Customer Reviews

Verdi - Rigoletto / Domingo, MacNeil, Cotrubas, Diaz, Levine, Metropolitan Opera

5 star:		(7)
4 star:		(7)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

The Met in the 70's: was there a better spot for Opera? Here we have my Favorite Verdi Opera of all time, starring Three bonifide stars, two at the start of their careers, one nearing the end. We have at the Podium the young Levine, who does wonderful, if not exemplary work with the score. The Met Orchestra is top-notch, as always.

I have little to say about the production except that...it's the Met. Big, vibrant, and more than a little bit impressive, the sets and costumes by Tanya Moiseiwitsch are very beautiful to look at. But who goes out of RIGOLETTO humming the set? (Unless you see a really bad performance) Another key aspect of this LIVE FROM THE MET broadcast is the video direction of Kirk Browing, who makes a few close up where wide shots would be preferable, but mainly lets the cameras let the singer's dramatic talents shine.

And Shine they do. Watch Domingo's face as he realizes who the courtiers have kidnapped in Act Two. See the genuine feeling he puts into the act two aria: it's some of his best acting. He's in top vocal form here, the familiar big, souring tenor in perfect condition. Plus we get to see a tenor who looks as if he could slay the ladies as well as any Duke. Could you buy Gilda falling in love with Pavarotti? Domingo looks dapper, devilishly handsome, and comfortable in tights. My only regret (and it's a minor one) is that he does not take the optional high "D" in the cabeletta "Possente Amoure" (In which Levine, by the way, makes the traditional cut of the second verse) but the only two tenors to attempt that note on record are Pavarotti and Alfredo Kraus.

Ileana Cotrubas, the Gilda, is an unmitigated success. We see a Gilda come into the flower of womanhood, maturing into a woman ready to sacrifice anything for love. It's tragic and beautiful. Cotrubas had a gift possessed by few sopranos other than Callas: she was always able to seem spontaneous when turning on the dramatic talent, not with each move calculated like some other sopranos. This is one of her best outings: when not trying for high notes, her voices floats around your ears like butterflies, inducing sheer pleasure. The first act and is beautiful, marred slightly by some rather hollow-sounding high notes in "Caro Nome" and the father-daughter duet (with Ariel Bybee's strong Giovanna in attendance) which plagued her career in my ears. "Tutte le Festa" is perfect, however, and her work in the ensembles that end the third act is irreproachable.

Also very impressive are the two assassins: Justino Diaz and Isola Jones. Diaz's Bass-Baritone has a smooth, sly qualitly to it in the first act that perfectly matches the mysterious killer. In act three he is more violate and passionate, with some really stellar vocal acting thrown in for good measure. His sister makes a startling impression: Jones is a beautiful woman, perfectly believable as the seductress Maddelena: a striking, exotic singer. Her dusky Contralto is startling in its potency: sometimes I wonder at how low her voice goes in this performance. I'd also like to point out John Cheek, the best Monterone I have ever heard. His somber, noble stage presence (he seems miles taller than Rigoletto) is added by a booming bass that sounds a bit young for the role, but more than authoritative and frightening enough in his curse to make Rigoletto quake. The courtiers are fine, the Met's stalwart chorus and comprimarios, all in very good vocal form.

And what of Rigoletto himself? Cornell MacNeil, near the end of his career, is very hard to put down. His vocalism is rarely beautiful, and his acting is inconstant: One moment he is as wooden as a mannequin, the next insightful and moving. Take, for example, the moment of discovery of Gilda's body: it's fake and unconvincing. But the very next moment, his mummer of "ah, no, ah no" is heartbreaking. If there is a weak link in the production, it's his Rigoletto, but the weak link has several moments of brilliance. He does some really excellent acting with his body in acts two and three.

The picture is fine, but the sound is occasionally troublesome, especially in the first scene of act one.

All in all, I give this production high marks: 4 and ¾ stars, a quarter of for some of McNeil's vocalisms and the sound problems. I've rated it four stars just to be safe, though.

