Customer Reviews

Verdi - La Traviata / Sutherland, Pavarotti, Manuguerra, NPO, Bonynge

5 star:		(11)
4 star:		(8)
3 star:		(4)
2 star:		(3)
1 star:		(0)

 

 

This recording gave me a really big surprise. As a great admirer of the supreme art of Maria Callas, I always was somewhat lukewarm on the histrionic abilities of Joan Sutherland, though I yield to none in my admiration of her vocal and technical accomplishments (who in this century sang like Sutherland in her prime?). Her first recording of Traviata left me cold and indifferent, but my feelings about this second recording are very different indeed. Sutherland's work here is not that of a mere vocal technician, but that of a true artist. She makes Violetta something grand and tragic all at the same time. Her singing has gained authority and real stature.The voice is still amazing but what she does with it on this recording is even more amazing. Luciano Pavarotti, expectedly, sounds wonderful, and he opens up the cabaletta of his aria in the beginning of Act II to wonderful effect. Everything in this recording works very, very well, and Bonynge outdoes himself by creating a "Traviata" that really matters. Yes, Callas was a great Violetta, but Sutherland, especially as heard on this recording, is great as well. Would it only be that we could have two sopranos like Sutherland and Callas singing today!

I first owned this version of "La Traviata" ("The Wayward One") as one of the earliest digital records and distinctly remembering laughing at loud when we got to the famous Act II, Scene I aria "Amami, Alfredo" and Joan Sutherland decides to hold the high note far longer than I have ever heard it held before. There is something about the audacity of that note that is rather delightful. Now, despite my family name I know nothing about the Italian language and therefore cannot judge about the Italian diction of Sutherland or anybody else in the cast, and while I understand how those who speak the language can be infuriated by such inaccuracies, I have to admit they do not bother me and I am content to listen in blissful ignorance of my native tongue.

I have often used "La Traviata" in class, usually on unsuspecting literature students for whom I screen the Zeffirelli film version, but I had also used this CD when talking about the function of music. In this regard I play the overture to show how it effectively sets up the opera. Not only is the beginning unusually quiet, compelling the audience to be quiet and listen, it also went against the conventions of the time, which dictated an opera should have a grand opening (exactly what Verdi uses in the opening of Act I). Furthermore, the first part of the overture employs the "death" motif, which recurs at the start of Act III when Violetta is in bed just about consumed by consumption. The second half of the overture functions to establish in the mind of the audience the theme of Violetta's short but significant aria. I always tell students that Verdi wants them to remember that theme because it is going to come at the highpoint of the opera, the point at which Violetta makes the fatal choice to deny herself happiness.

This recording was done in 1979 and while Pavarotti was closer to his prime than Sutherland at this point, it certainly does not make a whit of difference in enjoying the recording as far as I am concerned. I have heard one of Sutherland's earlier recordings of "La Traviata" and there seems to be more pure power behind the singing in this version. Again, I understand she sacrifices some of the emotional shadings of the role, but then it was always "Lucia" that was Dame Joan's dramatic forte. Finally, beyond the signing the orchestra sounds just wonderful, which adds to the enjoyment of listening as well. This is still one of my favorite opera recordings.

La Stupenda is a senior citizen here, almost 60... Yet, it's just amazing to me that she can still sing Violetta! Granted, the voice is not the perfection of an instrument that it was in the 1960's, it's still magnificent. Yes, Pavorotti sings well also. What I do miss here, however, is the soaring high notes of the young Dame Joan ( the ring, the timbre, the bigness of the high C's, D's, E's in alt ). Yes, she can still hit those notes with ease, but gone are the fullness, and the sensual quality of Sutherland's youth ( which was, by the way, incomparable! ) Yes, maybe I'm dwelling, but to have heard Sutherland in her prime was to have heard the Queen of Song, perhaps of all time.

I'm usually don't buy anything that Dame Joan did during the 80's. Her prime being the several decades before that. But I really was surprised by her here. Her Violetta was just heart-breaking here, and her coloratura and high notes really quite good for that period. She was 56 here, and she sings Sempre Libera as if it was a simple vocalise. There are still some wide vibrato here and there, but overall the voice is surprisingly fresh for a "later" Joan performance. Of course, she is still La Stupenda, the greatest colortura of our time. Pavorotti always sing much better when he is cast with Joan. It's so obvious that the two great singers adore each other. This is a wonderful collaboration, as always. We are indeed fortunate to have so many recordings of that dynamic duo.

