Puccini: Madama Butterfly

Mirella Freni | Format: MP3 Download

Product Details

• Original Release Date: March 16, 1987
• Release Date: March 16, 1987
• Number of Discs: 3
• Label: Decca
• Copyright: (C) 1987 Decca Music Group Limited
• Record Company Required Metadata: Music file contains unique purchase identifier. Learn more.
• Total Length: 2:25:29
• Genres:
• ASIN: B0015S71EY
• Average Customer Review: 4.2 out of 5 stars  See all reviews (41 customer reviews)
• Amazon Best Sellers Rank: #19,636 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

20 of 20 people found the following review helpful:

5.0 out of 5 stars Heart-aching and very human, June 4, 2004

By 

S Duncan "sfedlandd" (London) - See all my reviews
(REAL NAME)   

This review is from: Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan (Audio CD)

We all have our preferences (I intend to get the rare recording featuring Anna Moffo as well) and we may not be particularly moved by something being described as the best 'all-rounder'. This suggests a piece of work that isn't necessarily spectacular, but nevertheless steers clear of any poor performances. We therefore avoid them and go for our favourites instead, reasoning away any shortfalls.

Well this is not just the best 'all-rounder' in its ability to please....it is demonstration class! I'm not a Pavarotti fan, though I give him his due. Domingo's my hero. Freni, with her girl-next-door-of-a-voice reputation was never a voice I'd chase down, though I regarded her as a 'safe' bet. Well here they SHINE! Freni kisses every note and sends it floating or flying with charm, vulnerability, pride, love....such emotion but all with a very genuine HUMAN feel. I have NO difficulties hearing her either. Pavarotti, as was said by another reviewer, sings here, rather than shouts (which he can do sometimes). Again, his emotions are so human...even the very, very light grate in his voice sometimes. Believe me, it was totally convincing. I pictured a man who lives for the present but for whom thoughts of the future are an emotional drain. After these few moments, he continues to display a clear and beautiful tone as the mood later changes....and I'm not one disposed to rationalising anything on Pavarotti's behalf. Full marks to him for texturing.

And the rest? Well, I'll confess my biases here: Christa Ludwig (I'm tempted not to say any more; the name speaks for itself!). I'll limit myself to one word: sumptous. From her millings around in the background in Act 1 to her endearing prayers at the beginning of Act 2 to the despair and tragedy of the trio at track 5 in Act 3, her performance seems to say "I care; with all my heart, I care deeply". Robert Kerns, with whom I'd been previously unfamiliar, is a very warm and well-sung Sharpless. Deep and sombre-toned, without being too sonorous. The effect is that it feels less theatrical and, again, more human.

Michel Senechal as Goro is a joy to listen to. His tenor is less noble that Pavarotti's Pinkerton, as it should be. In fact, there is not a badly sung role in all of this, and Wolfgang Schneider as Uncle Yakuside is a spiteful fright without sounding ugly! The chorus sounds lovely. Now and again you get hear the voice of one or two matronly (but NOT overly fruity) voices among the mezzos ( "O Kami! O Kami!" Act 1, track 12) and this just adds to the endearing quality of what is already a beautiful score. The only petty quibble I can think of would be Freni's "Tu? Tu?..Piccolo Iddio!" which was a little less ravishing than I might be acustomed to (e.g.; the breath in between "...fiso," and the very next word "fiso..." weakened the aria) but that's verging on being pedantic. After all, Butterfly was about to die. Even so, it was still well done.

As for von Karajan? Well he's always been my kind of conductor....from Tosca (Price/di Stefano) to Parsifal (Hoffmann/Van Dam/Moll etc.) to Boris Godunov (Ghiaurov etc.) I have lauded his dexterity, passion and devotion to depicting not just music, but the aura of the music. He has NEVER indulged in the music too much for my taste. Too much beauty?? Is there such a thing???? Listen to the birds at the beginning of Act 3. The warm flood of the strings of the Wiener Philharmoniker are a testament to Herbert von Karajan's mastery, whether they bear you away in amorous rapture or sweep you on tidal waves of high emotion.

This IS an essential recording. Puccini's beautiful melodies here present another tear-jerker, but with more colour and depth than La Boheme.

23 of 25 people found the following review helpful:

5.0 out of 5 stars Simply fabulous, July 8, 1999

By A Customer

This review is from: Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan (Audio CD)

As other listeners have noted, this is an opera that stands or falls on its heroine. With this in mind, Karajan's recording must be ranked among the best. Pavarotti's Pinkerton, recorded during his prime, is fresh and youthful, and Christa Ludwig's Suzuki brings a lieder-singer's attention to the text (although Teresa Berganza on the Sinopoli recording outdoes her). But the reason for hearing this set is the magnificently sung Butterfly of Mirella Freni. While she may not have the sharpness or intensity of Renata Scotto, this is, bar none, the best-sung Butterfly on records. Butterfly's Entrance will never be better done than it is here (that high D-flat at the end is a little slice of paradise), and there are other moments that make the heart stand still. The recorded sound is ravishing, and Karajan conducts with soul and passion. Don't hesitate about the extra cost of this set -- it would still be a bargain at twice the price.

17 of 18 people found the following review helpful:

5.0 out of 5 stars A STUDY IN DETAIL, May 14, 1999

By 

Shawn Chua (Singapore) - See all my reviews

This review is from: Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan (Audio CD)

The success of Madama Butterfly rests on the shouders of the soprano, more so than any other opera. While a well-sung Pinkerton, Suzuki or Sharpless are appreciated, it is the title role that people think of first. In this aspect, Mirella Freni has excelled. Her performance of Cio Cio San is almost legendary and this recording is a summation of her understanding and interpretation of the role and character. From the passion and love in the duet with Pinkerton to the wrath and despair of the finale, Freni shows us how plaiable her voice can be. Light and dreamy for one, and heavy and dramatic for another. Her "Dormi amor mio" sends chills down spines with its paralysing beauty. Pavarotti sings with ardent brilliance and splendour. His tone as always bright and ringing creates a Pinkerton that does not seem at at that heartless. Ludwig's sensitively potrayed Suzuki complete with the "voice" lend to the work an asset. Karajan, more so than for his recording with Callas, takes a leisurely and unhurried stroll down the trial and tribulations of Cio Cio San, giving a most beautifully performed Butterfly. One point to note however, is that the CD is on three discs and thereby, is dearer. However with such a recording, the extra disc is worth every cent.