Customer Reviews

Puccini - Il Trittico / Alagna, Gheorghiu, Guelfi, Guleghina, Gallardo-Domás, Manca di Nissa, Palmer, Shicoff, van Dam, LSO, PO, Pappano

5 star:		(10)
4 star:		(1)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

Il Trittico is a rare treat in opera houses these days. Not only do the technical and financial demands of staging this triple bill pose a big obstacle - somehow it wouldn't work in a single set - but it is also fiendishly hard to cast. Tempting as it is to cast the same singers across all three operas, the range of parts on offer here actually require very different voices. For "Il Tabarro", a Tosca, a Cavaradossi and a Scarpia fit the bill nicely; a Mimi or Butterfly and a trus dramatic contralto are needed for "Suor Angelica" -and in the last piece, a true Buffo baritone surrounded by a cast of younger, fresher singers are best able to give the comedy the requisite lightness of touch.

Apart from Alagna and Gheorghiu, this recording does not necessarily go for big names. Pappano has obviously chosen his cast with the utmost care, however, with some really powerful results. For me, it is Il Tabarro that works best - a fabulous (and parlously underrated) piece, it benefits from the power and commitment of the singers here. Guelfi plays the brooding Michele with a convincing snarl and frigtening aggression towards the denouement; Neil Shicoff's visceral, Italianate sound carves out Luigi's desperation admirably. Maria Guleghina's cavernous soprano captures much of the subtlety and seductiveness of Giorgietta and unleashes one of the most glorious, blood-curdling screams I have heard at the end of the opera. Somehow, all of Puccini's genius seems to be squeezed into this disc and, in under an hour, it's an overwhelming ride.

For "Angelica", the reflectiveness and peace of the start turn convincingly to heartbreak and redemption at the end with a spaciously recorded, well paced performance. Cristina Gallardo-Domas sounds very well in the title role and none of the uncertainty of pitch she can display in the theatre is evident here. She makes something very special of the part with her tender, musical singing (far superior to Sutherland's, also recently released) and evinces much sympathy. Bernadette Manca de Nissa sings beautifully and powerfully without effacing memories of Christa Ludwig. Felicity Palmer makes much of little as the Abbess, and Dorothea Roschmann - a very classy soprano indeed - is a delightful Genovieffa. Refreshingly free of syrupy sentiment, the recording is a great success.

Perhaps Schicchi - the farce at the end of the enening - works least well here, though it is probably the hardest of the three to bring off. Pappano is again superb and the cast is excellent, but Jose Van Dam is a touch weak as Schicchi; somehow he lacks the edge and bite an Italian singer might bring. That said, his inclination towards restraint rather than overacting does pay off. Alagna is a healthy, lusty Rinuccio, but Gheorghiu's Lauretta steals the show, singing her aria and everything else with meltingly beautiful tone and exemplary style. Of the supporting cast, Felicity Palmer's Zita stands out for her pungent, characterful portrayl.

A really serious and succsesful enterprise, therefore - and I must confess one of the most enjoyable operatic releases I have encountered recently. Excellently packaged and great value for money, I recommend this set very highly.

A modern recording of Il Trittico was long overdue, and has been fulfilled magnificently by Alagna, Georghiu, Pappano et al. The only negative reviewer of this disc really criticizes the composer (who he thinks is Verdi!) rather than the performances themselves. But, the question for a review is not "is this a good opera?" That is for the purchaser. Rather, the issue is, given that the purchaser wishes to purcahse a recording of the opera, is it a good recording. This is an excellent one and anyone interested should not hesitate.

Like another previous reviewer, I too came to this set feeling that the old Tito Gobbi recording was something very special, and hard to beat. And it still has a special place in my collection. But this set is exceptional on all counts; it is superbly recorded, the soloists are wonderful, and Pappano's pacing throughout is just glorious...here is a conductor who understands, and has a love for this music. Furthermore, the older Gobbi set is hard to find, and only "Schicchi" is in true stereo. In short, you will not go wrong with these lovely, sensitive recordings. Better yet, get these and the older set if you can find it, and you'll never want for any more.

