Customer Reviews

Leoncavallo: I Pagliacci

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

 

 

This recording is a must have. Bjoerling is at his vocal and dramatic peak on this recording. All his arias ("Un Grande Spetacolo", "Un tal giocco" "Vesti la Giubba", and "No! Pagliaccio non son!") are all flawlessly sung. Leonard Warren's performance of the sinister Tonio has never been matched. Warren sings the difficult "Prologo" with great ease and aplomb. A virtual voice lesson. De Los Angeles is exquisite as Nedda and her "Qual Fiamma Avea Nel Guardo...Hui! Stridono Lassu (Song of the Birds)" will melt your heart. Another luxury this recording holds is the magificently rich baritone voice of Robert Merrill as Silvio, Nedda's village lover, who sings the treacherously high tessitura of this role magnificently. Renato Cellini does a wonderful job of conducting the RCA Victor Orchestra. Do yourself a favor and make this recording yours. You won't regret it.

What an opera! The great singing of Warren, Bjorling, and de los Angeles has never been equalled. The only rival I have to this recording is with Corelli, Gobbi and Amara, both are very different but compeling.

In this recording Bjorling makes Canio into a person with some honour, a person everyone can relate to not just a man who's emotions range from jealous to cold blooded killer, (he makes canio into what Callas made medea). The ease and absolute passions rage in his voice unlike anyone I have heard. Warren for me is the greates tenor of all time along with Gobbi. Their is now a live recording of Warren, Raoul Jobin, Albenese in Pagliacci which is a must for anyone who wants to hear this opera in all its height of passion. However Warren here delivers a compeling Tonio, with all the insight of decades of performances. His lust and creapy nature all come alive in Warrens vocal timbre, (listen to his totally creapy Scarpia). Finally de los Angeles shows how easily her voice sat in verisimo roles, she delivers the trills and high notes equal of a bel cantoist but with the voice that suit.

This recording out does any conteporary singers, their is no yelling, and awful timbres in this recording. Plus, it is really cheap for a single CD, what a bargin the great Bjorling, Warren, and de los Angeles for mid price. Bravo!!!!

I tend to disagree with the other reviewers (especially the one that thinks Leonard Warren is a tenor, but also the one that thinks Bjoerling has a lyric tenor), perhaps because I am besotted with the (spinto) voice of Jussi Bjoerling. I spend an entire afternoon comparing Bjoerling's final aria (No, Pagliacco non son) with the others in my collection. Cura can't compare. Caruso is strikingly similar but doesn't have the vocal colour. How anyone can hear this performance and say he is uninvolved defeats me. The second half of the aria has every emotion (fury, depression and hate) so clearly delimited. The final curse with its faultless notes above the staff integrated into the line (even Caruso can't do this) is heartbreaking.

If you want to hear great singing this is a great performance.

This 1954 "Pagliacci" is probably the best-sung version of this opera ever to have been recorded. Moreover, the sound has been digitally remastered, and the results are good enough to make it a valid contender. Rarely has this one-act shocker been as lavishly cast as it is here. Jussi Bjoerling only performed the role of Canio in "Pagliacci" a few times onstage during his career, probably because his basically lyric tenor would have been pushed beyond its endurance in this very heavy role. On this recording, however, he sings beautifully, without ever pushing for volume and power. His voice, of course, was one of the greatest of the century and his "Vesti la guibba" is really something to hear and cherish. For sheer singing, he cannot be faulted for anything, but to me Bjoerling sounds curiously detached and uninvolved, but in his case it was his voice that was his glory, and his presence in this recording is a real luxury. The luxury is further augmented by the presence of two of the greatest baritones of the period ---- Leonard Warren, who sings a superb Tonio (and who operates at a somewhat higher degree of intensity than does Bjoerling) ---- and Robert Merrill who is given a role which has one requirement: that he sing beautifully in the love duet with the soprano, which Merrill certainly does. Compounded into this plethora of vocal gold is the legendary soprano Victoria de los Angeles, who sings a very beautiful and lyrical Nedda, but this is a character who is torn by conflict, remorse, and real anxiety. Unfortunately, de los Angeles sounds a little staid and mature-sounding, and where she should be powerful, she sounds merely petulant. Thus we have a Nedda and Canio who seem uninvolved in the drama, which of course takes a lot of punch out of the performance. Part of the problem may be the conductor. Renato Cellini was a competent conductor in his time, but he opts here for a very static and serene approach to this opera which I find to be inappropriate to meet the needs of the drama. I would recommend this performance of "Pagliacci" solely for the caliber of the singing, which is exemplary, though cool and to my ears, very reserved. This recording has another advantage: it is packaged by itself, whereas most other recordings of "Pagliacci" couple it with "Cavalleria Rusticana", its operatic "twin". Of course, if you want both operas, you might try the classic EMI coupling with Callas, di Stefano, Gobbi and Panerai --- conducted by the veteran Tullio Serafin. On two CD's at mid-price, and with highly dramatic and intense performances from its cast, it makes a great first-choice for these operas (in good remastered mono sound). But if you want a "Pagliacci" by itself, and if you are primarily interested in beautiful singing, you are bound to appreciate this recording.

