Customer Reviews

Verdi: La Forza Del Destino (complete opera) with Maria Callas, Richard Tucker, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

5 star:		(16)
4 star:		(5)
3 star:		(4)
2 star:		(0)
1 star:		(1)

 

 

La forza del destino has fallen somewhat out of favor among the works of the Verdi canon, but it remains one of my favorites of that composer's operas. Its sprawling plot is reminiscent of many Russian operas (it's probably not a coincidence that it was premiered in St. Petersburg) and I have always found appealing its mixture of the serious and the comic.

This recording of Forza from 1954 is one of the earlier complete versions. While it has been surpassed in many aspects, it's still a very good recording that is well worth hearing and acquiring.

Callas only gave a limited number of performances of the complete opera during her career, in 1948 and again in 1954, but she had performed "Pace, pace, mio Dio" in public in Greece as early as 1941, and the last surviving fragment of her singing is a short excerpt of "Madre pietosa vergine" recorded privately with piano in 1977. She coached various sections of the opera in different Juilliard master classes in 1972 and 1973 and recorded the first-act duet with di Stefano around the same time, and performed it with him in 1973-74 as part of their recital tour. When attempting to jump-start her career later in life, Forza is one of several operas that she worked completely through. So it's safe to say that La forza del destino is an opera that was near and dear to her heart, especially in later life. She may have identified with Leonora's predicament of being separated for such a long period of time from the man she loved.

This Forza is the legendary recording where producer Walter Legge told Callas during the sessions that if she didn't get the wobble on her high notes under control, he would have to give away a seasick pill with every recording. Be that as it may, at this remove the wobble is little in evidence, if at all, and it certainly doesn't detract from one's enjoyment of another intense Callas performance. As usual, Callas pays close attention to the meaning of the text, so when she is telling Alvaro in Act I how happy she is to be eloping with him, her underlying fear and misery are well in evidence. This Forza is certainly another Callas performance to treasure.

But La forza del destino is far from being just the soprano's show. She is offstage during Act III and the first scene of Act IV, so it is essential to have a strong cast in the other roles, and this performance more than supplies such a cast.

It's a special joy to have Richard Tucker here. Don Alvaro was a regular Tucker role, as he sang it 33 times at the Metropolitan Opera alone between 1952 and 1972 and would record the role again a few years later with Leontyne Price for RCA Victor. Tucker is one of those singers that the public may have taken a bit for granted when he was active, but to go back and listen to him is to remember what a splendid instrument he possessed. And he is in top form here, producing a wonderful "O tu che in seno agli angeli."

Certainly Carlo Tagliabue, the Don Carlo, was getting up in years at the time he made the recording (he had previously recorded the opera for Cetra). But recently I have found his advanced years much less noticeable or troublesome than I have when playing the recording in the past. He gives a solid, dignified performance and has no trouble holding his own with Tucker in their several scenes together.

Nicola Rossi-Lemeni may not be one's ideal of a smooth rolling bass. He's rather craggy-sounding, but his sound serves him perfectly to characterize the more mature characters that he often portrayed. (He is still unsurpassed as Moses in the old Philips recording of Rossini's opera.) So Rossi-Lemeni provides an ideal energy for the role of Padre Guardiano here. He is old but authoritative, and it's easy to understand the respect he receives from Fra Melitone and the rest of the monks.

Elena Nicolai is good as Preziosilla. She's a bit heavy-handed perhaps, and not perfect in the florid singing, but then again, singers generally have a fair amount of difficulty with this role.

Renato Capecchi is in good form as Melitone, without overplaying the comedy. So it's a special treat to have restored on this CD edition his scene at the beginning of Act IV with the beggars which had been omitted on the LP edition, presumably for reasons of space. (The Guardiano/Melitone duet immediately following this scene is still unfortunately omitted; given that there is plenty of room on the CD for this music, it was probably not recorded in the first place.)

Serafin is of course one of the deans of conductors of Italian opera and he leads a strong performance here. There are a number of small cuts in the score, mostly in the two comic relief scenes, but the central tenor-baritone "Sleale" duet, often omitted to save time in performance and missing from the Cetra performance as well, is included. The sound is of course not up to more recent standards, but it is more than adequate.

So, because of the cuts and the recorded sound, I probably couldn't recommend this performance as one's only Forza. But for some collectors, it probably could be, especially fans of Callas, Tucker, Rossi-Lemeni or Serafin, and for others it could make a very good supplemental performance indeed. Recommended.

I'm still in tears after her HAUNTING "MALEDIZIONE!" and "In ciel t'attendo!" Her, Ponselle and young Tebaldi, the trinity of essential Leonoras!

What does such drivel give you? Do you have to bash a devoted artist in order to have a life? What a shame this is! This Sills-sycophant accuses Callas' fans of bashing while HE is the one who posts profane, unmusical and tasteless nonsense. I've worked with singers and conductors for over 50 years and am appalled by such awful manners and stupidity. This is a great La Forza del Destino. Even IF one were not to "get" Callas, how [...] he rate the work of a Tullio Serafin who experienced Verdi himself in such a horrenduous way? Go, listen to your Sills and leave the reviewing to those who have taste and musical knowledge!

