Customer Reviews

La Traviata

5 star:		(8)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I don't believe there is any one "best" version of this ever-popular opera, but this is my favorite of recorded Traviatas, and for those who value beautiful singing and state-of-the-art sound, it remains a top choice. It is complete and uncut; it wears supremely well; it has given me, and continues to give me, more musical pleasure than any other La Traviata.

La Traviata is really a three-character opera, and here the three principals, Sutherland, Bergonzi, and Merrill, are three of the great voices of the second half of the twentieth century, all singing highly congenial roles, all captured in their vocal primes. None of them was known as an insightful vocal actor who plumbed the psychological depths of a role, and listeners who put that quality foremost are advised to look elsewhere (preferably to one of the memorable Callas performances). What these three principals, and the polished, idiomatic performance of Pritchard and the Florentine chorus and orchestra, provide here in spades, is a convincing demonstration of just how effective and how beautiful a performance of a middle-period Verdi opera like this one can be if it is simply sung correctly by three great voices who sing all the notes that Verdi wrote, and let Verdi do the rest. Sounds absurdly simple, doesn't it? Yet it's remarkable how rarely it is achieved.

Sutherland, the greatest coloratura soprano of modern times, handles with ease the florid requirements of Sempre libera in Act One, turning it into the dazzling coloratura showpiece it was intended to be (and so rarely is), but she also has the vocal horsepower to belt out the great emotional outburst Amami Alfredo in Act Two to stunning effect. Violettas who can do both are few and far between. She does not give you the heartbreaking poignancy of Callas in this role, but Callas does not give you the coloratura brilliance, the extraordinary high notes, the rock-steady vocal security, the beauty and purity of sound that Sutherland offers, and to my ears, these have their own abundant rewards here. Bergonzi is an exemplary, impassioned Alfredo, full of youthful ardor expressed in disciplined vocalism, and Merrill is a peerless, rich-voiced Germont pere. Three great voices, all in peak form, all functioning easily, smoothly, naturally, and securely, all knowing exactly what they are doing.

Technically the recording, made in Florence in 1962 by Decca/London's legendary recording engineer Kenneth Wilkinson, has never been surpassed. That's not hyperbole; it may be over 40 years old, but it has quite literally never been surpassed. It is a model of clarity and naturalness: heard on a reference-quality playback system, the opera unfolds before you on an absolutely natural and believable soundstage, as if you had an ideal seat, the voices recorded with complete naturalness, with none of the artificial spotlighting or close-miking (that sense that the soloist has just stepped up to the microphone) that disfigure many opera recordings. Levels, balances, and the aural perspective have been perfectly judged: nothing is too close up or too far away; the recording is wonderfully free, open, warm, and "alive," with full frequency and dynamic range, and a complete absence of overloading, distortion, hardness, brightness, or coloration. From an engineering/audiophile point of view, I have never heard a more natural, flawless, thoroughly satisfying recording of an opera.

If you love La Traviata, if you love grand voices and grand singing, if you want to hear a perfectly recorded opera, I urge you to acquire this splendid, timeless recording.

I feel that this Traviata is superior to the famous one by Callas. The singing is infinitely better. And Sutherland can sing melancoly better than La Divina.

This recording of LA TRAVIATA is the third one in my collection (the other two being the Cotrubas/Kleiber and the Callas/Giulini recordings), and am I glad I bought it! As superb as those other two recordings are, I actually LIKE this one the most. It is an all-around excellent performance. Bergonzi's is possibly the finest Alfredo on any complete recording; Merrill is perfectly suited to Germont; Pritchard paces the opera beautifully; the recorded sound is spacious, with lots of atmosphere in the party scenes. But the real surprise of the recording is Sutherland. She brings all of her distinctive gifts to the role of Violetta: a ripe, beautiful voice; supreme coloratura ability; a talent for conveying pathos. I love how she uses her extraordinary techinique to expressive ends. For example, her cadenza and trill at the end of "Ah, forse lui" perfectly express the sense of "delizia" ("delights"). (The phrase is "croce e delizia al cor" -- love is "a cross and a delight to the heart.") And in "Amami, Alfredo" she uses the exceptional amplitude of her voice to suggest just how much Violetta loves Alfredo. There are many more examples. Although Sutherland's diction lacks ideal clarity, her SOUND "says" so much that, to me, her diction problems matter little. Besides, her spoken Italian (in the letter scene and at the very end of the opera) is very clear, leading me to believe that she simply had trouble ennunciating clearly when singing in the higher part of her voice. Anyway, Sutherland's unique gifts distinguish her as one of the all-time great Violettas. This is an all-around wonderful recording of LA TRAVIATA that fans of Sutherland in particular should hear.