This was the very first opera recording I had of this work. I bought it way back when, and it was originally released under the "Seraphim" label. I even wrote the price on the box (at that time, a huge $5.98). It was part of the Great Recordings of the Century series, and with the opera itself was included a side of arias sung by Bjoerling. Of course, at the time I bought this recording I knew nothing of the opera, excepting the famous "Vesti la giubba" (from recordings of Caruso), and the Prologue (but not sung by a great baritone of the opera, but Jim Nebors of Gomer Pile fame). I was instantly entranced. The story really grabbed me, and hearing it was a real revelation. The drama was very much alive, for me, and I find it hard to imagine people claiming it is really a very dead recording. The recording was a mono recording back then, and is often the case when remastered for CD, there are flaws in the sound quality. At times, one actually does think the opera was recorded with wool in front of the mikes, a sound quality not found in the originally released records. The only "uninvolved" singer of the lot is de Los Angeles. I have always found her very emotionless. She is very pretty, and has a very mellow caressing sound, but for some reason it reveals very little in the way of character, even in her very famous Butterfly recording. Her Faust and Barbiere di Seviglia did little for me either. Yet, in live performances, she was enchanting. I really suspect that it was the way her voice records. It is so mellow it records fairly faithfully as far as sound is concerned, but lacks her real fire that was there in life. Still, her singing is beautiful, and I loved it for beautiful singing. Bjoerling was simply wonderful, and every note was filled with emotion. Personally, I much rather hear him sing this role than Pavarotti (who is wonderfully vocally, but has little acting to his style). Domingo is closer in dramatic truth. Of course, Bjoerling sings with all the traditions of the time, high notes and all that are now removed in most recordings. He even speaks the final words of the opera (a very long tradition of doing so) when in the score they belong to the character of Tonio. Personally, I don't mind the high notes, even if they are not in the score. For me, it seems, one really has to go back in time to find singers who knew how to sing this role (Canio) and give life to it dramatically through their sound. I agree the recording of Gigli is incredible. Some sobs should be there, after all, this is verismo, and even Caruso used some sobbing now and again. Yet, one usually is treated to either nothing at all, or something quite over done. This recording is based more on the music and less on affects. Leonard Warren was the voice that stunned me. I had never heard of him, and of course, by the time I bought this recording he was long dead. I knew nothing of his tragic death right on stage. It was his voice that grabbed me. He made the prologue something special. I actually listened to it first hearing about five times before I even listened to the rest of the opera. There was a haunting quality, particularly in the passages where he tells us that the story we are about to see is about real people. The orchestra is wonderfully exciting. The score is cut, though some of the cuts in the second act are not that important. The music cut often just meanders or gives the impression of instruments tuning up. Some of the choral parts, though, were not a wise choice to cut.

I rate this recording so highly because it is worthy of it. It is exciting, and it is an old recording. For those interested in things being "authentic", this is not your recording, as like I said, it follows traditions of the time. The sound quality isn't the best, so those expecting modern studio sound, you will be disappointed. For those interested in a great performance that is well sung, and is exciting, even if somewhat dated, then this is a great recording. It is still my very favorite recording of this work, and it always will be.

This classic performance has been aptly described as "the most smoothly and richly sung Pagliacci on records," and has for decades been the preferred version among those who put a premium upon great voices.

Pagliacci (1892), the only lasting success of Leoncavallo, has long shared honors with Cavalleria Rusticana (1890), the only lasting success of Mascagni, as the two most popular short operas in the standard repertoire. "Cav and Pag," sometimes familiarly known as the "ham and eggs" of Italian opera, have also long been joined at the hip as the world's most popular operatic double-bill. Both are verismo operas (Italian realism or naturalism featuring earthy characters from ordinary walks of life, fierce passions, and resulting violence) set in the south of Italy, with simple plots turning on sexual jealousy which results in murder. (Many have the misapprehension that they are both one-act operas; Cav is, but Pag, though short, is actually in two acts.)

