Customer Reviews

Puccini: Madama Butterfly

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I'll admit that MADAMA BUTTERFLY is not one of my favorite operas, at least as far as characters are concerned. I find Pinkerton repulsive and as an American, I hate the fact that one of opera's most popular works has what is perhaps the most obvious example of an "Ugly American." I remember reading that some American critics hated the work at its New York premiere for the reasons I state. And yes I know, there are far more vile characters in opera than "Love'm and Leave'm Pinkerton, but he's so realistic ,Cio Cio San is so vulnerable, and Puccini's music so fits the story, I almost hate to listen to the opera because the same tragedy happens over and over again. Yet every time I put the CDs in the player and hear the string prelude, I know I have to listen because there are some of opera's most emotional and passionate musical moments in this work.

There are a number of tremendous recordings of this work available with some of operas greatest stars as Cio Cio San: Maria Callas, Mirella Freni, Anna Moffo, and Renata Tebaldi. Tenors who love the bravado of Pinkerton include Pavarotti, Carreras, Domingo, Mario Del Monaco and Carlo Bergonzi. Any set with any of these stars is musical heaven, but for me the BUTTERFLY of choice is this mid priced set with Renata Tebaldi and Carlo Bergonzi under the direction of Tulio Serafin. Anytime I listen to it, I'm captivated by the performance and drawn into the drama. It is often considered one of Tebaldi's best studio recordings, and Decca has used excerpts from this recording in many of its opera compilations.

Since this is a role often associated with both Renata Tebaldi and her rival Maria Callas, some may wonder which is the better choice. Well, I'm the wrong person to ask. I own and love both. The Callas recoding has certain intensity as opposed to the polish of this set, and this set is in stereo as opposed to the mono recording of the Callas set. Both sets are masterpieces, but for my tastes, the Tebaldi set is the better choice.

This famous recording dates back to the beginning of the stereo era, and in many respects still commands great attention. There have been numerous recorded performances of this opera that have proven more compelling and poignant than this one (most notably those of Callas, Scotto, and Freni), to be sure. This is an opera, of course, which stands or falls by it's prima donna. Tebaldi was never a great tragedienne, and her occasional attempts at real drama never really worked. What she had to offer, however, was a voice that was arguably the most resplendent and beautiful of the post World War II period. It was a voice, that for Butterfly, anyway, was probably a little too large and mature for the fiteen year old giesha she was portraying, especially at the beginning of the opera. Once past this, however, a towering experience awaits the listener as Tebaldi delivers singing which is awesome in its beauty and all-enveloping power. Unfortunately for us, voices like this just aren't around any longer. Carlo Bergonzi's singing is also vocally very beautiful, far more beautiful than the character deserves, louse that Pinkerton is. Fiorenza Cossotto, in the thankless role of the maid Suzuki, contrasts well with Tebaldi in the Flower Duet. The conducting of Tullio Serafin is leisurely, stately, and very much in the old time Italian tradition of Puccini. While not a profound or innovative performance, it remains a wonderful one because it exemplifies a style of Italian opera performance that no longer exists. And lastly, and most importantly, it deserves to be heard and cherished for the sheer beauty of the singing of Renata Tebaldi

This 1958 London recording still has a lot going for it. The stereo sound, now having been digitally remastered, sounds fine (save for a little thinness in the upper strings), and at the budget price, it's a real bargin. The performance itself, under the expert direction of Italian opera veteran Tullio Serafin, is serenly paced, without the real urgency and raw drama that might have enhanced it ----- a traditional approach very typical of its time. What makes this recording so valuable is the singing of Renata Tebaldi. The great Italian soprano's voice is heard here in its absolute prime, and what a prime it was! The sheer sound of the voice is so rich, so powerful, and so beautiful that one can hardly imagine the music being sung better (the late critic Claudia Cassidy once likened Tebaldi's voice to "pitchers of pure cream pouring out of a spout"). The interpretation itself is generalized and unspecific, and Tebaldi at no point sounds like the teen-age giesha Puccini envisioned, but how many sopranos (aside from Callas and Scotto) have managed to sound like this anyway? One never looked to Tebaldi for characterization ---- for her, the sheer beauty of singing was the thing ----- and that is something she delivers here in spades with aces to spare. To hear Puccini's music voiced as it is here is something very special ---- truly, one does not hear "Madama Butterfly" sung like this anymore. The Pinkerton of Carlo Bergonzi is much in the same vein -------- beautiful lyric tenor singing, albeit with little real characterization. Ditto for the Suzuki of Fiorenza Cossotto, then at the outset of her international career. The singing is what makes this set so worthy of your attention. If you want a character study, go for Maria Callas or Renata Scotto, both of whom created incredibly tragic gieshas, and each of whom sing very well on their respective recordings, but neither possessed the instrument of Tebaldi, who demonstrates it here in all its grand opulence.

This is Tebaldi's BEST recording and also one of the best recordings of this Opera.It is true that she does not have the soprano voice ideal for the 15-year old Cio-Cio-San but there is no other Soprano that has sung or performed this role like Renata Tebaldi. I first heard "Un bel di" sang by M.Freni,a famous Butterlfy but it wasn't until I heard Tebaldi singing this aria that I realised it's beauty.(Freni is constantly being suffocated by the orchestra).Strength combined with sweetness produce deeply moving moments and everyone knows that Puccini is all about emotions.This is why I love Tebaldi's Butterlfy.She has always sung Puccini like no other soprano ever has. In this edition the rest of the cast is also SUPREME.The ideal lyric tenor Bergonzi,always matches perfectly with Renata and of course Cossotto and the others complete this beautiful cast.

