Best recording "Madama Butterfly"
Douglas CLIFFORD
messages asking about "the best recording' of this or that opera.
However, like all newcomers to opera, and this news group, I would be
most appreciative for opinions. I am to attend a performance of this
opera in April, in Perth, Western Australia, and would like to have
some "background" before the performance. I hope to buy the score and
"work" my way through it.
Thanks in advance,
Doug
Douglas CLIFFORD +61 8 9390 7006 h
PO Box 119 +61 8 9324 6444 w
Kelmscott +61 8 9324 6400 fx
Western Australia <cli...@opera.iinet.net.au>
6991
Commspkmn
messages asking about "the best recording' of this or that opera.
However, like all newcomers to opera, and this news group, I would be
most appreciative for opinions. I am to attend a performance of this
opera in April, in Perth, Western Australia, and would like to have
some "background" before the performance. I hope to buy the score and
"work" my way through it. >>
There are many wonderful recordings of this opera. Two of my favorites are
from EMI-a mid-50s recording with Victoria de los Angeles, Giuseppe di Stefano,
and Tito Gobbi (now on Testament) and a mid-60s issue with Renata Scotto, Carlo
Bergonzi and Rolando Panerai.
Ken Meltzer
David Shengold
Well, this is one people ask a lot, and for good reason. My answer, and
frequently the most common ng answer, is the Barbirolli on midprice EMI with
Scotto, Bergonzi and Panerai, all excellent.
-David Shengold
----------
In article <389fd0ff...@news.iinet.net.au>, cli...@opera.iinet.net.au
jjo...@my-deja.com
RCA/Moffo and Decca/Tebaldi (respectively) are also excellent. But the
Scotto is the classic.
Sent via Deja.com http://www.deja.com/
Before you buy.
dtritter
record, and from live experience, i'll give the palm to de los angeles,
and as at the first america's cup [and no american contender this year.
yikes!] in england, the report of a courtier to queen victoria, "your
majesty, there is no second place."
just listening to the divine de los angeles this weekend and recalling
the dozens of incomparable experiences in her operatic appearances and
recitals brought a nostalgic tear to the eye.
dft
Steve
David Shengold <shen...@pobox.upenn.edu> wrote:
>
> Well, this is one people ask a lot, and for good reason. My answer, and
> frequently the most common ng answer, is the Barbirolli on midprice EMI
with
> Scotto, Bergonzi and Panerai, all excellent.
I would agree with this as a first choice and then suggest, if you find that
you fall in love with the opera, that you investigate the very unusual and
riveting Callas/di Stefano/Karajan recording. But only AFTER you have got
to know the opera through some other recording, preferably Scotto's under
Barbirolli.
Steve
David Shengold
That would indeed be an unusual recording! The tenor here is Gedda, and I
agree it's one to investigate later on in one's exploration of BUTTERFLY-
ditto the Toti dal Monte/Gigli set. Di Stefano is on the fine set with de
los Angeles under Gavazzeni recorded in 1954, the year before the first
Karajan.
-David Shengold
----------
In article <87mu6r$his$1...@bob.news.rcn.net>, "Steve" <roar...@yahoo.com>
wrote:
Steve
fingers.
Steve
David Shengold <shen...@pobox.upenn.edu> wrote
Speedbyrd
CLIFFORD) wrote:
>I apologise in advance. I realise that this new group is full of
>messages asking about "the best recording' of this or that opera.
>However, like all newcomers to opera, and this news group, I would be
>most appreciative for opinions. I am to attend a performance of this
>opera in April, in Perth, Western Australia, and would like to have
>some "background" before the performance. I hope to buy the score and
>"work" my way through it.
>
>Thanks in advance,
>
>Doug
>Douglas CLIFFORD +61 8 9390 7006 h
>PO Box 119 +61 8 9324 6444 w
>Kelmscott +61 8 9324 6400 fx
>Western Australia <cli...@opera.iinet.net.au>
>6991
I very much like the Freni/Sinopoli issue on DG.
The Speedbyrd® :>
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Waldjager
Mike Richter
Douglas CLIFFORD wrote:
>
> I apologise in advance. I realise that this new group is full of
> messages asking about "the best recording' of this or that opera.
> However, like all newcomers to opera, and this news group, I would be
> most appreciative for opinions. I am to attend a performance of this
> opera in April, in Perth, Western Australia, and would like to have
> some "background" before the performance. I hope to buy the score and
> "work" my way through it.
The best for your purposes is not necessarily the best conducted or the
best sung. I gather that your objective is to know the opera before you
attend. My first recommendation is then one of two videos which you may
be able to borrow: the Ponelle film conducted by von Karajan with Freni
and Domingo; or a recent one (the only Butterfly video released in the
last year or two, I believe). For audio, the von Karajan with Freni and
Pavarotti is probably the best choice in terms of clarity and
accessiblity.
