Customer Reviews

Lucia Di Lammermoor

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

 

 

There is plenty to enjoy on this live radio broadcast of Lucia for one thing Pavarotti who whilst sounding tentative in places still gives a beautifully sung account of Edgardo,fresh if occasionally strident,Scotto has such a vocally dramatic voice you can easily picture her decline into madness,she can however sound too forceful in places with some wild singing in evidence but it is nevertheless very exciting,Cappuccilli seems to relish playing the heartless brother aptly characterising the role of Enrico,there are the traditional cuts and Molinary Pradelli is only adequate in conducting this opera.

This recording of Lucia di Lammermoor was recorded in Torino in 1967. The conductor is adequate, and Pavarotti and Scotto are at their peaks. Luciano Pavarotti is an excellent Edgardo, although he misses some entrances and sounds uncertain. Pavarotti's ending, "Tu che a Dio spiegasti l'ali," is wonderful. Renata Scotto makes a dramatic Lucia, but falls short of matching Maria Callas. I have always loved her singing anyways. Piero Cappuccilli is great as Enrico, and it sounds like his voice was made for this role. The conductor, Francesco Molinari-Pradelli, is only adequate. He seems to have little control over his orchestra. If you are hesitant about getting this recording, than just listen to the sextet, "Chi mi frena in tal momento." This CD is one of the best Lucia di Lammermoors out their.

It was Maria Callas' 1950's performances of Lucia that changed the style of interpretation of Lucia. While sopranos like Amellita Galli-Curci, Luisa Tetrazini, Lily Pons and Roberta Peters sang in a pretty, colorful, sweet, "Snow White" type of voice to the sacrifice of dramatic integrity and characterization, Maria Callas sang a dramatic Lucia, with a bigger voice. This 1967 radio performance live from Turin, Italy stars Renata Scotto, easily Maria Callas' immediate successor in the 60's. She sings with dynamic versatility. Note how the melancholy "Soffrivi Nel Pianto" is sung with touching pianissimi is markedly different from the "Regnava Nel Silenzio" and the Mad Scene, which are far more dramatic in their rendition. Scotto has a huge but lyrically warm and round voice. It is full-throated and highly Italian. She is generously supported by none other than Luciano Pavoratti as Edgardo. Pavoratti is in his prime and this is possibly his first full-length opera recording. He is so young in this recording. His voice is perfect for bel canto, and his Edgardo is especially excellent, despite the slight annoying slips he has, like singing in a detached manner, as if he is not singing with the cast but singing to hear himself with the cast. Pradelli conducts with great bravura and attention to drama. This is a great recording. Fans of Scotto will want to buy this. Fans of Pavoratti will want to buy this. The dramatic text has never been sung with more flair and in the most Italian of style.

This Lucia is best for the money (although it contains no libretto and has minimum notes), and is very good at any price. I really like the way Scotto creates a young and vulnerable heroine. Her Lucia will break your heart. Pavorotti has the red-blooded passion that is needed for Edgardo. I particularly liked his "Sulla tomba" and the way he spits out "Son tue cifre? Rispondi" during the great sextet. The biggest surprise is Cappuccilli. Finally, an Enrico who can deliver "Cruda, funesta smania" so it conveys his desperation and anger. Even the Normanno, sung by Ricciardi, is excellent. If you only want one Lucia, this is it. If you have others, this recording will impress you and may become your favorite.

"But" seems like the word I can most easily apply to this recording. Renata Scotto is good,

BUT in dramatic intensity she cannot beat Callas, and her high notes leave a lot to be desirable. For example, the penultimate note of "Quando, rapito" seems to be emitted by some bizarre breed of goat. She does produce some nice sounds, though. Pavarotti is thrilling,

BUT he sounds uncertain, like he's only studied the score for five minutes before the broadcast. Cappuccilli is a passable Enrico,

BUT the role seems to be just out of the range of his capabilities, his voice is a little scratchy in timbre and rough on his higher notes. The rest of the cast is alright,

BUT the Arturo is a pretty weak bit of casting, Alisa is a bit plummy, and Raimondo a bit plodding.

There is nothing good I can say about Molinari-Pradelli's conducting - he has absolutely no control over his orchestra or singers.

A set not worth going out of your way for particularly.