Customer Reviews

Donizetti: Parisina (New York 1974)

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

 

 

This was one of Donizetti's favorite operas, and he seemed to have a special affection for stories dealing with marital problems (Maria di Rohan, Gabriella di Vergy). What to me distinguishes this opera from his many others is its beautiful and very deeply felt melodies. Ugo's aria in Act One, Parisina-Ugo duet and all three of Parisina's arias show Donizetti at his most melodic. And it really helps that this version has Caballe at her most involved. Her voice is in a very good shape, pianissimos and melisma are effortlessly done, and at the end of her aria "Sogno talor di correre" the audience goes insane with a very good reason. The other soloists are not as good. Pruett is serviceable, but he doesn't have the most beautiful tenor one can imagine, and Quillico is not a quite a bel-canto singer. But they are both committed, and Eve Queler commands the orchestra with panache. The sound is not great (the booklet says its stereo, but I would not bet on it), and it seems that it was an in-house tape, but we are not likely to encounter a better performance of this opera in near future.

This release by Myto Records of Donizetti's PARISINA is very welcome indeed. Previously the performance was available on Legato (and perhaps some other labels). La Caballe is simply superb; at this time in her career (1974) she could float out the pianissimi with abandon. James Morris, in robust voice, is equally fine, as is Louis Quilico. Jerome Pruett is quite serviceable (he compares well with some present-day stars!). The recording was made from the audience, apparently (you'll hear a bit of coughing, etc.), but the sound is quite decent, despite that, and captures the range of the performance generally. Occasionally, someone will step too far back, but even that doesn't really mar this performance. Myto continues to give us fine live performances. This is one you should not pass up.

Donizetti's 'Parisina d'Este' was composed (1833) one year after 'L'elisir d'amore', and the same year as 'Lucrezia Borgia'. Here, he has already developed his unique 'style', the melodies, the arias and ensembles, etc... And there are real jewels to be found.

The recording, from a live 1974 performance in New York, recorded in stereo, under Eve Queler's direction (with an unnamed orchestra), is a real find. Montserrat Caballe (Parisina) is in great form, as are Louis Quilico (Azzo) and James Morris (Ernesto). Less known, Jerome Pruett (Ugo) and Eleanor Bergquist (Imelda) also sing admirably.

Being 'live', you get, as another reviewer pointed out, coughs, but also comments from the audience accompanying the applause. And the applause is usually well deserved ! It does give one the feeling of being present, in a small hall, intimately involved in the show.

A much cheaper recording of this evening's event can be found on the SRO (Standing Room Only) label produced by Legato Classics. The sound quality is excellent. The skimpy booklet offers only a brief introduction to the opera's origins, a synopsis of the plot, and a listing of the tracks (which are well partitioned).

For fans of Donizetti's works, and devotees of Caballe's art, this is a rare recording to satisfy both passions.

I CAN'T REALY ADD TO WHAT OTHER REVIEWERS HAVE SAID EXCEPT THAT I WAS THERE THAT MEMORABLE NIGHT. QUELER HAD (AND STILL HAS) THE ANNOYING HABIT OF OF SURROUNDING STAR PERFORMERS WITH RELATIVE UNKNOWNS, LIKE PRUETT AND BERGQUIST ON THIS OCCASION, WHO REALLY DID NOT DEVELOP SUBSTANTIAL CAREERS ON THEIR OWN, AND I WOULD HAVE PREFERRED OTHER MALE LEADS, BUT THEN, WHO CARES? IT WAS ALL ABOUT CABALLE, AND SHE MAKES YOUR HAIR STAND ON END WHILE YOU STOP BREATHING AS SHE SPINS HER MAGIC SOUND!

Although one can name many exceptional performances of this rare artist throughout her long career, what makes Parisina so special is the vocal line of this beautiful soprano role which fits Caballe to a tee. I'm surprised the opera isn't performed more often. It definitely ranks among my favourite Donizetti works. It's grand, dramatic and full of beautiful duets and cavatinas. We're fortunate enough that all three landmark performances of this opera with Pobbe, Caballe and Devia in the title role have something to offer.

In '74 Caballe was at her considerable best. Her aristocratic phrasing was fully developed and supported brilliantly by her technique. What always amazes me is that with less high notes than others but with more attention to the music, Caballe had complete control of her audience. She could gain more applause and attention by milking a long phrase while others would have to fill the scene with high notes to win the audience. And Parisina offers her all the opportunities to do her tricks.

Queler however spoils the finale by increasing the tempo suddenly and too much. I also prefer Caballe's earlier ending (on the studio recording) to the one she opted for this night but it's still an interesting alternative. Her highest notes by '74 were no longer as pleasant but the audience still enjoys them. In any case, this remains one of my favourite Caballe recordings.

Unfortunately the rest of the cast is not up to her par. I've never warmed up to Quilico's unitalian voice though he does his best while Pruett is acceptable but nothing impressive. Both Pobbe's and Devia's Parisina recordings have better supporting casts (Cioni, Fioravanti, Zancanaro, Karvakos) and Devia is at least as good as Caballe.

Myto sound is not the best by the way (and by far not the cheapest) so you might want to try other sources of this performance.

In any case, don't neglect this wonderful opera and Caballe's stunning performance!

This is an easy review:
1) Caballe is in excellent voice!
2) The sound is good with the singers a little far back and the orchestra a little too dominant at times. The big Act I finale has some overload and distortion at climaxes. However, one truly gets to hear Donizetti's wonderful orchestrations. Trumpet duets, flute duets and many fine orchestration touches abound through out this lovely and melodious score. This is obviously an in the house recording and better than most of this type.
3) The vocal writting is spectaculer. Arias, cabalettas, duets, trios, are all all top drawer and caress the ear.
4) This is truly top drawer Donizetti. He loved this opera and one listen convinces this listener as to why.
5) The other singers are excellent to more than adequate. Quilico and a very young James Morris are excellent. While the tenor, Jerome Pruett, is better than some of todays tenors; he doesn't thrill yet, he never ruins any scene he is in. In general, a good voice just not a great voice.
6) Eve Queler's conducting is strong and exciting. She launches every rhythmn and ensemble with solid drive yet, is alive to nuance.
7) The soprano part is stunning and spectacularly sung by Caballe in excellent voice. She has three arias or cabalettas and many fine duets and trios. Her voice easily soars over the finales and all is sung magnificently.
8) This is a Donizetti opera you owe it to yourself to get to know.