Customer Reviews

Turandot

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

 

 

This interesting version of Turandot is worthy on a number of accounts. To hear Montserrat Caballe step afield of her essentially lyric bel canto gifts to essay the role of Turandot is unusual in itself. That she would acquit herself with exquisite intelligence and characteristic lack of vocal pretense is almost a given, but the depth of her interpretation, if not surprising, is joyously rewarding. Her treatment of 'In questia reggia' will not please everyone, but several listenings begin to reveal a remarkably cohesive musical view which, while distinctly marked with Caballe's musical presence, unsheathes a multi-dimensional Turandot, something not afforded us by Marton, or certainly Nilsson, whose forays into these areas grew more frantic and embarassing the farther they drifted from Bayreuth. However, it is the magnificent singing of Leona Mitchell that makes this edition worth the price of admission. Such singing! It's clear that Ms. Mitchell, underappreciated in her own country, besides excelling in Puccini's operas generally (her Butterfly is a miracle!), is inspired to be singing Liu with one of the legendary interpreters of that role (Caballe). Her 'Signore ascolta' stands tall next to every other conceivable version, even Caballe's justifiably legendary interpretation. Pavarotti brings the sunshine with him, as usual. Chailly makes the most of the disappointingly modest artistic resources of the San Francisco Opera Orchestra, though the chorus sings splendidly. Live opera recordings are only rarely the best way to listen to an opera, for either veteran or neophyte, but this recording is an exception. And Leona Mitchell, whose exposition of the singing art reflects its sublime light even on the genius of her towering colleagues Caballe and Pavarotti, quickly becomes a thirst difficult to quench! Repeated listenings bring immense delight!

She isn't Callas, but this is the second best Turandot to buy.(after Callas') This is not your usual 'evil' Turandot, but a tormented, somewhat 'ill' one. Caballe in 'In Questa Reggia' sounds as though she is talking in a delirium and still stays as magnificent as always. I only wish she had recorded this opera a bit earlier. The high notes wouldn't've sounded so strained if she had done it.

At this very favorable price, give this a try. Everything about it is first-rate, particularly Caballe who really has no problem with the tessitura here and who provides a Turandot with more hidden warmth at first than we are used to (with Nilsson, for instance). The sound is fine too.

This recording of "Turandot" was recorded live in San Francisco in 1977. It features Montserrat Caballé as Turandot and Luciano Pavarotti as Calàf. Leona Mitchell is Liù. Giorgio Tozzi is Timur. The sound is very good stereo, with very little extraneous noise. Caballé is not cut out to sing Turandot's difficult, high-lying music. While she mostly keeps on pitch, her voice thins noticeably in the high tessitura of Turandot's music. The beautiful overtones of her voice are mostly absent from her voice due to her singing so high up the scale. She phrases imaginatively, but some parts of "In questa reggia" and the Riddle Scene could have been sung less indulgently. Her high notes have a loud, unpleasant beat. As expected, she sings the rising phrase "Tua figlia è sacra" in the "Figlio del Cielo!" section softly. The forte passages tax her to the limit. Pavarotti makes a good Calàf. His voice is really too small for the part, but he sings really well. His "Non piangere, Liù" could be more sympathetic. "Nessun dorma" is sung superbly and is rewarded with a loud ovation by the audience. He takes the optional high C in the phrase "Ti voglio tutta ardente d'amor". The note is secure, but not especially thrilling. Mitchell has a smooth, steady, beautiful lyric soprano voice and sings Liù exquisitely. However, her Liù is quite faceless when compared to Leontyne Price's on the bonus tracks of this Gala recording. More on Price later. Giorgio Tozzi is great as Timur, but his voice has aged a bit since he recorded the role for Birgit Nilsson's first studio recording of "Turandot". Riccardo Chailly leads a good performance from the San Francisco Opera Orchestra and the chorus sings pretty well.

The bonus tracks feature Giuseppe di Stefano singing "Non piangere, Liù" and Leontyne Price singing Liù's arias. These tracks also feature a tiny bit of singing from Birgit Nilsson as Turandot. Too bad her "In questa reggia" was not included. Di Stefano sings "Non piangere, Liù" quite well and with a lot of feeling. Price is superb in Liù's arias, her tone rich and vibrant and her dramatic commitment total. She's considerably more memorable than Mitchell as Liù. Track 21 on CD 2 features an interview between Arthur Kaplan, Luciano Pavarotti, and Montserrat Caballé. It makes for interesting listening. Caballé and Pavarotti give their thoughts about singing the main characters in "Turandot". Caballé's speaking voice is soft and exquisite. Pavarotti's is warm and sunny. Both have a good command of English.

Caballé screams the high notes. Her voice is very thin in the high tessitura of the role. Her Turandot is subpar; it's ridiculous that her large lyric soprano voice should even attempt to sing a heavy role like Turandot. Callas' Turandot? Don't get me started. Callas is AWFUL as Turandot. Pavarotti is too small voiced for Calàf. Mitchell is a bland, but satisfactory Liù. Chailly's conducting is competent. The sound is very good.

Don't be mislead by the sycophantic, hyperbolic statements of a know-nothing Caballé fanatic.