Rigoletto is a fabulous, wonderful, stupendous opera. And this is a wonderful production.
Domingo is wonderful, he is my favorite duke. He hates the role, he rarely performed it, an not only because he dislikes the Character. The role is the antipathy of Domingo's instrument. His rich, trumpety baritonal tenor, suits late Verdi, puccini, and veristic opera. His musical subtlety also allows him to sing mozart, and his gutz have put him in the ring as Sigfried, Lonegrin and the like. But the high tessitura of the Duke was killer for him. As a result he sings the part as it was meant to be sung. He escews optional high notes, and rubato (save in La Donna e Mobile where he takes the B). He sings with focus and intention, making the Dukes numbers part of the drama, rather than showpieces. his acting is superb.
Coturbas is an excellent Gilda. Just like Domingo, she avoids making her Aria Caro nome into a coloratura showpiece. Instead the piece is beautiful and moving, and never slows to an emotional halt. She looks innocent and beautiful, and is a superior actor.
Cornell Macneil has been treated rather poorly on DVD. Cornell's vocal prime was the late 1950's to the early 70's. Huge open tone and ringing high notes were a big favorite. In the mid 70's it became appearent that his tone was becoming far to open and that he was losing the core of his huge sound. As he refers to in the bonus interview he takes the summer of 77 off completely, to rest and study. This production see him in faltering voice, he cracks several times throughout the show, but flashes signs of brilliance, expecially on the top of his voice. Dramatically he is a real winner, but his alternate in this production, Sherill Milnes, would have been my pick for the Dvd.
Justino Diaz is a good Sparafugile. he plays an arisocratic villain who is calm and smiling, intstead of brooding and evil. His voice is not really Bass but Bass-Baritone, but he still is very good.
This is a great production and it is close to ideal. Definatley a good addition to an opera collection.

Cotrubas and Domingo: What an extraordinary chemistry these two artists generate when they are on stage together. How well and surprisingly their voices blend, considering Domingo's heroic ringing tenor and Cotrubas's creamy full voiced yet plangent soprano. Her voice seems to sit exactly on the note allowing every nuance of the composers intention to be expressed. She offers an extraordinary dramatic interpreation of the doomed Gilda, as fine an actress as you are likley to see on an opera stage. In the tradition of Callas, she seems to inhabit her charactor, both physically and emotionaly, and her vocalisation in Acts 2 and 3 is second to none. Quite ravishing.

This is a terrific production, and how long we have waited for its DVD release. Surely the Met's finest Rigoletto, a peerless cast and conductor, at the height of their powers.

Surely now the ravishing Met Traviata of a couple of years later with the same trio of Cotrubas, Domingo and McNiel will at last be available.

I can't understand why this DVD has taken so long to be released in the USA, I have had this in my possession since May this year. This is a fine Rigoletto, with wonderful singing on all accounts. A youthful looking and sounding Domingo and a touching vunerable Gilda from Cotrubas. MacNeil has not the best voice for Rigoletto at this stage of his career, but his acting and characterisation is excellent. Levine conducts well and the sets and costumes complete an excellent presentation. The bonus interviews are also a delight

Having been a fan of Rigoletto for many years, I ordered this DVD based mostly on Placido Domingo's participation. Having watched it now, I have found it to be a rewarding performance. Domingo's Duke is very gratifying. Macneil's Rigoletto is vocally weaker, but his stage presence is powerful. On the whole his performance is effective as Rigoletto. I'm glad to have the DVD and expect to enjoy it many times.

This long delayed release of a 1977 performance immortalizes the not so often sung Duke of Domingo, at a time when he was already established as the Otello of his generation. He is in fine voice, displaying a lyric approach to the written music.Cotrubas is at the peak of her career and vocal powers, Gilda being one of her signature roles. Although MacNeil is no longer at his best, he is still capable of singing with a beautiful legato and effortless high notes, displaying also fine acting capabilities. Levine stylishly conducts the orchestra through an uncut score, following Verdi's tempo and markings.

This is an excellent Rigoletto..one I am sure the audience felt very lucky to have witnessed. I agree that Cornell MacNeil is a little past his prime (but still excellent in role) and I agree with the other reviewers that Ileana Cortrubas is a sensitive Gilda (if visually not quite adolescent). Two small-role voices are memorable...the rich Monterone of John Cheek and the juicy Giovanna of Ariel Bybee (I hadn't heard of either singer until now). Beautiful Isola Jones as Maddelena wears a costume that defies physics, on her every inhale I involuntarily flinched -- but her singing was fine nonetheless. The Sparafucile (Justino Diaz) didn't deliver the dark tones you hope for in this role.

But, the reason for my review is the irrespressible ebullient Domingo. He is a force of nature. Is anyone happier and more in their element on stage than he? Sometimes he is just too high-test for the moment, but one always forgives his excess energy and just enjoys seeing and hearing a performing animal doing his thing.

I never had the chance to see this telecast when it first aired, and to my knowledge it was never issued commercially (or rebroadcast) until now. Of the three recently issued early PBS telecasts (the others being "Boheme" with Scotto & Pavarotti, and "Luisa Miller" with Scotto & Domingo), this is perhaps the weakest, as some other posters have suggested. Still, it ranks as one of the finest performances of Verdi's middle period masterpiece on video. I think it's hilarious that Domingo actually admits to Tony Randall, on camera, that he "despises" the role of the Duke! Can't help wondering if he doth protest too much about the character's heelish demeanor (a la Jon Vickers and Tannhauser?), and instead it's just a matter of "oh, God, those high Bs!" But he nails both of them, onstage and off, big and loud, albeit a bit rough around the edges. Otherwise he sings the role with real slancio and style--considering he did the role only a handful of times, I think it's fair to call this a historic performance. He looks absolutely wonderful to boot.