Caruso popularized the opera, making Canio virtually his trademark role, and since his time most of the major tenors of Italian opera have sung the role. Today, you can have your pick of complete Pagliacci recordings by Gigli, Bjorling, Tucker, Di Stefano, Del Monaco, Corelli, Bergonzi, Pavarotti, Domingo, Carreras, and others. The larder is well stocked.

This monaural studio recording was made by RCA in Manhattan in 1953 and originally issued on LP by RCA. In 1989 EMI issued a CD version of it, which I bought upon its release and would recommend that you avoid; it is thin, hard, and overbright--not a successful transfer. EMI wisely remastered it in 1998; this one sounds fine and is a significant improvement over the earlier EMI issue. The sound is monaural, of course, and is inevitably dated, but it is clear, natural, and well focused.

What makes this version so distinguished, what makes it stand out in a field so full of competitors, can be expressed in two words: great voices. Talk about prodigally luxurious casting: four of the greatest voices of the day, and indeed of the twentieth century, are the principals here. The rich, resonant, plush baritones of Leonard Warren and Robert Merrill; the luminous, radiant soprano of Victoria De Los Angeles, arguably the most beautiful lyric soprano voice of her time; and above all--for this is primarily a tenor's opera--the uniquely beautiful and incomparably brilliant and thrilling tenor voice of Jussi Bjorling, considered by many good judges the pre-eminent tenor since Caruso in the standard Italian and French repertoire. Bjorling's Canio eschews the extra-musical emoting--the gulps, sobs, and blubbering--indulged in by some tenors in this role; instead, he manages to convey the requisite passion entirely in his singing. It wouldn't be much of an exaggeration to say that these four opulent voices had no true peers even in the abundantly endowed operatic world of the 1950s, and they certainly have no peers today: no one could now assemble such a cast for Pagliacci.

The studio orchestra and chorus are both excellent. Renato Cellini conducts a taut, dramatic, well-shaped performance that permits his singers to make the most of their resources. And what magnificent resources they are! All four principals are in splendid voice; all are caught here in their prime. (One oddity worth noting: it is Warren, as Tonio, rather than Bjorling, as Canio, who sings the opera's final line, "La commedia e finita!" This was the original form of the opera's ending.)

I have a number of recordings of Pagliacci, but this one would be my pick, even at full price. For those who must have a stereo recording, or who would like an alternative version, the Corelli/von Matacic on EMI and the Bergonzi/von Karajan on DGG can be recommended. Those who like Bjorling's work here may want to acquire the fine Cavalleria Rusticana on RCA with Bjorling, Milanov, and Merrill, Cellini conducting (also recorded in 1953), in which Bjorling sings the best Turiddu on record.

I love this cast, everything is supberb. But they have removed some pages of the score, which is very disappointing.
I recommend the Pavarotti/Freni-version if you would hear it completely.
And aren't the sopranos a BIT flat on the "Din-don"-chorus?

I was very excited to find this CD online. Here are certainly 4 of the finest singers (and the superb Robert Shaw Corale) ever assembled to sing one of the most popular operas of the century. De Los Angeles and Bjorling are simply superb in the recording I own of "Madama Butterfly" capturing the gorgeous music AND the drama. But in this "Pagliacci", an opera about sex, love, jealousy, betrayal---passions run amuck & life imitating art on the stage, they are curiously lifeless, as if totally uninvolved in the drama, interested only in producing the proper notes. The sound from the early 1950's is not crisp and clean and compelling. It is almost muffled at times; although the voices sound pretty, they and the orchestra are always unexciting. This is an opera that rises and falls on its DRAMA. And drama, in this recording, is entirely missing. The Nimbus label has put out a recording from the 1930's with Beniamino Gigli. The sound, again, is not great, but at least the cast headed by Gigli is involved in what they are performing. All of the great tenors of our time have recorded the famous aria "Vesti La Giuba" from Caruso to Domingo (even current popular cross-over stars) and alot of them have recorded the entire opera (which is complete on one CD & only about 80 minutes in total.) If you're interested in this prime example of operatic music drama, pick your favorite tenor and choose his recording.