Customer Reviews

Verdi: Rigoletto

5 star:		(9)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Cioni is very good as the Duke, though my personal favorites in this role are Jan Peerce and Luciano Pavarotti. His voice is very lyrical and sweet, which may be one of the reasons so many girls in this opera fall for him. It strikes me that he captures the libertine in the Duke: a man who really doesn't care for anyone else other than himself.

Joan Sutherland often captures a lot of flack for her diction. Personally, I don't find it to be very bad at all, and I am a stickler for wanting to hear the words as well as the music. She does sound mature for Gilda, even this early in her career, but maybe Gilda was a mezzo, anyway. Many quite young women have deeper voices, so this does not throw Sutherland out of character for me. (Am I the only one, or does Dame Joan sound like a mezzo who became a soprano to anyone else out there besides me? The sound is heavenly, but there's a truly mature coloration in her voice I hear in few other sopranoes, even the great dramatic ones like Crespin and Nilsson.) Joan Sutherland does throw the character's emotions out there for the listener to hear, make no mistake about that. I can feel her humiliation after her abduction and subsequent seduction. Whatever your feelings may be about her suitability for the role, she sounds magnificent- no problems hearing this Gilda, even live in the opera house. Her voice shines here and adds a grand touch to this recording.

Speaking of grand touches... there is the voice of Cornell MacNeil, one of the most magnificent baritone voices ever to grace any stage anywhere at any time. In his prime, MacNeil's voice was full and dark in the lower to upper middle, while it rang out with a tenorish ease that is breathtaking at the top. Was MacNeil bland as Rigoletto? No. Not at all. Was he as histrionic as some? No. Leonard Warren took a few dramatic liberties that MacNeil eschewed, as did Gobbi, Taddei, and Granforte... but listen closely. You'll hear it clearly- the anger with the courtiers, the fear of Monterone's curse (Wonderfully sung by Fernando Corena!), the horror at losing Gilda, and the relief at getting her back alive. Listen to the moment when Rigoletto realizes the Duke is alive. I can almost hear it in his thoughts: "If the Duke LIVES!- then who is dead in this bag?" Bland? No! Try exciting, full-voiced, with an exquisite messa di voce, and pianissimo work to die for. This is the voice of a father, above all else. A human being, with frailties, hatreds, and undying love. Listen to MacNeil as he reminisces about Gilda's mother. These duets have always defined the role of Rigoletto for me and Cornell MacNeil is the man I think of first. Also, his vengeance duet with Dame Joan is incandescent, as is his final cry of `the curse!'.

Sanzogno's conducting is dramatic, but very much on the lyrical side. I like it that way myself. I'd recommend going to amazon's UK site. This recording is still available there. The sound transfer is excellent, by the way. Other Rigolettos? Warren's recording with Peerce and Erna Berger, who sounds very girlish; the Bonynge conducted version with Pavarotti, Sutherland, and Milnes is superb as well. Milnes has another version with Beverly Sills, but I'm not very familiar with it. If I remember correctly, Alfredo Kraus is the Duke, and I know he's superb in this role, having heard him in the Solti version with Moffo and Merrill.

I have come to really appreciate this Rigoletto with repeated hearings. I am even surprised to find myself liking it better than the later Decca version with Sutherland, Pavarotti and Milnes and even putting it at the top of the list of the note complete recordings.

Conductor, orchestra and chorus are Italian, and that makes a huge difference in matters of phrasing, rhythmic details, and handling of the text. The fact that the style is so idiomatic gives the performance an immediate leg up on much of the competition. Other conductors may do more with the score, other orchestras play with greater accuracy and sheen, but the loss s such second nature naturalness with the music and text, is palpable.

Sutherland is extraordinary. The voice is full, clear, floating, amazing. Her portion of the first Rigoletto/Gilda duet is a case in point. The high tessitura of Gilda's part are breathtakingly beautiful and touching in themselves. Her Caro nome is supreme, and unique among her versions, includes an amazing trill on high D flat in place of the stacatto reiterations usually heard. Her characterization is well thought out and clearly projected. This is some of her best work on records.

