Customer Reviews

Cherubini: Medea

5 star:		(1)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Not that I don't love Callas, but this recording is something you should consider, especially at this bargain price. You might be concerned about Dame Gwynneth's squally tendencies, but listen ing to this might make you reevaluate her. She strikes quite a pose on the cover, red hair piled up stylishly, looking completely inappropriate but utterly fabulous in a blood red costume with matching lips and nails. This leads one to believe that her characterization may not be as serious as Callas', but she makes a convincing Medea, tres formidable. Her singing is much better than in other recordings, without the distressing moments where her voice sounds like it's about to unravel. Characterful and still beautiful and amazingly well controlled for a woman who could call home without using a telephone. Jones' voice sounds huge, and her Medea makes such an impact in sonic terms alone that one wonders how Giasone could have dared to leave her. This recording also has the advantage of a superior supporting cast, especially Lorengar whose voice is very formidable itself, almost too much so for this doormat of a character. Still, her aria is fantastic, and she attacks the high notes with thrilling fearlessness. One clear advantage is the superior playing of the orchestra, vastly superior to the Callas studio recording (in which the orchestra is dreadful).

When this recording was made in the late 60s, the wobble which afflicted Dame Gwyneth's voice in some of her later performances was almost non-existent. Indeed, the voice of Medea in this recording sounds fresh and fully under control with a gleaming top register which is quite thrilling (the lowest register was then, by contrast, not as strong as it later would become). While Dame Gwyneth's protrayal of Medea may not be as deeply etched as Callas's (Medea was, after all, one of Callas's most famous roles), there're lots of fire in her singing and she does pay considerable attention to the text. The supporting cast is mostly fine and I'm very pleased to hear Pilar Lorengar in the role of Glauce, her tone secure and very beautiful. Fiorenza Cossotto is a strong-voiced Neris and Justino Diaz a solid Creon. Bruno Prevedi's Jason is, however, just adequate. The playing of the orchestra under Gardelli also deserves praise. Given the paucity of recordings of the opera, this re-issue is most welcome.

Yes, I know, Callas... But if you want to hear another voice in this music, Gardelli's 1967 recording is worthy of attention. Don't let the presence of Gwyneth Jones scare you away. At this early stage of her career, she possessed an immense, technically secure, powerful voice, and she unleashes everything for the big moments. Perhaps she's a little driven at times, but it fits the role perfectly. Her final scene is especially impressive. Of course, she doesn't etch out the character like Callas, nor is she as sympathetic as Rysanek. Her Italian is decidedly imperfect, too, but the big, thrilling sound compensates. Lorengar is a wonderful Glauce, singing her aria with a beautiful tone and fleet coloratura, but the rest of the cast is subpar. Cossotto, in particular, sounds bored, and Prevedi has nothing to say about this music. Recommended to anyone interested and especially to those who wonder where all the fuss about Jones comes from.

Well, I agree very much with the other reviewers to date. I currently own four Callas versions of this fabulous opera and this version with Gwyneth Jones. I think that while this doesn't come close to the best moments from Callas' various offerings, the problem is that each of the Callas recordings is missing something. They are either a little too heavily cut (even the studio recording comes to a very abrupt end), or there is a sound quality problem or the prompter can be heard or the recording is a little later in Callas' career when she's past her prime. Often in the live versions, when Callas moves towards the back of the stage or with the orchestra/choir in the background we lose much of the detail.
So, back to this version - I find the sound very good as it should be in 1967 and Jones' interpretation is interesting. She does bring a personal touch to it, with some beautiful top notes and, if one listens carefully enough, some careful details added in. As mentioned elsewhere, her lower register is not so strong here - compare for example the phrase just before Callas pleads with Jason to let her have her children. Here the lower notes are almost lost, compared with Callas' where they are strong and expressive.
Overall I think this would be a great addition to the collection of anyone who loves this opera. Perhaps also a good way to be introduced to the opera, followed by a Callas version for the contrast (Callas+Bernstein version still my favourite).

I have owned this recording for a number of years, and while I have heard several Callas versions, they just don't live up to this unbelievable recording of Gwyneth Jones in her absolute prime. I know all the Callas freaks will disagree with me, and that's fine too. I'm a big fan of Callas. Gwyneth Jones really makes this recording worth listening to. Her voice displays all the qualities that made her famous. The sound is enormous and gleaming, and she sounds technically very secure, with none of the wobble that she is also famous for. If you can find this recording, buy it. It'll be one of your favorites and will amaze you over and over again.

As others have pointed out, this is a fine supplement (or alternative) to Callas, and in far better sound than any of the Callas recordings -- even her studio set made for Ricordi and reissued on EMI.

There's little subtlety in Dame Gwyneth's take on the title role. She basically blasts her way through the part with a big, gleaming voice that, at this early stage in her career, was still under her complete control. Her approach may not be sophisticated, but it certainly is exciting. I return to this recording again and again, and always with pleasure.

The rest of the cast provide adequate support. But, face it, this opera really is a one-woman show. Glauce is a cipher with an aria, which Pilar Loregar sings well. Other than his first act aria, Giasone exists only to have two confrontations with his abandoned lover. No matter how well he sings, the odds are stacked against him. Creonte doesn't even get an aria as such, though he takes the lead in a couple of "concertato" passages. Justino Diaz has all the notes, but this part really needs a basso profondo who has the vocal gravitas to fulminate in his second act duet with Medea. He's not bad here, just miscast.

It's too bad that this appears to have gone out of circulation. I hope it comes back soon so more opera lovers can enjoy this set.