Customer Reviews

Verdi: La Forza del Destino

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

 

 

I can't believe no one has written a review of this gem of a recording! This has to be one of the best Verdi sets I've ever heard. "La Forza del Destino" is a product of Verdi's mature period, which I think has given us his finest work. "Forza" is not quite in the class of such masterpieces as "Don Carlo" and "Simon Boccanegra," but it is very, very close - and my appreciation for this opera has increased dramatically since I heard this 1969 recording. First of all, Gardelli's conducting is superb - dramatic, lyrical, passionate ... he is not a very famous conductor but he is grossly underrated. He draws gorgeous playing from the Royal Philharmonic Orchestra, and the Ambrosian Opera Chorus's rich, majestic sound is perfect for this opera. The principals, however, are what really makes this a set to remember. All four produce floods of such glorious sound that the listener feels that if they aren't careful, they'll get washed away! Arroyo is at her finest here, producing gorgeous tone and effortlessly soaring up the sometimes dizzying heights of Verdi's melodies. Bergonzi is not on such fine form as he was for, say, Karajan's "Cavalleria Rusticana" (his vibrato is a bit more intrusive here), but he has such feeling for Verdi's music, such good diction and such a wonderful voice that you can forgive his vibrato. Cappuccilli sings with gigantic, golden, burnished tone and though he may not be intensely involved dramatically, his voice conveys every single ounce of drama to be found in the role of Don Carlo. Ruggero Raimondi sings richly and majestically, with a voice perfectly suited for the magesterial Padre Guardiano. His voice is so beautiful it seems supernatural - ideal for the saintly father. The final trio, with Arroyo, Bergonzi and Raimondi at their considerable finest, will blow you away. The only small drawback is Biancamaria Casoni as Preziosilla - she has a voice well-suited to the part but struggles with pitch in the "Rataplan." However, Geraint Evans as Melitone is perfect, playing the nasty and buffo facets of this character to perfection. Added to this extremely high artistic accomplishment, the sound is full, rich and vivid, the layout is ideal, the packaging is beautiful, and it is at mid-price. All in all, the perfect set.

I think that this opera is one of the greatest works signed by Verdi. You can confirm that listening this CD. It's, simply, incredible. Maybe, Gardelli isn't the most popular conductor among classical music fans. But he can get a better sound to all the musicians than the mythical Karajan. The RPO is a great orchestra on this CD and in the others that they have got. I can't understand the terrible critiques that Brittish people do to them. The Ambrosian Opera Chorus is a great choir. It has got a very, very beautiful sound. For that, it is one of my favourite choirs. About the singers, you can found on this CD some of the best singers that we could enjoy in the 20th century. Naturally, they are fantastic here. I specially like Carlo Bergonzi, in the part of Don Alvaro. The sound is good. The EMI's engineers have done a good work.

This definitely is one of the best recordings of this opera and I wonder why it is not more popular. The Verdian singing of these artists is exemplary and Gardelli's conducting is inspiring (as in most of his recordings).

Arroyo is a superb lyrico-spinto soprano and it is a pity she did not record more in studio. She is probably the best Leonora on disc after the unsurpassed Renata Tebaldi. Arroyo has the beautiful firm and strong voice this role needs. In addition she uses it intelligently and creates an interesting portrait of the sad Leonora. Bergonzi's Alvaro is a perfect match for Arroyo's Leonora. I do prefer a more heroic tenor in this role (Corelli or Del Monaco for example) but Carlo's elegant phrasing and rare musicianship make him a unique Alvaro.

Cappuccilli and Raimondi are perfect for their roles both vocally and dramatically. We really miss such strong and handsome low voices today. Casoni is said to be the weakest link of the cast; I found her OK although nowhere near the great Barbieri or Simionato.

For a more powerful Forza recording, look for the earlier Decca recording with Tebaldi, Del Monaco, Bastiannini, Simionato and Siepi or even better, the legendary live 1953 Mitropoulos Forza with a similar cast.

In any case, this EMI Forza is STRONGLY recommended!!!

Many critics cite this recording as their favourite of this great, sprawling opera and I can see why. While one might debate the merits of all the principal singers in comparison with other stars who assayed these roles, one stands head and shoulders above the rest: Martina Arroyo. Hers is a huge, flexible, vibrant and beautiful voice and as she never recorded as much as she might, this Leonora, made at the height of her powers (and at around the same time as her superb Verdi Requiem with Domingo, Raimondi and Veasey, Bernstein conducting) is precious; she soars above the excellent orchestra and really brings Leonora alive - though not perhaps, with the same fire and tears as Leontyne Price in her earlier recording with Schippers. For me, the other best feature of this set is the conducting of the under-rated Gardelli of the superb RPO. He employs finely judged rubato, flexibility of tempi, allows his singers to breathe and secures vivid, expressive playing from a star orchestra.

I am less enthusiastic about the other singers, fine though they are. In almost every case, another singer does better elsewhere. Raimondi hasn't got the low notes, is lugubrious rather than grave and sonorous as Tozzi and Christoff are, and he can't touch the best Padre Guardiano of all in the old Marinuzzi set: Tancredi Pasero. Casoni is ordinary, though competent, whereas Verrett is thrilling in the essentially irritating role of Preziosilla. Cappuccilli exhibits his usual superb breath control and long line but lacks the heft and richness of Merrill or, even finer, Bastianini in the live Naples set that also features Franco Corelli. Elegant and impassioned though Bergonzi is, he cannot match the heroic tone of either Corelli or Del Monaco; you simply require a bigger voice to do justice to Alvaro's anguished utterances and I find him rather careful, especially in his big aria. Callas' set is unmissable for her unique plangency of tone and insight into character but much of the rest of the cast falls short of her standard. So this recording does not shake my alliegiance to the Schippers or the live Molinari-Pradelli set (which has fair sound and a dream cast) but it's still a very fine version and few purchasers will be disappointed with it, unless, like me, you require something more than "just" the perfection of Arroyo's assumption - after all, this is very much an ensemble opera, dependent on its succcession of wonderful duets, not a star-vehicle for one soprano.

There are many nice things on this recording. For me, however, Arroyo is the main reason to purchase this set. I had only heard her on a couple other recordings but I was not prepared for such great singing. I have to rank her as my favorite Leonora on disc. I never thought I would say that about anyone other than Price or Tebaldi but this is amazing singing. It is a special import so grab it while you can.. Also, the price is great!