I don't understand the negative reviews of Joan Sutherland's Violetta. In this recording, the legendary soprano's singing is glorious, while her acting is touching and genuine. Please: ignore the "bashers" and enjoy Sutherland's take on Verdi's great heroine.

I have to agree with the comments on Pritchard's conducting and how he handled some of the tempo. Traviata's great strength was in it's pinning to the salon and passionate life of a courtesan. This rendition somehow loses that. But I will say this: Sutherland is absolutely amazing as Violetta. Her letter scene, without even consideration of the words, aches with passion and the impending bittersweetness of her life. I found Bergonzi surprisingly fresh as Alfredo. But, this was not Merrill's strongest Giorgio -- the Tucker/Moffo version much better showcases the richness and warmth of his voice.

This is a nice Traviata, and yes the singing is great. Merrill's big aria in Act 2 is really splendid--about the best I've heard. Sutherland is really something in Act 1, giving an impressive lesson in virtuoso bel canto singing. I have not heard another "Sempre libera" that matches this. Her singing in the last act, which is quite the tear-jerker, is very affecting. Overall, this is a compelling Traviata.

However, I am one of those souls who think diction in opera matters. The difference between Dame Joan's diction and the men's is jarring. Every time Sutherland is singing a scene with either Bergonzi or Merrill, her singing is basically a bunch of aws, ohs, and ahs, while the gentlemen enunciate splendidly, especially Bergonzi. If you don't mind this sort of thing, then by all means buy this Traviata. If you want to understand the words, look elsewhere. Callas and Moffo are both excellent.

Whatever your favorite Traviata, it is likely that it has some cuts. Even the Kleiber Contrubas recording (considered the reference recording by many publications/critics) has some significant cuts (the second verse of A forse lui, the second verse of the cabaletta, the second verse of parigi o cara, etc...). Many of the most famous Traviatas are more heavily cut and don't even include o mio rimorso at all...or the cabeletta to Di Provenza il mar. This recording has the entire opera in great sound, so it makes a good supplement to your Traviata collection so that you can hear the whole score. It can also stand on its own merits: Sutherland's voice is gorgeous and her technique is perfect (aside from diction--you really can't understand what she is saying half the time). This recording really captures the voice of the century in great sound and in her prime. Bergonzi is also perfect for Alfredo and Merrill is excellent as always. I just always feel, however, as I listen to them that a lot of the drama that I hear on other recordings is missing. There is just no fire in Sutherland's portrayal. For example, when she says "Ebben, l'amo," breaking Alfredo's heart in Act II, or when she says to Germont that she is a lady and to respect her in her house, she just doesn't have the emphasis or character in her voice that the best Violettas have.
Anyway, I recommend this recording as an opportunity to hear the opera in full and to be astounded by the vocal skills of the principals, especially Sutherland. It is especially ridiculous to pass it up at this price! The opera's libretto is available online lots of places.

The one star review by Callas fan is uncalled for. I love Callas, I have her Violetta. It is spectacular. But it is not quite as good as this one, The reason? The "Sempre libera". I know an aria does not an opera make. But Sutherland nails her's and Callas does not. The rest of the opera is equal for both divas. Also Callas' is mono, Sutherland in full stereo. You be the judge.

In spite of great singing, this Traviata doesn't make me completely happy. I will of course not blame Sutherland for that; the weak point for me is the baton of Pritchard. If you say that the destiny of Violetta should not make us happy, I will reply that when Verdi wrote some dance rhythms, he had of course some intention with that, to which Pritchard seems rather insensitive. If you like great conducting in the Italian tradition, the once-in-a-century performance of La Traviata is the one by Previtali, with Moffo, Tucker and once more Merrill. That one you'll find here: Verdi: La Traviata. It has all the pep, all the go you can wish for, but it is not only great party, it is heartbreaking drama too.
Most reviewers write only about the singing, and nothing about the direction. I don't like to do the opposite mistake, ignoring the singing: Everybody seems to agree that Tucker is not as good as Bergonzi, whereas Moffo is different to Sutherland - who wouldn't? - yet great in her own way. Anna Moffo had a short, supernova-career; that's why she is not so well remembered anymore.

This was my first Traviata and I remember that I was a little bit dissapointed. I mean, soloist like Sutherland, Bergonzi, and Merill, that must be perfect. Normally it would be, but not here. I use to love the way Sutherland sings, but her vibrato is too much here and she is not soft enough. When it comes to Bergonzi; He covers too much, I simply miss "the ring and ping." And why does he go for the high c in ...O mio rimorso..., when it sounds like he is a twelve year old boy. It is not that I do not like high c sung in pianissimo, wich is a difficult thing to do, but in that part of Traviata? Why? Merill sings with power and beauty in his main-aria, but it don't change my opinion about this recording. At last, the orchestra plays very nice, but the sound is mixed in a terrible way! and I think it is one of the mainproblem in this production.
Go for another traviata...