Cornel MacNiell is a fine Rigoletto and upholds the American tradition of fine Verdi baritones. The voice is big, bold, beautiful, and used very dramatically. A gripping performance.

Renato Cioni was the biggest surprise. Sutherland's early recordings usually featured second string supporting casts and Cioni's Edgardo in her first Lucia was decent but no great shakes. Here, however, he is in his element. While no Pavarotti, Bjorliong or DiStefano, he is certainly quite fine. Easy legato, musical and stylish phrasing, charming and vivid characterization and easy high notes. Quite good.

Siepi and the rest in the supporting roles are also fine. The whole affair is very well integrated, presented and sung. Singing and drama are certainly given their due, and it's exciting to boot. Warmly recommended.

This is vintage Joan Sutherland. Recorded in 1960, it offers the great dame in the freshest of voice. The tone is bell-like in clarity and the coloratura and high notes mind boggling. She really was the supreme singing machine back in those days. Cioni is very good as the duke, perhaps not as ringing in tone as Pavorotti, but nonetheless, a gorgeous voice. Truely a set that you must have!!

Sutherland sounds so innocent and girlish here. EXactly as the role should be sung. She sings the most beautiful "Caro nome" I've ever heard. And her tone all through the performance is the best I've ever heard from her. No droopiness, just pure gold in tone qality.
She also interpolated the most massive and brilliant high E's I've ever heard here.
This is far superior to the later version of Rigoletto with Pav, and better than the one with Callas.
Nothing beats a young Sutherland.

Unlike the critical reviews of this recording I've read, I feel that Sutherland is the strongest aspect of this recording.

This was Sutherland's first studio recording with Decca of a grand opera (1961), made just a few months before her first Lucia. The recording sessions were a bit rough. The quartet alone was recorded almost a dozen times before the recording engineers were satisfied.

My foremost complaint is Nino Sanzogno's conduction. Slow tempi in Verdi isn't a bad thing, but Sanzogno really pushes the envelope. Almost everything drags along at what seems the slowest acceptable tempo the whole time. "Caro nome" lasts a full minute longer than Sutherland's other two recordings of that piece. Granted, she deals with the slower pace very well, singing gorgeously, but I think even the then inexperienced Bonynge could have done a better job than Sanzogno!

Next there's MacNeil. He has a beautiful voice. His dramatic commitment fades in and out during the performance. His Rigoletto does seem pretty upset about losing Gilda the first time, but doesn't come across as particularly vengeful later on. Not a very memorable Rigoletto, though a vocally excellent one.

And then there's Cioni. His raw upper register isn't whiny, but it gets a bit old. And when he sings with Sutherland -- well, there's no comparison. At the end of their duet, both hop up to the D-flat, but Cioni (wisely) drops out well before his partner is done with the note.

But Joan Sutherland's Gilda is very good. Yes, she moons a bit, but it works for her interpretation of the character. The acting is sincere, never overdone. The virtuosity and high notes are indeed there. E-flat at the end of Act 2, and at the end of the Act 3 trio, she hits a fabulous high D that really surprised me -- even taking into account the early date of this recording.

The sound quality is very good; it's on par, if not slightly better, than Sutherland's 1971 recording with Milnes and Pavarotti.

Overall, I'd say this one is for the Sutherland fans (like me) who want her in younger voice than in her later recording. This recording is very musical -- glorious at times -- but doesn't hold together as a coherent performance as much as it should.

Rigoletto is my favorite Verdi's Opera and this version has been my absolute reference for ages. Everything here is in the perfect place. Beautiful singing,
powerful orchestra playing and masterly conducting by maestro Sanzogno. It
includes the best vocal staff conceivable: the best Rigoletto ever, Cornell
McNeil, an awesome Gilda in Joan Sutherland who is at the top of her powers;
and finally the most intriguing, sensual and interesting Duke i've ever listened performed by Renato Cioni, quite different from the powerful but more frontal
and predictable Pavarotti. This is a landmark in the whole Verdi discography
and a safe recommendation.

