Most Helpful Customer Reviews
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4.0 out of 5 stars
La Traviata (Verdi), 16 Jun 2009
The singing of all three principal characters on this recording is incomparable. Sherrill Milnes as Germont is splendid in vocal tone and colour, if sounding a little young in his rôle, while Carlo Bergonzi as Alfredo is an absolute model of musical style and elegance without the loss of any characterisation. His change of mood in the two scenes of Act Two between first the loss of Violetta and then his anger with her at the gaming tables is admirably done.
But, of course, this is Violetta's opera, and, in the tile-rôle, Montserrat Caballé rises superbly to the occasion. Her beauty of tone and consistently fine singing is, at times, simply astounding, and, as so often with her, one is left wondering when or how she has time to breathe. The voice sounds suitably young, amazingly fresh and full of wonder itself, in the first act. In the second act she injects the necessary anguish and then heroism into her singing, while her characterisation and pathos, especially toward the end of the opera, as expected, is particularly fine. There have indeed been more dazzling Violetta's (such as the outstanding singing of Dame Joan Sutherland) and certainly more dramatic and characterful ones (Maria Callas, of course), but, in this recording, Caballé can certainly claim to be vocally the most beautiful of them all. This was one of the earlier recordings of her career.
The Orchestra is fine (especially in the Preludes), as is the Conductor, although perhaps being a little too indulgent with his singers at times, especially when one feels the pace and the urgency of the piece should move on a fraction faster. The drama of certain scenes, especially in Act Two, is lost as a result, I feel. The chorus perform their duties with good vocal clarity and technique.
One particularly interesting point about this set to note is that it is one of the most complete versions of the opera available. Both verses of Violetta's "Ah, fors e lui" are included, for example (seldom done), and all repeats are included, as in the published vocal scores. Although many subsequent sets copied this format, many others did not, or not to the same full extent.
Although the available recordings of this ever-popular opera are now almost too many to count, any serious opera-lover, and certainly any fan of Verdi (as well as Caballé) should definitely not be without this one in their collection.
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4.0 out of 5 stars
very good cast, 8 Feb 2009
I bought this CD because of the singers. I think that Bergonzi is one of the best Alfredos. His "un di felice" is great,I never heard it better. Caballé is wonderful to listen, her voice is tender, warm (never sharp) and technically "perfect".
Milnes,a singer, who impressed me as Rodrigo in Giulinis "Don Carlo", completes the excellent cast. The minor roles are rather modest but o.k.
Pretre is a very good conductor but his interpretation is not as warm and "present" as the Kleiber conduct.
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5.0 out of 5 stars
CABALLE A DREAM, 21 Nov 2008
When I first got into opera, going to see it and listening to it, Caballe was still very much the performing prima donna. I was lucky enough to see her with Pavarotti in Un Ballo en Maschera at CG. She had a fantastic voice, terrific control, a big warm sound that in her big moments were truly thrilling. For years & years I have looked at this set and wondered and bought others! So with the new trend of lighter, thinner voices taking on this role (nothing wrong with that, they often do sound much younger) what a fantastic discovery this recording is. Packed with full throated, full throttle singing by all three principals that go to make this thrilling drama come alive. The balance between the three is just right and they are all in tip top form. I have, as I said several other sets, but I urge you to buy this and listen in wonderment at the sheer glory of these voices. This issue has excellent sound and every lover of great singing should own it.
Buy it, it's an order!!
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