Customer Reviews

I Pagliacci / Il Tabarro

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

 

 

This recording of Il Tabarro is headlined by Leontyne Price, and Placido Domingo. It is stunning. I have never heard Giorgetta better sung, the voice is of course beatiful, and the characterization is rapturous. Domingo is the best conterpoint to Leontyne.

The Pagliacci is wonderful as well. Caballe has got to be the best Nedda on record, and again Domingo brings down the house.

You must have this recording!

I was delighted to find a cheap set of this splendid coupling, as although I have owned "I pagliacci" on CD for years "Il tabarro" has been far more scarce, so grab a copy if you can locate an affordable one.

Now forty years old, both sets present four great artists at their absolute youthful peak conducted by experienced conductors directing excellent orchestras and, in the case of "I pagliacci", a superb choir. Leinsdorf is skilled, flexible and expressive here, so anyone concerned that he might be in one of his periodic fits of perfunctory hastiness need not be concerned; he negotiates sensitively the swiftly alternating moods of this dark little melodrama and this responsiveness is neatly complemented by some judicious sound effects such as the tug-boat horns so that the mood-painting this opera requires emerges effectively. Both leading ladies are in prime voice, Price smokily seductive as the unhappy Giorgetta, Caballe floating ravishing top notes and delineating Nedda's desperate rebelliousness with unfailing vividness. Domingo is in sappiest, most youthful voice and Milnes darkly brooding in both roles - he always did festering menace rather well yet the voice per se remains smoothly burnished and beautiful.

While this "Pagliacci" has always been my preferred version alongside the old Callas/Di Stefano/Gobbi set conducted by Serafin, Leinsdorf's "Il tabarro" does not displace my absolute favourite set with Tebaldi and Del Monaco singing their hearts out under Gardelli and Milnes cannot rival Gobbi's subtler Michele. Nonetheless, they make a deeply satisfying pairing.

I imagine most people don't know these two recordings even exist. They were done in that period when RCA was trying to find projects for two of their biggest money makers.

This "Pagliacci" is early for Domingo. He did it better later on. But his youth and somewhat lighter timbre work to his advantage here. And, he has Caballe as Nedda. Talk about peaches and cream! Unfortunately, Mr Milnes is not terribly idiomatic, at least to my ears.

The "Tabarro" here is a different matter. I don't know if Price ever sang the role in the house, but she is absolutely on fire here. This role lies perfectly for her voice and dramatic as it is, she crawls around inside of it and hurls it out to us, magnificent, exciting sound on top of sound on top of sound. Simply put, one of Ms. Price's crowning achievements.

I always though it was odd that both of these recordings, which were not paired in the LP days, by the way, came and went so quickly. And, strangely, the same holds true for their CD incarnations. Pick them up if you can. They're great!

Please note: This is a review of Il Tabarro only

Leinsdorf is usually known for his energetic speeds, and to be honest, I've come to appreciate his pacing. The thing is, Il Tabarro is already short so while Leinsdorf's tempo isn't slow, it's far from rushed. The conducting and orchestra are elegant. There is even the occasional sound of a fog horn....the subtle, well blended violins really do convey the fluidity of a waterfront setting. Really, really well conducted- this is my third Tabarro recording and while the legendary Bellezza recording is more widely available and very well sung (particularly Gobbi's immortalizing of Michele), the recording quality, while good, is still mono. Leinsdorf's recording is ADD, by comparison and his cast is also stellar.

Leontyne Price as Giorgetta adds a slightly husky sensuality to the role but in my view is the best sung Giorgetta I've heard so far....the pronunciation is not idiomatically perfect but such is the case with many non-Italian speakers. Vocally though, she is at times breathtaking. Giorgetta's arietta "Al mattino, il lavoro che ci aspetta" ends on a high note with the word "nostalgia," that many sopranos either have to sing a bit forte to hit the note, or exclude it altogether and remain on the lower octave. Price here demonstrates part of her signature talent and effortlessly reaches the note with time-stopping pianissimo! Her Aida was also distinguished by similarly intelligent phrasing. Of course, Domingo as Luigi sings with ringing bravado and though he is perhaps my favourite tenor, I might have preferred if he softened his tone just slightly. Sherill Milnes is one of my all-time favourite baritones because of his sheer vocal beauty. While Gobbi was more the heart-breaking, Milnes' Michele has a slightly more serpentine quality- still, disarmingly soft when necessary. His "Squaldrina!" evidences the distinction between Gobbi's heartbreak and his venom at Giorgetta's betrayal. Oralia Dominguez as La Frugola at times is a little `fruity' but that is part of La Frugola's charm. She is still La Dominguez with that beautiful, rich tone and in the longer phrasing, she more than compensates.

It's a pity this recording is so scarce, and subsequently so expensive but if you can afford it, this is DEFINITELY one to have. We really do need a re-issue of this to make it more accessible.