Most Helpful Customer Reviews
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
A believable and beautiful version of "Traviata", 9 Dec 2008
Somehow, over the years, this 1973 recording made in Berlin for German TV has never shown up on my radar, despite my having long sought a really satisfying version of "La Traviata", but I am now very happy to have discovered it. I agree with the previous review; this is really a set to live with, as, despite no particular individuality in the interpretation, everything hangs together dramatically, all the singing is sensitive and often very beautiful, and there are none of the irritating flaws that mar other sets. The recording quality is clear, bright and full; the orchestral playing unobtrusively excellent; the conducting similarly restrained and respectful of the score - it all works.
This is a notoriously difficult opera to bring off satisfactorily in the recording studio. There are other sets with equal claims, but many give me heartburn either because of poor sound quality (all the Callas versions, being either live or featuring inadequate casting in the other two big roles) or because of insensitive conducting (Pretre, in the otherwise superbly sung set with Caballe and Bergonzi), poor singing (the wretched Nucci and the throaty Lopardo, who fail to match Gheorghiu's lovely Violetta for Solti) or simple miscasting (Milnes always sounding too young and virile for the role of Alfredo's father; Tucker singing wonderfully but sounding too old - and so on).
It is true that, as Germont, Bruscantini has not the most refulgent tone, especially compared with baritones such Merrill and Milnes, but he is so experienced and really sounds like an elderly, concerned father without being at all quavery of voice - just a little dry of tone. He has a perfect sense of style, of course, and a lovely legato. Bonisolli sounds young, naive and impetuous (like the man himself, dare one observe?) and accompanies Freni beautifully. Freni is, as ever, highly accomplished, invariably tasteful, and sings with touching, limpid tone. Hers is an impeccably voiced Violetta; nothing is done for effect but all the notes are in place and a wholly credible character emerges.
I part company with a previous reviewer concerning the calibre of the supporting cast: there are some pretty provincial voices there and some very Germanic Italian - but it matters little in face of the quality of three Italian principals, who really know their business.
So this recording goes near to the top of the list. I still want to hear Callas, Moffo and Caballe but this Gardelli set is a safe recommendation to anyone wanting to become acquainted with this great work.
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2 of 2 people found the following review helpful:
4.0 out of 5 stars
True and Touching Traviata, 29 Jan 2008
Recorded in 1973 for a German TV film, this is a lovely performance of an opera suprisingly difficult to pull off on disc.
Mirella Freni isn't often associated with the role, indeed her La Scala performances were rather contraversial. But a few years on, she has rethought her interpretation and here gives a glorious account of the role of Violetta. Her idiomatic Italian, her tender, heartfelt and sincere singing mark this out as very special indeed. There is nothing here to distract or irritate on repeated listening, as with other singers. She never shows off. This is an unshowy performance of real integrity, a performance that is as natural as it is intelligent.
She meets all the lyric and dramatic demands of the role and while the coloratura of Act 1 isn't as dazzling as with Sutherland, for example, it is musical and always tastefully done.
Partnering her are two more Itlaian singers - which makes a huge difference to the diction of the principals. Bruscantini is a little gruff but convincing as Germont Pere. The big duet with Violetta in Act 2 is utterly sublime.
As Germont Fils we have a young Bonisolli, impetuous, naive and headstrong, as Alfredo should be. He shows few of the mannerisms that mar his mature performances, and manages to control his powerful voice in the hushed duets. He isn't ideal, vocally, but he's perfectly acceptable.
Gardelli is famed for his Verdi conducting, but here he is rather genteel - compared to Klieber or Toscanini. The party scenes are subdued rather than riotous, while the more tender scenes have a chamber-music like intimacy. Nevertheless some may prefer more exaggerated drama, and that's why the recording has only 4 stars - it so nearly deserves 5 for Freni alone.
The usual cuts to the score are made. the sound is good modern (undigital) stereo.
Highly recommended
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