Customer Reviews

Giuseppe Verdi: Luisa Miller

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A first-rate transfer of one the best Verdi recordings of the 1960's. In the starring role of Luisa Miller, Anna Moffo shines brightly and shows why she was a major soprano star of her era. Also, try her RCA La Traviata, La Boheme, Madame Butterfly and Lucia di Lammermoor CD sets on BMG. Carlo Bergonzi was once one of the most-recorded tenors around, and you'll know why when you hear his elegant, yet impassioned singing. One of the truly great Verdi tenors. Cornell MacNeil was another outstanding American Verdi baritone, following in the steps of Tibbett, Thomas, Bonelli, Warren and Merrill, and to be followed by Milnes. A big, luscious, rafter-ringing voice; he's worth the price, alone. Where are voices like these, today? The estimable Fausto Cleva leads the RCA forces in this 1964 RCA Victor Red Seal recording. I still have the 3 LP set, too, and keep it because of the wonderful booklet/libretto, the likes of which we just don't get anymore with CDs. But, the trade-off is snap/crackle/click/pop-free sound. Verdi's early masterpiece, harking back to the style of Donizetti, but showing his own voice, is well-served by this valuable addition to the opera catalog.

Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Anna Moffo and Carlo Bergonzi shine as the two ill-fated lovers. Moffo is peerless at these romantic/tragic roles (Lucia and Gilda being two others at which she excelled). She is in glorious voice - warm and vibrant with a secure top - she negociates the coloratura passages with astonishing ease and as always her portrayal of the hapless heroine is heartfelt and touching. Bergonzi is likewise in splendid voice and sings with infinite elegance and intelligence. The rest of the cast is also unusually strong and offer singing of very high order with special mention to Cornell MacNeil and Shirley Verrett. The orchestra and chorus are excellent and Maestro Cleva paces the opera very well. A brilliant set and a must for anyone interested in beautiful music and beautiful singing.

Exciting Luisa Miller by two of the greatest singers of their generation. Moffo and Bergonzi yield a superb performance!!. Please do not hesitate to buy this version even if already have one. This recording compares favourably against other versions available in the market both in terms of its quality and price(in that respect you could also try the DG Domingo/Ricciarelli's).

BMG has been dumping stuff right and left, or sending it off to labels like Opera d'Oro (e.g. the Albanese/Bjoerling "Manon Lescaut" - cheap, but includes no documentation). This version has the complete libretto, and the performance is top-notch. This is the kind of role Moffo did so well, and Bergonzi is unmatched in early/mid Verdi. The days are long gone when RCA and London (sorry - BMG and Decca) routinely turned out recordings of this quality. Get it before it disappears, or is degraded.

Your choice is among three studio recordings. For me there is too much wrong with the Maazel DG set: Ricciarelli, even at this stage of her career, was already resorting to too many breathy, unsupported pianissimi to cover a lack of top notes, Domingo, as much as I admire him, compared with Bergonzi and Pavarotti seems too beefy in what is often very delicate, plangent music for the tenor and Bruson - is it just my ears? - always has that rather bleaty quality to his tone (though "Gramophone" reviewer Alan Blyth, whose taste I esteem, always raves about his being the best post-war baritone; not for me...) and Maazel's direction is choppy. As for the Federica in the DG, Obratsova (excellent when aptly cast) is a disaster; it sounds as though Amneris has dropped by to chew everyone's ear off. By contrast, Verrett, in this RCA recording, tames her opulent sound to be both more vulnerable and incisive, inflecting the words sensitively. Cornell MacNeil uses his lovely, pharyngeally resonant, true Verdian baritone tastefully, Moffo sounds pure and innocent while despatching the coloratura easily and and Bergonzi is his usual model of style and restraint, but still rises to the passion of "Quando le sere al placido". Cleva conducts unobtrusively and really supports his singers. In the Decca, Caballe sounds too matronly and Milnes a bit too woolly compared with MacNeil - but Pavarotti is great and the conducting more exciting. So, my choice for this RCA is set is clear but I can understand anyone going for the Decca - however, I would avoid the DG.

This opera recording will thrill Verdi lovers, particularly those that are looking to explore his early style. If you are looking for "old school" conventions, such as the obligatory, opening chorus, and the double aria, cavatina followed by cabaletta, Luisa Miller is for you. I think this RCA Victor recording is the best, in all categories. First, the duo of Moffo and Bergonzi are absolutely convincing in the roles of Luisa and Rodolfo, but the real value of this recording is the outstanding performances of all the supporting roles. Cornell MacNeil is superb in the important role of Luisa's father. He creates empathy in the listener, but doesn't turn Miller into a pitiful character. Shirley Verrett gets the most out of Frederica, but does not overplay the part. The bass roles of Walter and Wurm are no less satisfying, and in their duet you can easily tell them apart. This is the only recording that I have of conductor, Fausto Cleva, but after hearing the way he handles the score, I would not hesitate to purchase another opera conducted by him.
It is hard to believe that Luisa Miller made its debut only one year before Verdi's ground-breaking Rigoletto, because they are so different. But if you want to experience the real, Italian melodrama of the first part of the 19th century, then this story with all its maudlin sentimentality will entertain you thoroughly.

I am listening to the Act I scene with MacNeil and Flagello, and MacNeil's gorgeous, virile voice is making me swoon right out of my chair. This is another lucky recording with an embarrassment of riches in the low voices-- too bad they didn't have this exact cast stick around to record 'Simon Boccanegra' or 'Don Carlo' or 'I Puritani' while they had the orchestra handy.