Customer Reviews

Renata Scotto - Italian Opera Arias

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4 star:		(2)
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I was deeply impressed with this CD, not only for the singing of the artist, Renata Scotto, but for the musical and dramatic truth she brings to this music. Verismo, meaning "true to life" is often screamed, shouted, and even yelled ( Scotto herself at times did all three ), but here it is sung, really sung. I have never heard a more sympathetic rendition of "Senza Mamma" in all my life! One feels the spirit of the dead child is there at the words "se qui, se qui." Some of the music is not great music in anyway -- most of that by Cilea -- but when performed as it is here, with a sensitive orchestra more intent on sharing a feeling than simply being loud, and a great performer, one is nearly convinced they are hearing great music.

Whatever Scotto's vocal flaws, and she had many, she was a performer of truth, complete involvement, and sincerety. This recording shows what a wonderful experience can be brought to the listener when such a combination is achieved.

Let me say this: I hated Scotto's voice when I was an all-knowing young voice student 20 years ago. I even saw her in the house in two different roles and thought she was dreadful. Then a Butterfly of hers had me in tears for two hours *after* the opera ended! This album shows her at her verismo best. How stupid the follies of youth, to not know what I was watching and hearing: a diva of the old school, for whom voice and theater were one. Not a singer out there today with their name in lights can hold a candle to La Scotto--no matter how much their publicists or opera house management would have you believe otherwise. Listen to this lady, to her pathos and hartbreak, triumph and tears, for this album shows it all. Renata Scotto is superb in this disc.

Renata Scotto is one of the Century's greatest sopranos. Very few singers can communicate emotion like she can, whatever she sings rings true, whatever she sings is honest and deeply felt. In these sad days of mediocre artists, Renata Scotto will remind you of an era of larger-than-life personalities, when sopranos were really Divas.

Record companies have always been run by not-too-clever people. I can't believe they banned Renata Scotto from the mid 1960's till this recital was made in 1974. In this recital the unforgettable diva gives masterclasses in the art of singing. If you want pretty sounds look for Caballe, but if you want to feel Suor Angelica's pain or Manon Lescaut's despair this is for you.

Since the first time I heard Scotto, I found on her the warmth, devotion and passioned interpretation of all the roles she performed. By much, this is one of my most beloved records, since Scotto demonstrates that, beyond the technique, an opera singer must act. The voice reflects in every note, in every phrase, all the emotions contained.

Absolutelly splendid!

The older I get the more I appreciate Scotto the singer. Her musicianship was always apparent, always admired. Yet she may have been underestimated as a singer. Her embodiment of the intense inner life of the characters she portrayed is rightfully legendary, but I've come to believe a great part of that perfect passion is the singing, as much as her gifts as an actor and interpreter. The voice itself is rarely perfect, but still beautiful; especially in the first half of her career, the top of her voice fashioned a world of its own, and left nothing wanting. So many fine singers today make a kind of perfect product, yet often fall short of leaving an enduring art of earthly grief and passion. They fly high but often forsake the humanist aesthetic central to operatic art. Scotto plumbs that passion in so much of her singing, and wonderful example of that is found than in these arias. She lets her instrument and her musicianship create the intimate space between singing and acting, never imposing an arbitrary idea around either. Her 'Sola, perduta, Abbandonata' is one of the best versions I've heard. She gifts 'Mio babbino caro' with unhurried beauty. She's a great verismo singer, as was Ileana Cotrubas, though few enough mention either artist nowadays. This disc is a perfect introduction to the art of Renata Scotto.

I found this compact dist to be very mentally enriching

This is one of the truly great aria recitals, ever, and perhaps the greatest aria recital from the Italian repertory since Maria Callas in her 1954 EMI Puccini disc under Serafin.

Not all of the disc is at the same level. The arias from "Le Villi", "Manon Lescaut", "Suor Angelica", "La Wally", "Lodoletta", "Iris" and "Adriana Lecouvreur" should enjoy legendary status. They are exhibitions in how to present arias from the post-Verdi period. I have never heard them done as well as here.

The other items are excellent, but not quite in such a magical league. I believe it must be noted that Scotto's voice was not sufficiently opulent to do full justice to all of these arias. Occasionally more radiance is needed, especially in the "La Rondine", "La Boheme", "Gianni Schicchi" and "Madama Butterfly" selections.

This is nevertheless an essential disc for its demonstration of great artistry from a singer whose voice, in its later years, was not always up to the artistic requirements Scotto demanded of herself. Scotto has no equal among today's generation of bland vocalists.

This collection of arias is wonderful. Scotto shows just how great and unique her soprano really is. It is one of my favorite collection.

Adding to my comments concerning this album are a few recommendations of Scotto's complete opera recordings. First, I absolutely adore her "Otello" with Domingo. It is by far my favorite Otello, and if in one of the "only take one piece of music with you on a deserted island this would be my choice. Domingo is the ultimate Otello and Scotto's Desdemona is truly awesome. Their combined voices in Act IV have no equal.

Then there is her "Madame Butterfly." What can I say about this recording with Domingo? Just one thing! It is so exquisite that it gives me chill bumps. I find only one other Butterfly that is completely satisfying, and that is Maria Callas. Do yourself a favorite and buy this recording.

If you like music from the "verismo" period you will not be disappointed.

Perfect for much of this genre, Scotto is able to communicate emotion, strength, and vulnerability with great vocal control. "Flammen perdonami" from Lodoletta by Mascagni is a fine example.

Sometimes their is some ugliness in her voice, though, and this lets Scotto down, for example, in the showpiece from La Rondine.

Also the final duet from Adriana Lecouvrer ends album rather weakly.

The artists should be commended for including so many verismo rarities and overall this is a pretty fine achievement