Mike
mric...@cpl.net
http://mrichter.simplenet.com
CD-R http://resource.simplenet.com
Mike Richter
you mean, in which case you have been deprived of the glories of the de
los Angeles / di Stefano outing.)
Mike
--
Lars Henriksson
Pavarotti or Domingo had sung Pinkerton (Linkerton over here) that the
rather tired Carreras.
Lars
Speedbyrd <Spee...@201.5.18.30> skrev i
diskussionsgruppsmeddelandet:hRmfOBDlP529mpDByQFo=REd...@4ax.com...
> On Mon, 07 Feb 2000 14:09:40 GMT, cli...@opera.iinet.net.au (Douglas
> CLIFFORD) wrote:
>
> >I apologise in advance. I realise that this new group is full of
> >messages asking about "the best recording' of this or that opera.
> >However, like all newcomers to opera, and this news group, I would be
> >most appreciative for opinions. I am to attend a performance of this
> >opera in April, in Perth, Western Australia, and would like to have
> >some "background" before the performance. I hope to buy the score and
> >"work" my way through it.
> >
Enrique Eskenazi
wrote:
>The best for your purposes is not necessarily the best conducted or the
>best sung. I gather that your objective is to know the opera before you
>attend. My first recommendation is then one of two videos which you may
>be able to borrow: the Ponelle film conducted by von Karajan with Freni
>and Domingo; or a recent one (the only Butterfly video released in the
>last year or two, I believe). For audio, the von Karajan with Freni and
>Pavarotti is probably the best choice in terms of clarity and
>accessiblity.
>
On video I recall the Karajan with Freni and Domingo (which I really hated,
not for the voices but for the direction, like showing Dolore long before
his operatic surprising appearance). But there are at least three more: the
Hayashi Dvorski Maazel from La Scala (beautiful staging, not so beautiful
singing), the one from Verona with Kabaivanska and Antinori lunder Arena
(horrible visually and challenged vocally) and the relatively new (1997 I
think) from Australian Opera with C. Barker. Not to mention the film version
by that director that has the same name as the French president...
Regards
---
Enrique
eske...@teleline.es
Io chi sono? Eh, non lo so.
-Nol sapete?
Quasi no.
Eric Jennings
Butterflies later I still think for no-one matches Pavarotti in the love
duet for tenderness and the beauty of his voice.
I recently bought the Bergonzi/Tebaldi and the first time I listened to it I
became distracted by a domestic crisis involving kittens and curtains. I was
giving my complete attention to sorting this out and had lost track of the
opera when suddenly I was pierced by 'Piangi perche' and the hairs stood up
on the back of my neck. It was a magic moment and one I've repeated several
times now (but without the help of the kittens)
Regards
Eric Jennings
Berkshire
UK
Douglas CLIFFORD wrote in message <389fd0ff...@news.iinet.net.au>...
Tim Lowrey
version with Renata Scotto and my favourite tenor, the underrated Carlo
Bergonzi. This set, in addition to its aural advantages, is mid-priced.
(Proof that sometimes, less is more.)
An unusual version, I think also on EMI, is a highlight disc, with the
opera sung in English. The tragic Marie Collier sings Butterfly. Musically
is alleged to be, well, acquired taste. Theatrically, it's supposed to be
quite passionate.
Tim
Customoper
Capecchi, with Bellezza conducting.
It is a very full LP, containg about an hour of music, and Albanese is intense
and moving, though a bit past her best years vocally. STill, she is
wonderful.
Peerce sings with great ardor in the love duet, and sails up to a great high C
with Licia at it's conclusion. I have always hoped this would someday make it
to CD.
My first complete Butterfly was with De los Angeles, Di Stefano, Gobbi, Santini
conducting. It was on RCA at the time, but has since been released on CD by
EMI. All singers are in wonderful form.
My favorite Butterfly is still the Tebaldi, Bergonzi, with Serafin at the helm.
Tebaldi sings with such incredible beauty, and feeling, and abandon, that it
all but sweeps one away. Such a gorgeous flood of vocal tone rushing at you
through the speakers. And Bergonzi is one of the best Pinkertons on record.
His opening scene, with a somewhat dry voice Enzo Sordello, is a lesson in
great Puccini singing, with portamenti galore, and simply wonderful vocalizing,
while conveying the character of Pinkerton.
The stereo sound is as good as any and this is the one Butterfly I would keep
if I could only keep one.
Ed
For free catalog of live opera on CD, video, and audio cassettes, please e-mail
your name and mailing address.
