealers. There are two major weaknesses with the recording. The first is Sergio Tedesco's performance as Wagner. He should have, unfortunately, retired two years before this recording. You can still hear traces of his wonderful voice but in his dialogue with Faust in Act 1 he loses control of several notes. I have been tempted more than once to fast forward through this section to avoid the horrible effect but it, fortunately, does not last long. The second weakness is the Hungarian State Orchestra. I have heard recent recordings of them and they have greatly improved. At this point in their history, however, their performance is frequently marred by poor intonation (note the trombone and french horn choir playing in sections of the prologue and an overzealous and out of tune piccolo at the closing of Salve Regina) and choppy and inconsistent lower brass playing. All in all, it is a magnificent performance, very exciting and well sung (with the exception noted). If you can overlook the few flaws, it is certainly worth a listen.

A good recording; but why did we need it? There can be no competition with the magnificent Mefistofele of Cezare Siepi on the recording also featuring such luminaries as Mario del Monaco and Renata Tebaldi.