Cotrubas is predictably superb, if showing a hint of strain on a couple of top notes--her top was never her strong suit, but projecting a touching vulnerability certainly was. Her Gilda is irresistible.

Cornell MacNeil is the weak link, but I have trouble criticizing him too heavily in this performance. Yes, by now he had largely lost the rich, juicy core of his huge baritone, and had revamped his technique--not very successfully--to try to keep his increasingly wobbly tone focused and forward, resulting in that tiresome wide-open tonal quality. But in the intermission interviews Mac talks of taking the previous summer off to rest and study (and having suffered through some truly ugly singing of his on Met radio broadcasts in the spring of 1977, he NEEDED time off!) And the fact is, it helped tremendously--aside from some pitch lapses and the increasingly raw, wide-open quality of his tone around the break, the voice here is amazingly firm, focused, settled. Can't quite say the same about his interpretation, which tends to go in and out of focus--and he spends far too much time staring at Levine. But when he's fully "in" the character it's really pretty impressive. The voice was no longer a thing of beauty, but he was pretty much in command of it here... sadly, I remember him sliding back into bad vocal habits as the 77-78 season went on (BUH--UH--WUH--UH--WUH etc.) Levine's conducting seems similarly unsettled--racing through some sections, dragging others lethargically. But overall it's an impressive performance all round, undoubtedly one of the best "Rigolettos" on video. I even rather like the Dexter production.

DG's remastering is remarkably good, and the sound here is surprisingly clean for such an early PBS effort--this was only their second live telecast from the Met, following the March 1977 "Boheme." But in general they tended to mic the singers rather too distantly, and seemed to get way too much back-of-the-wall "echo"--something the Met radio engineers managed to avoid. Why didn't PBS simply use the radio mic setup? (I understand that by 1980 or so, they began utilizing an audio crew from the European video outfit Unitel, or at least retained them as consultants [?], and later Met telecasts have far cleaner sound.)

Tengo la grabación en CD que hicieran Domingo y Cotrubas la cual siempre me ha parecido una de las mejores grabaciones de esta ópera. Por tal razón en cuanto salió esta versión en que sólo cambia el intérprete del papel protagónico decidí adquirirla y no me equivoqué. Si bien es cierto que Mac Neil no está en todo su esplendor vocal, su dominio de escena es extraordinario. Domingo es Domingo: Un maestro en el escenario. Si bien su voz no es tan lírica como se necesita para este rol, su canto es bellísimo y maneja su instrumento con elegancia y buen gusto entregando una performance estupenda. Ileana Ctrubas es realmente una Gilda extraordinaria: Una voz muy adecuada y de gran hermosura, nos entrega una performance llena de pathos y a la vez de gran delicadeza. Esta versión de Rigoletto, es, sin duda, una adquisición que satisfará a quien la compre. No lo dude.

John Dexter was not pleased with his 1977 production of "Rigoletto" at the Metropolitan Opera. This need not detain us; most artists are unhappy with their work. What matters is that this great production is tightly constructed, fluid, and intense. It allows the opera to achieve its maximal impact, which is considerable.

Cornell MacNeil portrays the hunchback of the title, and his is a magnificent assumption. The New York Times, at his recent death, embarrassed itself again by demeaning his acting ability. Such a position is risible in the face of this performance, where he gives us the towering fury and frustration of Rigoletto, and anyone who heard him in the theatre knew his to be an immense voice, capable of the extremes of this great role. This characterization, both in its details and its grand heights, will remain long in the memory.

Ileana Cotrubas is touching as Gilda, and Plácido Domingo is magnificent and handsome as the libidinous Duke. (The great tenor had begun his career in this opera, as Borsa, in 1959, in Mexico City, opposite MacNeil and Norman Treigle as Sparafucile.) Isola Jones is sultry but otherwise blank as Maddalena. Eleven years later, the vivid Susanne Marsee was to give us a definitive performance in the role, when this opera was televised from the New York City Opera. Justino Díaz presents a finely malevolent Sparafucile.

James Levine conducts with much energy, and the Met reviewed the usual interpolated high notes and other tiresome "traditions" when this production was new. Unfortunately, not all were eliminated. Nevertheless, this production is fascinating. On Compact Discs, one finds the epic characterizations of Maria Callas as Gilda and Tito Gobbi as her father (1955), and Beverly Sills as Gilda (1978). The finest studio recording is argurably that of Riccardo Muti (EMI, 1988).