This set of Rigoletto is perhaps stronger at vocal splendour
than drama. Cornell MacNeil has a magnificent voice - dark,
rich, roomy - and sings extremely well but the bitterness and
hearthbreak of the hunchback is not much in evidence - yet as
far a pure singing is concerned it is a superb performance.
The young Joan Sutherland is in ravishing voice and sings most
sweetly and portrays a dreamy Gilda. Renato Cioni is a plea-
sant Duke and Cesare Siepi a sonorous Sparafucile. Chorus and
orchestra are good and Maestro Sanzogno's conducting elegant.
For the sheer vocal beauty of MacNeil and Sutherland this set
deserves a loving place in any collection especially at that
bargain price.

A person on Youtube advised me not to get this recording because, besides Sutherland's high notes, this version did not compare favourably to the 1971 Bonynge version. I took a risk and bought it anyway. Boy, was I glad! Yes, Cioni is not Pavarotti, he doesn't take the high D at the end of Possente Amore, and he probably shouldn't have taken the rather flat Db at the end of his duet with Sutherland, but he's still a very good Duke. I find his phrasing to be much more creative than Pavarotti's. If you didn't like him on the Lucia recording with Sutherland, he's much better here. Now for the other leads. Cesare Siepi is, as usual, his incredibly sonorous self. He sounds like a big evil foghorn in this role, which is how Sparafuciles should sound, despite the under powered ones we hear today. I thought Sutherland's 1971 performance couldn't be topped, but it was by the one on this record. Her voice is even more crystalline, high notes earth-shatteringly powerful (the Eb at the end of Act II literally distorts your speakers!), and pretty good acting too, though not as well acted as the later version. And now for MacNeil. I thought Sherrill Milnes was a dramatic baritone who owned the title role. Not true. He sounds like a lyric tenor compared to the ocean of sound that MacNeil issues forth on this recording. Arguably the most powerful baritone on record, he is the only baritone I've heard who actually gives Sutherland a run for her money on sheer vocal force. People have commented elsewhere on Amazon that his acting is flawed. I find it incredible. The screams of "Gilda!!" at the end of Act I send chills down your spine, and he almost growls the first few bars of "Cortigiani..." He takes all of the high notes just as easily as Milnes, with more core and ease than any other baritone I've heard in the role. It sounds like he could stay up in the high F - A range all day. Yes, the tempi aren't as quick or exciting as Bonynge's on the later recording, but one gets used to the slower pace. So, my recommendation is to get both versions if you're a Sutherland fan, but get this one first. Yes, the later one has Pavarotti, but this one has a freakishly amazing sounding Sutherland and a MUCH better Rigoletto in MacNeil.

I had the LP of this when I was a teenager, and was delighted to find it on CD...and was VERY delighted that it has stood the test of time. An Italian conductor, orchestra, and supporting singers, along with two of the great international stars of the day, make a great listening experience. If you've only heard recordings of Dame Joan from her later years, this is a must. Fresh, young, no strain. Cornell Macneil may not be history's best known baritone, but he was a fine one, who has a long and honored career. He is in perfect form here. Cesare Siepi was a truly great basso during the 50s and 60s. Sparafucile never sounded more evil. Renato Cioni is, of course, the unknown quantity; I "Googled" him, and didn't find much. He is now 79, and had a fairly limited career. He was the Edgardo on Sutherland's first "Lucia". Well...I've sure heard worse...a lyric tenor who fits the Duke perfectly. I can certainly imagine him as a fine Edgardo, or Alfredo. If Alfredo Kraus is my ideal lyric tenor, Cioni isn't half bad.

This will never be "the standard" recording of one of the world's most recorded operas. I won't make comparisons...there are way too many, and performance styles have changed profoundly over the years, with singers no longer daring to take liberties they once did. But, it is a very good record...great performance, excellent [early stereo] sound, fine production. And a wonderful time capsule trip to hear some great singers in the prime of youth.

This is vintage Joan Sutherland. Recorded in 1960, it offers the great dame in the freshest of voice. The tone is bell-like in clarity and the coloratura and high notes mind boggling. She really was the supreme singing machine back in those days. Cioni is very good as the duke, perhaps not as ringing in tone as Pavorotti, but nonetheless, a gorgeous voice. Truely a set that you must have!!