Let me preface this review by stating that these three one-act operas should really be considered as a single unit; after all, that's how Puccini intended them to be performed. "Gianni Schicchi" has gained a popular following on its own, but the other two parts of the triptych have languished behind it. This recording provides an excellent case for keeping these three disparate works united. The harsh verismo of "Il tabarro" is offset by the ethereal beauty of "Suor Angelica," which in turn is contrasted against the fleet comedy of "Gianni Schicchi." The singing by all principals in this particular set is marvelous, especially Cristina Gallardo-Domas as Angelica, who floats some beautiful pianissimos and sings with dramatic conviction. She's a real find. Maria Guleghina and Angela Gheorghiu also sing beautifully in their respective segments. I'm not a real fan of Roberto Alagna -- he sounds a little thin and worn here, and indulges in too many extraneous vocal sobs; this would be more dramatically appropriate in "Tabarro," but in "Schicchi" it is merely intrusive. The rest of the cast is excellent, with special mention going to Felicity Palmer, who plays small roles in each third of the opera. My overall favorite recording of this neglected work.

Antonio Pappano has by and large over the years triumphantly justified his preferential treatment by EMI in being allowed to record large-scale works where other eminent conductors have gone begging. This trilogy recorded in 1997 must be accounted a success even in the light of stiff competition going back fifty and more years but of course one area where it trumps all others is the clarity and spaciousness of the sound, especially in such places as the atmospheric opening to "Il tabarro" with lapping waters of the Seine, the distant tugboat sirens and car horns or Maria Guleghina's absolutely blood-curdling scream when Michele reveals Luigi's corpse under his cloak to Giorgetta. And of course the orchestral playing from two of London's finest orchestras is superb.

This first opera is a definite success, not least because of Carlo Guelfi's strong performance as Michele and Guleghina's convincing depiction of a bored and slightly blowsy woman who yearns to escape her mundane existence. Nonetheless, for sheer vocal thrills you cannot beat Del Monaco, Tebaldi and Merrill for Gardelli. Of course, Neil Shicoff with his lighter, throatier tenor is dramatically more convincing as a young man easily subdued by the enraged wronged bargee whereas Del Monaco sounds as though he could rip his head off. Nonetheless, Del Monaco's "meglio non pensar" arias followed by his passionate duet with Tebaldi are among their greatest moments and I wouldn't be without them. Still, Pappano directs an arresting performance of this melodrama and all round it is very satisfying - although, again, I wouldn't want to be without Gobbi's searing Michele in the classic mono version. Only Milnes manages to growl "Squaldrina!" (slut) through his teeth almost as feelingly as Gobbi. A pity that Michele's alternative aria "Scorri, fiume eterno!" wasn't included either within the opera or as an appendix.

The biggest surprise here is the recording of what is often regarded as the Cinderella of the trilogy, "Suor Angelica". I think it most unfair to label it kitsch and sentimental, although I grant you that some modern audience-members might have more trouble surrendering their secular cynicism. I can only say that I find this version genuinely moving, exquisitely sung by Cristina Gallardo-Domas with her floated top A's and C's and I can never listen to it without tears welling up and my throat going into spasm. The supporting cast is very strong, particular bonuses being Dorothea Röschmann's delightful Suor Genovieffa and Bernadette Manca di Nissa's implacable Zia principessa. Furthermore, the playing of this light, airy, ethereal score by the Philharmonic Orchestra is enchanting. This is certainly my favourite account of this tricky work.

With "Gianni Schicchi" one has to concede the supremacy of Gobbi's 1959 stereo set under Santini on almost every count. Pappano does not achieve the fizz and spring of that earlier version and the cast, although skilled, are not all idiomatic Italians who can inflect the text with subtlety. However, José van Dam reveals far more talent for comedy than I would have suspected of this dignified artist and even if his top notes are a bit dry, the same is true of Gobbi. Gheorghiu is enchanting as Lauretta and to my ears preferable to Victoria de los Angeles although I am aware that many will disagree; likewise many will prefer a virile and young-sounding and Roberto Alagna to Carlo del Monte as Rinuccio.

