Customer Reviews

Verdi: Un Ballo in Maschera

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

 

 

This is a normal interpretation of Un Ballo in Maschera. Certainly, not bad, but not especially excellent. Why? Jose Carreras has a pretty and expressive voice, but the technic is poor, the sounds are very opened, and the high notes pitchy. Montserrat Caballe is the best of the cast, great Soprano, voice as a jewel, but for Verdi, the interpretation must have more "slancio". Ingmar Wixell, is a "routinier" baritono, the voice have a weak technical quality. Payne is a normal and a routine Ulrica, with not much passion. Colin Davis is a great Conductor. Very smooth and elegant, but for Verdi, the "tempi" must be faster and dramatic. This is the Verdi Style (read the Verdi's Letters about his operas). Really the comment of the fan from NYC, is very impolite, because call "silly" the comments alone because are differents in comparison with his point of view, this is an uncivilized behaviour. Certainly Bergonzi was one of the greatest Verdians Tenors of the century (opinion of the more important musical experts of the world). This recording is not bad, but if you want to listen a really historical "Ballo in Maschera", listen the Votto (with Callas and Di Stefano) , Abbado (with Ricciarelli and Domingo), Leinsdorf (with Price and Bergonzi) and Solti (with Bergonzi and Nilsson)recordings. To name great historical singers in this opportunity is an obligation, because are points of reference.

Marvelous set! Even though I'm mad at Philips for its repackaging ideas (the priginal one was much nicer), Verdi's timeless masterpiece will surely win your affection. Jose Carreras really shines here: his Riccardo is the most romantic and engaging presentation I've ever heard. Every emotion is right on target, and the opening of "Forze la soglia attinse" startles with its power and intensity followed by exemplary breath control on long expansive phrases of the aria. His vocal range is beautifully displayed in "Di tu si fidele" where he easily scales from very high notes to optional lower ones in two verses. Montserrat Caballe sings with unrestrained passion and makes Amelia believable for a change, compared, for instance, to Margaret Price or Jennifer Barstow. What also helps is her clear diction, so you know what she's singing. The love duets between Riccardo and Amelia, therefore, are a real treat. The rest of the cast is somewhat less satisfying safe for Robert Lloyd's magnificent bass. Wixell sounds a little "too villainous" and thus two-dimensional, so to speak, and rather strained; the role of Renato seems much more suitable for Bruson or Cappuccilli, incomparable as they are. I always admired Sir Davis' conducting of Verdi's music. Without unnecessary fuss, he is consistent and pays great attention to detail. The tempos are so flowing, you'd want to dance. While this recording has its rivals, particularly in the Abbado's set with Domingo and Ricciarelli, it because of its uniqueness and sparkle.

This recording is now available in the Compact Opera Collection from Decca. As a whole, this performance was painfully mediocre, especially considering how many fine artists participated. It certainly cannot stand alongside popular classics like Pavarotti/Price/Solti or di Stefano/Callas (either live or studio). Caballe sounds past her prime, and somewhat off-pitch; certainly nothing like her luminous Violetta for Pretre. Wixell's wide wobble makes him sound positively amateur. The biggest disappointment was the Ulrica, possibly the worst professionally recorded voice I've ever heard. As for the conducting, it's pretty middle-of-the-road, nothing offensive, nor ground-breaking.

Despite all this, there is one element of this recording that some will find attractive enough to overcome the many faults. In a word: Carreras. I'm absolutely crazy for his voice. As far as I know, this is the only studio recording of him in this role, so it's precious in that respect.

In short, don't buy this if it's your first Ballo. My personal favorite is the di Stefano/Callas studio recording, but part of the reason is I hate Pavarotti. If you don't hate Pavarotti, the Solti is also a good choice, as it has the beautiful and elegant Amelia of Margaret Price (and Kathleen Battle doesn't shame herself as Oscar). However, hardcore fans of Carreras (the best tenor EVAR!) will probably want this documentation of his luscious voice.

Although Caballe performed Amelia throughout her career, in truth she was never a natural for the part. Among other things, the lower part of her voice was never especially strong. She could, however, give a good performance in the role through the early 1970s. Like Ricciarelli in this part, her young voice was strong enough to allow her to get through especially challenging parts of the vocal writing that really called for a different voice type. But by the time of this recording, Caballe was going through a difficult period vocally (as well as in other aspects of her health). In other recordings from this period it usually just amounted to a certain unexpected amount of wear or graininess in the voice (which was still capable of staggering beauty at times). But by 76-77, Amelia was a role that exposed both her weak lower register as well as her new problem singing higher notes without having the voice spread and become really harsh (unless she dodged the problem with one of her famous high pianissimi). Eventually she would settle into this later voice better and even find ways to use it to dramatic effect, for example in Gioconda. This recording doesn't really give us a satifactory Amelia and it presents a picture of Caballe's voice that is not flattering. You can, if you wish, hear her make a better case for her Amelia in live recordings from Scala and Barcelona both a crucial few years earlier. (The Barcelona sound is particularly bad but the singing is easily her best in the part.) Amelia is not an easy role vocally. It is no accident that there are far more successful Aidas than Amelias: Aida sings more but Amelia puts much greater demands on the soprano. It is also, like Traviata, an opera where many sopranos are brilliant in the first part or brilliant in the second half but very few are equally brilliant in both.
Carreras' voice is lovely here but it is not an especially insightful performance and the rest of the cast is best passed over without comment. Davis is good with the lighter parts of the score but he is no Verdian. I am an admirer of Caballe and, as such, I find it best to stay away from this album as much as I can. :)

