Customer Reviews

Donizetti: Lucia di Lammermoor

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

 

 

This Lucia was recorded live about a year after the legendary Berlin performance in 1955 with Callas, Raimondi and Panerei. Gianni Raimondi later sang Percy to Callas' Anna Bolena and is known for being the Rodolfo on the legendary Boheme von Karajan and Zeffirelli created in the early sixties, he also does the part in von Karajan's Boheme-movie and a glorious recording from the Vienna Stateopera. His phrasing is what I like most about him, he's a stylistic tenor like Valletti and Schipa, ergo he's made for Donizetti and Bellini. He does not have the honeyed voice of Giuseppe di Stefano, nor does he have this tenor's fiery temperament but a very romantic, loving sound. Here we have a wounded, torn Edgardo as it would later be sung to perfection by young José Carreras.
Now how about Maria Callas? She is in fine voice, the high notes are without strain and her Lucia is just as touching as ever. (I have difficulties with her Lucia after 1956) What she presents us with here is a most thought through and deep performance of the heroine which we think we know so well. I just cannot help but adore her in this fragile role and I am glad that this performance was made available. It is essential for Callas and beyond. Panerei is wonderful as usual as Enrico, the conducting not as poignant as von Karajan's or Serafin's but absolutely fine. A lovely recording with all singers in fine shape, a great addition to one's collection.

For a discussion of Callas' handling of the role of Lucia in general, it might be well to read the seemingly inevitable verbal battle appearing in the reviews of her studio versions of the role, along with the live Von Karajan Berlin version. Callas seems destined to be forever adored or hated. Personally, I adore her. That said, I find this performance - on the whole - very satisfying. The cast is strong and there is strong emotional commitment from stage and pit. Callas herself seems in somewhat fragile voice during the fountain scene, though she gains control as she goes. Nothing terribly untoward happens: some insecure notes here and there. Even so, there is beautiful phrasing, either in spite of the difficulties or because of them. The major drawback of the set is the imbalance between orchestra and singers. Whether Myto could have remedied this somewhat I haven't the technical knowledge to say. The greatest loss in this respect is the first half of the Mad Scene: it is very faint. And the final topper note is probably the weakest on any of her extant performances. So if you live for big bang final notes, you'll have to look elsewhere. It's a very affecting performance all round - but probably only for those who are willing to suspend annoyance over the technical imperfections of this live recording. It's a must for the Callas collector; a good performance for the die-hard "Lucia" fan; but the over-all sound is a trial. Perhaps another label could do better someday; I hope so.