My basic idea that Joan Sutherland is the incarnation of all evil has been being challenged for a long time, but this is what really make me look up into the light. Joan is delicious here! Everyone whines about her lack of enunciation (no diction! no diction!) but only in the duet with Germont in ActII do things get even a little hazy (and this isn't bad either). All her solo work, especially Sempre libera and Teneste la promessa are excellent, and you can catch every word. Joan didn't sing "Libera" like I thought she would - the note at the end (an E flat I think) doesn't go as high as usual - the aria's not really as violently indulgent as it perhaps could have been - but apparently she was 60 at this point, so brava diva. I always think that the letter reading scene, which requires the actress to speak, not sing, is the most telling, and Sutherland goes it wonderfully. It brought tears to my eyes. But of course, as is often forgotten, the soprano isn't the WHOLE opera. Luciano goes very nicely, really smarmy in his spat scene with Violetta. The chorus seems to me to be somewhat mediocre with vague diction (maybe that's why Joan sounds so good?) But all in all I really loved this. So nice, so sad, so free, so good. P.S. Don't let the chubby Sutherland and Pavarotti cherubs on the cover throw you off.

This set is all around the best Traviata. The reason is Sutherland. She was the voice to sing this most challenging role. The Sempre Libera is nothing sort of perfect, not a single note out of place. And Sutherland has mature through the years and sings with much depth here. Pavorotti? what can one say? He is the king of tenors. Bonynge? He conducts beautifully here. Overall, perhaps the definitive Traviata.

Joan Sutherland was in her mid fifties at the time of this recording. Her singing is miraculous. Simply the vocal sensation of our time. The Sempre Libera, just a stroll in the park for the great diva. But though the great Prima Donna is slightly past her prime in this cd, she can still outsing anyone in existence! Brilliant trills especially. But more impressive is Dame Joan's mature interpretation of Violetta. Maria Callas would have been jealous!!!!

Dame Joan Sutherland was a great singer indeed. Her high notes were unchallengeable. But her portrait of Violetta is a very dull one. One of Sutherlands' faults throughout her career was her diction. And in this recording it is no exception. At the most dramatic moments in the opera Sutherland isn't very convincing. She isn't being helped at all by the conducting of Bonynge, who fails to give real thrust to the drama. Pavarotti gives a splendid performance as Alfredo Germont. But Matteo Manuguerra lacks in authority as the stern patriarch.

This is one of the last complete opera recordings of the famous Bonynge - Sutherland - Pavarotti trio. Fans of the two famous singers will enjoy this Traviata since both of them are still in fine voice. In addition, there is the perfectly acceptable Germont of Matteo Manuguera and the score is presented complete.

Even if Sutherland occasionally sounds aged (especially when singing in the middle and lower register) her high notes and coloratura ability are still there to impress the listener. The problem lies in the slow tempi that her husband has chosen. He forces Sutherland to hold some low and middle notes too long. This does not only reveal her aged voice but also reduces the opera's excitement. Dramatically she has more to offer compared to her earlier Violetta.

Pity that Pavarotti did not record this role earlier. The radiant voice of the young Luciano was ideal for Alfredo. In any case he still has an impressive and passionate Italian voice with long lasting high notes. Manuguera is a fine Germont but not an unforgettable one. Bonynge offers routine conducting.

Many will still prefer Sutherland's first recording with the best Alfredo, Carlo Bergonzi and the superb Robert Merrill. If you like a more dramatic reading of the role go for Moffo, Scotto and of course Callas.

Violetta is a role that requires a soprano capable of coloratura in the first act, great dramatic singing in the second act, and a lyric soprano of much beauty in the third act. Most sopranos can make you cry in the second and third act. But only Callas can make you cry in the FIRST act...if you can deal with the pushed, forced sound that was the fault of Maria Callas. Sutherland met that status in this Traviata she recorded when she was almost sixty years old. But, alas, the voice here was not nearly what it once was, in reality, almost all the top notes are gone, ironically, the same downfall that was to have been Callas's. Buy this historic recording if you want to see Sutherland's much improved acting. But if you want to hear heroic singing, keep in mind that Sutherland is 10 years past her prime years here, and her once stupendous soprano is a mere shadow of what it used to be.