On the whole,together with Renata Scotto's edition (allthough not an equally beautiful voice),the BEST MADAMA BUTTERFLY TO GET!!

This recording is amazing. It sounds very live with the passion and emotion that come through in the singing, not often found in studio recordings.

Tebaldi's Butterfly is electrifying, flirtatious, and innocent at the same time. The lush, cool power that she has comes through everywhere and she is never drowned out by the orchestra. This is a recording of Tebaldi in her prime and he rhigh notes are spacious and ringing, never strained.

Bergonzi is, as usual, perfect and makes every tenor green with envy. His duet with Butterfly at the end of Act I is booming, arrogant, and passionate. Under the baton of Tullio Serafin, the orchestra creates a truly moving sequence of all-encompassing sound here as well; it's hard not to fall into the romantic scope of the scene.

The supporting cast is also very convincing, especially Cossotto as Suzuki, with the fervor she injects in the scene where she is praying, and Enzo Sordello as Sharpless fills "America Forever" with backhanded patriotism.

Easily one of the finest opera recordings out there and a great bargain. Puccini's music speaks for itself... you won't need a libretto.

This new 1999 remaster by London is outstanding. Much like their remaster of the stereo LA BOHEME, flaws are almost unnoticable. What is extremely noticeable is the stunning performance by Renata Tebaldi and Carlo Bergonzi. By this time, Tebaldi's second recording of the opera, the London engineers had gained tremendous insight into recording of voices and it shows. While the mono Tebaldi Butterfly is quite good too, I MUCH prefer this stereo set.The orchestra and voices are on a similar recorded level, and therefore leaves you breathless with it's impact. Tebaldi's relationship with Serafin was one of splendor, and we can hear it. While it may turn into the opera of an Italian Diva instead of a 15 year old geisha, who cares when the singing is this fabulous. Bergonzi is truly amazing, and these new remasters only make me appreciate him MORE. He was the first to sing "Celeste Aida" romantically, rather than bellowing it out.The duets with Cossotto are brilliant and float like blossoms on a floating stream. Serafin never lets anything slide, even for a second.At this price, you HAVE to have it in your collection. Many consider her the greatest Butterfly onstage, despite her tall stature. Besides, how many fifteen year old singers perform the role? If you want to see for yourself, I recommend the "Historic Telecasts" video, as she performs TWO COLOR arias in costume, to stunning effect.

This is Renata Tebaldi's second recording of "Madama Butterfly". She sounds wiser in this role than when she recorded it the first time around. Her vibrato sometimes turns into an obtrusive wobble, but it is mostly under control. Her high notes are not as secure as in her first recording of the work. Her interpretation is subtler here than it is in her first recording. Butterfly's Death Scene is more subtly sung in this version than it is in her first, but the high notes are not nearly as secure. Dramatically, she is no Renata Scotto or Victoria de los Ángeles, but she has a superior voice. Her voice is a little different here than in her first recording. The rest of the cast is marvelous. Carlo Bergonzi is a great Pinkerton. To my ears, he is the best tenor to have recorded this role. He is significantly better than Giuseppe Campora on Tebaldi's first recording. Enzo Sordello has a wobbly, but very attractive baritone. He sounds too light to be a convincing Sharpless. He has a better voice than Giovanni Inghilleri, the Sharpless on Tebaldi's first recording. However, Inghilleri's voice is much more suited to the role of Sharpless than Sordello's is. Fiorenza Cossotto is a heavenly Suzuki. She has a beautiful voice and characterizes nicely. She has got to be the best Suzuki on records. She is infinitely better than Nell Rankin, the Suzuki in Tebaldi's first recording. That Suzuki has poor Italian and a vastly inferior voice. Tullio Serafin is a marvelous conductor. He is much better than Alberto Erede, the conductor on Tebaldi's first recording. Erede goes through the motions. Serafin actually takes time to conduct and pace this opera intelligently. Overall, this is a marvelous recording.

I couldn't have asked for a more lovingly sung Butterfly than Tebaldi's and at this bargain price it puts it way out front of similar accomplishments. The stereo sound is sharp and well balanced, voices front as they should be. Plus Serafin's beautiful dramatic conducting. One may quibble with Bergonzi's Pinkerton not seeeming "caddish" enough, but he sounds better here than in most recordings I have heard.

My mother, who never saw an opera in her life, had the London LP "Highlights" version of this performance. Each time she played it, she cried unashamedly. I have seen 4 Butterfly's performed live. None matches this recording for its sheer power. Brava, Renata, brava.

I had not listened to this CD for a while. I recently heard snippets of the love duet (Callas version...) and decided to listen to it again.
I think I'd forgotten just how beautiful Puccini's music in this opera is. Tebaldi is about as close to perfection in this as one can humanly get. I'd recommend this strongly to those who have not listened to the whole opera yet. I've always found Butterfly more moving than Boheme...I must be in the minority. To me, this opera and Tosca (for very different reasons) are his best.