This was my first and so far the only recording of Un Ballo, and it's kind of an old friend by now. But after listening to various excerpts of other recordings, I have realised there are better out there. The reason I will always cherish this one, however, is Jose Carreras. He never quite makes it on to my top tenors list, but in the early seventies his voice was just glorious, and here he turns in a wonderful, gallant and deeply felt performance. As for Montserrat Caballe, I have never been a fan; I guess it is really a matter of preference as many adore her, but there was always something about her voice that did not appeal to me. Here, as another reviewer put it, it "lacks centre" and sometimes pulses too much which makes her sound a bit matronly. Her characterisation, though, is passionate, and there are some gorgeous moments too, especially her famed pianissimos. The rest of the cast are acceptable though not great. I'm now torn between the Domingo/L.Price set and the Pavarotti/M.Price set, and would love to hear the Callas/Di Stefano one also.

I started listening to this 1978 recording without high expectations, not being a fan in particular of Caballe or Carreras. And the notion of Colin Davis as a Verdi conductor was dubious. But by the end of CD1 the excitement of this performance had taken hold. It is one of Carreras's best roles on CD--lyrical, passionate, with many lovely touches. Caballe pairs excitingly with him, and the Oscar and Ulrica are both excellent. Despite the un-Italiante, rough-voiced Wixell, I found this one of the better Un Ballos on disc, and at a bargain price I now prefer it to Pvaarotti-Price-Solti. Excellent choral and orchestral work, too.

The number one choice is now available at great bargain! The previous reviewer misspelled Ricciarelli (twice) and Bruson recommending the other versions. Those are great recordings too, but this one is a) conducted better, b) has a stronger romantic insight, and c) has none of disturbing "touch-ups" such as those little laughs in "E scherzo od e follia?" not intended by Verdi. I did want to "magically transport" Renato Bruson or Vladimir Chernov here, but Wixell makes a good villainous impression too. This set boasts the best Riccardo/Amelia duets on record. Lloyd and Howell are great! Who really cares who sings Oscar? His role is usually over-cast anyway. The principals are awesome. Judge for yourself.

I own this recording and I am fairly pleased with it. I am not really a fan of Caballe's voice for verdian roles but she pulls it off allright. Carreras does a lovely job as well. I am not really impressed with Wixell. His voice just seems to small for verdian roles. Overall I would like to see bigger more dramatic voices in this opera. Don't get me wrong I do enjoy this recording but I much prefer traditional verdian voices singing this opera. For example the Bergonzi/Price recording , the Domingo/Riciarelli (which features Gruberova as Oscar), or the one I'm planning to purchase the Domingo/Arroyo version. Shop around before you buy this. If you want a cd in the double decker format (which is cheaper) buy the Domingo/Riciarelli, it also features Brunson and Gruberova. This is a decent recording, but unless your a huge Caballe/Carreras fan, look around.

Carreras was born to sing Riccardo, his youthful beautiful voice was a gem in the 1970's before he decided to tackle heavier roles, unfortunately not much else is very good in this recording. Montserrat Caballe was in ill health and poor voice, Ingvar Wixell is by no means a Verdi baritone and worst of all Colin Davis, whatever his many admirers say, IS NO VERDI CONDUCTOR AT ALL. His conducting is efficient but uninspired. For great Verdi conducting go to Claudio Abbado in DG. He also has a far more even cast and an exceptional Renato in of course, Renato Bruson.

Colin Davis shines for me here. He shapes the music wonderfully and has a fine sense of style. The best of the singers is Carreras: he creates an intense character portrayal, though he shows signs of strain. Caballe, of course, has wonderful soft notes, but her voice wobbles horribly at forte and some of the more climactic moments sound like shrieking. Wixell is lyrical but sounds lightweight compared to others. Unfortunately, the Oscar is inadequate, and, despite what a previous reviewer suggests, you DO need a first-rate Oscar otherwise the ensembles tend to collapse - Verdi himself was adamant about the importance of Oscar to both the dramatic and musical design. Turn to Reri Grist on either the Leinsdorf or Muti sets and the point is easily made.