Max René Cosotti
2021Verdi La Traviata
Derek Bailey
Edita Gruberova, Neil Shicoff
This set has Edita Gruberova singing in top form, all her scooping cast aside, which one finds in abundance in her Lucia under Richard Bonynge. Here, however, she makes ravishing use of those bits of tone that only she can produce: those instances of coloratura and dramatic legato with little asides and small florishes of style that suggest her intelligent approach and her high degree of musical involvement in this role. She does this in her I Puritani and her Anna Bolena, less so in Roberto Deveraux and Maria Stuarda(both sets). Listen to Addio del passato and the Sempre Libra...ravishing, yes, but there are again those nuances learned from Callas that she makes her own. A very singualr perform,ance, and extremely moving with its detail and cry for pity throughout..from the start even. Neil Schicoff is excellent, not an unworthy Alfredo at all! His is a great lyric tenor voice that should have been in the top line.
Verdi La Traviata
La Sonnambula
Matteo Ricchetti, Hugo De Ana
Eglise Gutierrez, Simone Alaimo
La Sonnambula is an idillic, classical and intense melodramma with an extremely fine, lyrical musicality and tense with pure "canto", suspended between Arcadia and Romanticism. It is a combination of tender and melancholic sentiments and of tragic and moving passion, in a natural uncontaminated and innocent atmosphere and humanity which clearly represent the artistic experience of the composer. The charming staging by Hugo de Ana, at the Teatro Lirico di Cagliari goes back to January 2007. Through fascinating tableaux vivants, references to 17th century Romantic painting and refined visual projections, it is a tribute to Luchino Visconti. Visconti produced the memorabile performance of Sonnambula in March at the Scala di Milano with the magnificant Maria Callas.
La Sonnambula
Falstaff
Götz Friedrich
Gabriel Bacquier, Richard Stilwell
This performance, and the film that documents it, is superb! From its comically vulgar opening in the Garter Inn, where we are introduced to a rotund (and slightly pathetic) Falstaff - in a richly nuanced performance by baritone Gabriel Bacquier cocooned in prosthetic girth (his face is too thin for the enormity to be real) - to the supremely beautiful nocturnal magic of the Finale in Windsor Park, Solti is lovingly accompanied by the sublime Vienna Philharmonic. They play with such delicacy and elan what is an undeniably delicate score, that I lost myself in the instrumentation, forgot it was Verdi, thought it was Mozart, and couldn't remember which Mozartean Opera this was. The woodwinds and strings are singled out for special praise: perfect intonation and phrasing doesn't begin to do them justice. They breathe life into this score, propel it forward, act as a Chorus commenting on the action.
Falstaff