Verdi - La Forza Del Destino
Classical | EAC | APE, CUE, LOG | Scans | 814.89 MB
James Levine; The London Symphony Orchestra | Released: 1998 | Label: BMG RCA Classics
Classical | EAC | APE, CUE, LOG | Scans | 814.89 MB
James Levine; The London Symphony Orchestra | Released: 1998 | Label: BMG RCA Classics
| Verdi's "La Forza del Destino" is one of the most difficult of his operas to cast properly. The demands of the music for the 5 principals are quite formidable, and require a command of vocalism that only the greatest singers can offer. It further requires the leadership of an immaginative conductor to bring cohesion to "Forza's" somewhat sprawling score. This recording towers over the others in best meeting the aforementioned 'criteria'. Maestro James Levine demonstrates his mastery of the score throughout, creating intimacy in the more personal passages of the opera (no more so than in the moving Convent Scene), contrasted with the bustling energy of scenes in the countryside and battlefield. His conducting has the "sweep" and verve so neccessary to illuminating and energizing the overall (Russian-influenced?) darkness of this turbulent score. Tenor Placido Domingo is simply the finest "Alvaro" on record. The dark richness and power of his beautiful instrument captures the ever- changing and volatile moods of the tragic, star-crossed lover. Mr. Domingo's great musicality abets the drama, making "O tu che in seno" heart-wrenching. Elsewhere, he is ardent with Leonora, and passionate in his duets with Don Carlo. There is no one better. Leonora is sung by Leontyne Price, the pre-eminent Verdi soprano of the past 30 years. This is one of the diva's greatest roles, and we are able to hear why. The vibrant and lyrical quality of the Schippers "Forza" (1964) has been replaced with a throbbing, darker, heavier sound in the middle, and a lower voice that's alternately chesty or slightly raspy. Ms. Price's upper voice is sovereign and resplendent. She mixes gorgeous pianissimi with requisite forte high notes that are powerfully intoned. Throughout, the soprano is dramatically alert, bringing desperation and urgency to the Convent Scene, fear and uncertainty to her duet with Alvaro, and sorrow and lamentation in her justly-famous singing of "Pace,pace mio Dio" ( with its ringing climax),and a soft, hushed intensity to the Final Scene as well. This is a great performance! Baritone Sherrill Milnes has likewise dominated his peers in the Verdi canon. His strong, virile singing of Don Carlo is well-suited to a role that is very monochromatic in dimension, but quite exciting musically. Mr. Milnes' voice here is resonant in the middle, slightly weak in the lower voice, and powerful in his wonderful upper voice (with some obvious strain at times), and he utilizes it with musicality, and a dramatic flair that is often more extroverted than introspective. His duets with Mr. Domingo are thrillingly sung, as is the "Urna fatale/Egli e Salvo" scena. Basso Bonaldo Giaotti is also a specialist in his role of Padre Guardiano, singing with warm, plangent beauty. He imbues his singing with authority, clarity, and strength, providing with Ms. Price, a Convent Scene of unusual conviction. Mr. Giaotti is not any less committed in the more static music of this role, and his firmly-produced bass is one of the finest on record in this music. Mezzo-soprano Fiorenza Cossotto rarely, if ever, sang the role of Preziosilla onstage,perhaps because its marginally a principal role, and/or due to its mostly unrewarding vocal demands. Few mezzos really succeed in this daunting music, that requires agility, range, and power. Ms. Cossotto is most admirable in those respects, though her upper voice is clearly taxed by the music in that area, and tonal beauty is only intermittently provided. Still, she is energetic, and, as