This set has some slight shortcomings. Callas is somewhat inadequate for the role of Leonora, but she is still amazing, extremely moving in the last scene. Tucker has a stronger and more apt sound, but he sobs too much, and his aria lets one down. Tagliabue is old sounding, but still magnificent, singing in a very dignified way. Rossi-Lemeni lacks the lower notes, but sings lyrically. Elena Nicolai has a very beautiful dark voice, but (fortunately, one would say) doesn't stand out. Capecchi is, perhaps, the only fully satisfying main singer, defying time and rivals as Melitone. A mention must be done to the excellent Plinio Clabassi in the role of Calatrava. The sound is limited, and La Scala Orchestra is a bit rough at times. And the text is cut. But what makes this performance so extraordinary and justifies the five stars is the conducting of Tulio Serafin. Flexible, perfectly paced, fierce, dramatic, profound, lyrical, moving. I don't know a better overture. And his outstanding capacity of giving freedom to the singers yet being personal in his conducting is evident. Recommended.

This recording of La Forza Del Destino is uneven, but has its moments. Maria Callas as Donna Leonora has a pervasive sadness in her tones, but in the dramatic portions fills the music with intensity and fire. In the demanding convent scene she has no difficulty with the high tessitura. Some of her a vowels are a bit covered, but the chest tones are strong. This is the session where Walter Legge, the recording producer, told Callas that her high notes are wavering to the point of causing him seasickness. On the evidence of this recording, I hardly hear any unsteadiness. The one spot where Callas shows a flaw is the high B flat on 'invan la pace' in the famous aria, 'Pace, pace mio Dio.' The note wavers for a few seconds, but as she increases the volume, it comes into focus. Compared to the great Zinka Milanov, Callas does not equal her purity of tone or her beautiful piano's. (Listen to Milanov's rendition of Pace, pace mio Dio on Preiser Volume 1) Nature endowed Milanov with a gorgeous instrument. Callas' voice could be a thing of beauty, especially during her good years, but it did not have quite the luscious and creamy tones of Milanov. In Verdi, I find I Vespri Siciliani, Macbeth, La Traviata, Un Ballo in Mashera, Nabucco and Il Trovatore more congenial to her voice.

Richard Tucker is a fine Don Alvaro, but the tears in the voice is not purely Italianete. Carlo Tagliabue who is a supreme Don Carlo on the 1941 Cetra recording still has a valid interpretation, but age has diminished his vocal resources. The voice here is less refulgent and misses the earlier squillo. Nicola Rossi-Lemeni as Padre Guardiano sounds constricted and lacks richness. Elena Nicolai as Preziosilla sings the notes accurately, but misses some of the charm that is required. She is better in tragic roles. Renato Capecchi as Fra Melitone is not only comically hilarious, but his voice is round and rich.

Tullio Serafin leads the La Scala Orchestra with vitality and conviction. The overall sound of the recording is good. If you want the ideal recording of this stupendous opera, the 1941 Cetra recording with Caniglia, Masini, Tagliabue, Pasero, Meletti and Stignani is a first choice. (See my review)

Callas is magnificent in this role. The beauty, power, and dramatic genius shine through. Buy this recording and also the version by Leontyne Price on RCA/BMG for the opulent beauty of Price's voice. Both recordings are wonderful!

I agree with many of your rewiews,but your remarks about Ponselle and Tebaldi are very unfair.
Maria Callas admired Rosa Ponselle very much,I don't think that she laughed about Ponselles'Forza-recording.
The 53 live-Forza with Tebaldi, DelMonaco,Cesare Siepi and Mitropoulos is one of the best Verdi-recordings.Here Tebaldi sings with absolute perfection,I can't hear any off-tune note.

In my opinion this Callas-Forza is a miracle.Just listen how Callas portrays Leonoras fear and desperation in the recitativo and aria "Son giunto-madre pietosa vergine"and in the great scene with Padre Guardiano.It's an unforgettable experience.
The final terzetto with Alvaro and the pater is also amazing.
Tullio Serafin is a fantastic conductor,the cast is very good:Richard Tucker,Nicola Rossi-Lemeni and Elena Nicolai are impressive singers.Only Carlo Tagliabue is a miscast.His voice sounds very tired and weak.

Yet another wonderful performance for Callas. She is a little darker in voice here. But she can certainly turn on the tears.

The Callas-Forza is brilliant. Wonderful. But Callas was neither a mezzo (Well, with an F in her throat?) nor was her voice ugly IMHO but had a very unique beauty to it, very bittersweet, not all whipped cream like Tebaldi or today Fleming. But hey, I love many flavours. That's why I can heartily recommend both sopranos' Leonoras here.

Buy this! It's the best Forza out there! Callas, Tucker and Serafin create a magic never equalled! BTW: Also buy the recording with Price and Tucker. I bought both of them and LOVE them!