The casts are larded with singers spotted and recruited early by Pappano and now famous names such as Sara Fulgoni and Patrizia Ciofi. Veteran Felicity Palmer makes a telling contribution to two opera with her tangy mezzo and I was impressed by Elena Zio who sings in all three. It's a luxury, too, to have the then glamour pair Alagna and Gheorghiu as the distant lovers off-stage in "Il tabarro".

This set is certainly no disappointment even if it is surpassed in certain regards by preceding, individual recordings and it makes a superb survey of one of Puccini's somewhat less popular creations - and the "Suor Angelica" is decidedly "best in class".

This review compares three of the recordings of Suor Angelica, with the finding that the recording of this miniature gem in the boxed set of Puccini's Il Trittico conducted by Antonio Pappano far exceeds the others in various qualities.

The best first. The vocal performances of both the title role (Cristina Gallardo-Domas) and la Zia Principessa (Bernadette Manca di Nissa) offer a great breadth of interpretation and an honest and true attention to pure vocal production. I have the very slightest of quibbles with one specific response from Gallardo-Domas' Angelica to her aunt, "La Vergine ci ascolta e Lei vi giudica!" is offered much too anglrily, where the score is marked "coldly." The wonderful choral work that supports the action and provides so much of the exposition is a well-modulated performance of Puccini's best writing for women's voices in non-starring roles. Indeed, the balance between the soloists, chorus, and orchestra is keenly maintained througout, ever allowing the orchestra and chorus to be equals to the soloists. Lastly, Pappano's pacing seems the most accomplished of all the recordings.

The worst second. The performance of the Rome Opera Orchestra & Chorus with Fedora Barbieri and Victoria de Los Angeles is frightful. The balance is muddy, and the soloists are miked so closely that they become strident. Worse yet is that the editing was inattentive, and several badly pitched tones made their way to the final recording. --And the pitch problems continue throughout, sometimes sharp, sometimes flat. The chorus members' diction is almost slurred, and a sloppy ensemble results in many nice melodies being unintelligible.

The most surprising recording is conducted by Richard Bonynge and stars Joan Sutherland and Christ Ludwig. As another reviewer noted, Dame Sutherland is past her prime, recording the role at age 52. If only we had a recording of Angelica from her at 30! As it is, I believe Richard Bonynge is the one driving a stake through the heart of this work. His readings alternate between a rush through lyric passages and tearing through the recitativo segments at a full tilt. But it seems so strange because the balance favors the women's voices, making the orchestra extraordinarily subservient. Finally, the performances in general seem less than committed. For example, Sutherland lacks both the fire and the meek submissiveness that should complicate the character.

It is no mistake that this recording of Il Tritico was praised by Gramophone magazine. It nearly captured the award from best opera but was beated out by a few votes. This set captures the drama of Tabaro, the quiet tragedy of Suor Angelica and the humor of Gianni Schicchi. The singers are excellent and well-chosen. Mr. Papano backs everyone up with a superbly. I was fortunate enough to attend a performance of Il Tritico a few years ago, and these performances brought back remarkable experience that it was.

I heard excerpts from this recording on a transatlantic flight and had to have the whole thing. I am a great fan of Gheorghiu, and she is in top form on this recording. Why aren't these three one act operas performed more often? That is the question that this recording leaves with you.

Very good performances of all three one-acts. Good sound quality, and the orchestra performance is top-notch.

Once upon a time I was traversing an Interstate Highway on an otherwise uneventful day and Bamm! the sweet intonations of the female soloist singing in the most heavenly voice (by the way not THIS reviewed rendition), was being delivered by the most crappy Amplitude Modulated car radio. I was so mesmorized by the sweet sounds I was hearing that I pulled off the Interstate and just listened. For an hour I just listened. The Opera was 'Suor Angelica'.

I have this particular CD and it is recorded better than the version I had experienced. Yet the rendition I had experienced set me on the path of discovery.

Music is like that.