always with this gifted artist, able to characterize with the detailed, intelligent, and insightful touches of the accomplished singing-actress that defines her art. The supporting and comprimario roles are also well-performed, featuring the outstanding Fra Melitone of bass-baritone Gabriel Bacquier. The John Alldis Choir, integral in this opera, sings gloriously, and the London Symphony Orchestra plays splendidly for Mr. Levine. This "Forza" remains the overall 'winner' amongst its competitors. While individual performances(Callas,Tebaldi,Milanov,Price,Arroyo/Shirley Verrett/ Bergonzi,Tucker/ Warren, Merrill/ C. Siepi, G.Tozzi/ Schippers, Muti) may rival those heard here, the sum of the performances in this "Forza" are unbeatable. Own THIS one! |
Performed:
Donna Leonora di Vargas – Leontyne Price
Don Alvaro – Placido Domingo
Don Carlo di Vargas – Sherrill Milnes
Preziosilla – Fiorenza Cossotto
Padre Guardiano – Bonaldo Giaiotti
Fra Melitone – Gabriel Bacquier
Trabuco – Michel Senechal
Marquis di Calatrava – Kurt Moll
Curra – Gullian Knight
The Mayor of Hornachuelos – Malcolm King
A surgeon – William Elvin
A peasant woman – Valerie Hill
The John Alldis Choir
London Symphony Orchestra
Conductor – James Levine
Tracklist:
CD1:
1. Act 1: Overture
2. Buona notte, ma figlia (Marquis, Leonora)
3. Temea restasse (Curra, Leonora)
4. Me pellegrina ed orfana (Leonora)
5. M'aiuti, signorina (Curra, Leonora)
6. Ah! per sempre (Alvaro, Leonora)
7. Dimani si partira (Leonora, Alvaro, Curra)
8. E tardi (Leonora, Alvaro, Curra, Marquis)
9. Act 2. Scene 1: Hola, hola, hola (muleteers, peasants)
10. La cena e pronta (mayor, muleteers, peasants, Carlo, Leonora, Trabuco, Preziosilla)
11. Al suon del tamburo (Preziosilla, muleteers, peasants, Carlo, mayor)
12. Padre Eterno Signor (pilgrims, Carlo, muleteers, peasants, mayor, Leonora)
13. Viva la buona compagnia! (Carlo, Preziosilla, mayor, muleteers, peasants,Trabuco)
14. Poich'imberbe (Carlo, muleteers, peasants, mayor)
15. Sta bene (mayor, Carlo, Preziosilla, muleteers, peasants)
16. Act 2, Scene 2: Son giuta! Grazie, o Dio! (Leonora)
17. Madre, Madre, pietosa Vergine (Leonora, monks)
18. Chi siete? (Melitone, Leonora)
19. Chi mi cerca? (Guardiano, Leonora, Melitone)
20. Se voi scacciate (Leonora, Guardiano)
CD2:
1. Act 2. Scene 3: Il santo nome (Guardiano, Melitone, monks)
2. La Vergine degli angeli (Leonora)
3. Act 3. Scene 1: Attenti al gioco, attenti (soldiers)
4. La vita e inferno all'infelice (Alvaro)
5. Oh, tu che in seno agl'angeli (Alvaro)
6. Al tradimento (Carlo, Alvaro, soldiers, surgeon)
7. Piano, qui posi (Carlo, surgeon, Alvaro)
8. Solenne in quest'ora (Alvaro, Carlo)
9. Morir! Tremenda cosa! (Carlo)
10. Urna fatale del mio destino (Carlo, surgeon)
11. Act 3. Scene 2: Compagni, sostiamo (soldiers)
12. Ne gustare m'e dato (Alvaro, Carlo)
13. Sleale! Il segreto (Carlo, Alvaro)
14. Fermi, arrestate! (soldiers, Carlo, Alvaro)
15. Lorche pifferi e tamburi (vendors, peasants, soldiers, Preziosilla)
16. Qua, vivandiere, un sorso (soldiers, Preziosilla)
17. A buon mercato chi vuol comprare (Trabuco, soldiers)
18. Pane, pan per carita (peasants, soldiers, vendors, Preziosilla)
19. Nella guerra e la follia (Preziosilla, choir)
20. Toh, toh! Poffare il mondo! (Melitone, soldiers)
21. Lasciatelo ch'ei vada (Preziosilla, peasants, soldiers, vendors)
CD3:
1. Act 4. Scene 1: Fate la carita (beggars, Melitone, Guardiano)
2. Auf! Pazienza non v'ha (Melitone, Guardiano)
3. Giunge qualcun, aprite (Guardiano, Carlo, Melitone)
4. Invano Alvaro (Carlo, Alvaro)
5. Le minaccie, i fieri accenti (Alvaro, Carlo)
6. Ah, una suora me lasciati (Carlo, Alvaro)
7. Act 4. Scene 2: Pace, pace, mio Dio (Leonora)
8. Io muoio (Carlo, Alvaro, Leonora)
9. Non imprecare, umiliati (Guardiano, Leonora, Alvaro)
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