GRNDPADAVE
>Date: Wed, Feb 9, 2000 15:07 EST
>Message-id: <20000209150722...@ng-bk1.aol.com>
Hi, Ed,
The conductor of the fabulous DiStefano, De los Angeles, Gobbi recording is
Gianandrea Gavazzeni, not the languid Santini who devitalized just about
everything he directed.
Indeed the DiStefano recording is outstanding for the variety of tempi, mostly
fast, that Gavazzeni uses to keep the opera moving. Gobbi is far and away the
most vital Sharpless I've heard.
I am surprised you have not any kind words for the lovely Steber, Tucker,
Valdengo recording superbly paced by Max Rudolf. Valdengo was a very warm
sharpless and Tucker is stunning in his first recorded Pinkerton.
The Toti Dal Monte recording is another one I would not deprive myself of. It
contains the finest singing Gigli ever provided in a complete opera recording.
It is also well directed by Olivero de Fabritiis.
Sorry, but Serafin is a bit too syruppy for my taste and Tebaldi a bit too
matronly -- although I thought she was great in her earlier recording
(conducted by Erede).
All the best,
==G/P Dave
whp
performs a great Butterfly role. Give it a try.
David Shengold
I agree that the first Tebaldi is more enjoyable than the second, as far as
both pure vocalism and believable youthfulness are concerned. Bergonzi
rules, but he is even better suited to Scotto I think.
-David Shengold
----------
In article <20000209182026...@ng-ca1.aol.com>,
grndp...@aol.com (GRNDPADAVE) wrote:
>>My favorite Butterfly is still the Tebaldi, Bergonzi, with Serafin at the
>>helm.
>> Tebaldi sings with such incredible beauty, and feeling, and abandon, that it
>>all but sweeps one away. Such a gorgeous flood of vocal tone rushing at you
>>through the speakers. And Bergonzi is one of the best Pinkertons on record.
>>
>>His opening scene, with a somewhat dry voice Enzo Sordello, is a lesson in
>>great Puccini singing, with portamenti galore, and simply wonderful
>>vocalizing,
>>while conveying the character of Pinkerton.
>>
>>The stereo sound is as good as any and this is the one Butterfly I would keep
>>if I could only keep one.
andre35
And to whom is Campora suited? IMVHO Giuseppe Campora was an also-ran in the
tenor sweepstakes of the time.
That Tebaldi was so gorgeous as Cio Cio San, despite the unfortunate tenor is
a tribute to her artistry.
Still, as a package, De Los Angeles and Bjoerling is my favorite.
Andre
David Shengold
Still, I think one (if one is not Tom K.) chooses a BUTTERFLY for its
Butterfly, and I find Tebaldi's later performance compromised by the
constriction on top and the general air of "mature prima donna". Still some
mighty fine singing, but I don't believe for a minute in the
characterization, and the earlier one is magical vocally. Campora doesn't
ruin it IMO. If you noticed, neither is my first choice. I would take the
Barbirolli first, then maybe Pampanini and de los Angeles #1. Of the studio
sets Sheridan, Callas, de los Angeles #2, dal Monte, Moffo, Tebaldi #1,
Freni #1, Steber, Lorengar in German, Price and Veronika Kinces (anyone
remember that recording?) have their place in my ear too.
The only one I would not allow in my home is the Caballe. And the
Church/Bocelli when it appears.
-DLS
----------
In article <38A2230C...@bellsouth.net>, andre35
<and...@bellsouth.net> wrote:
>David Shengold,
"Enzo Grimaldo, Principe di Santafior, che pensi?"
"Harcourt Fenton Mudd! Have you been drinking?"
What's up with the bizarre salutation anyway?
Edward A. Cowan
> My first Butterfly recording was a highlight 12" LP with Albanese, Peerce,
> Capecchi, with Bellezza conducting.
>
> It is a very full LP, containg about an hour of music, and Albanese is intense
> and moving, though a bit past her best years vocally. STill, she is
> wonderful.
>
> Peerce sings with great ardor in the love duet, and sails up to a great high C
> with Licia at it's conclusion. I have always hoped this would someday make it
> to CD.
Indeed so. I still have that LP, though I admit I haven't played it all
that often, _Madama Butterfly_ not being one of my favorite operas.
FWIW, there was an earlier, much briefer set of highlights from
_Butterfly_, also from RCA-Victor, also with Albanese, but with a
saccharine-sounding James Melton as Pinkerton.
>
> My first complete Butterfly was with De los Angeles, Di Stefano,
Gobbi, Santini
> conducting. It was on RCA at the time, but has since been released on CD by
> EMI. All singers are in wonderful form.
That recording is now available on Testament CDs. (It was indeed very
briefly available on CD from EMI.) I saw Victoria de los Angeles as
Butterfly in Austin TX back in 1954, a production mounted by the San
Antonio Symphony. This had Brian Sullivan as Pinkerton and Giuseppe
Valdengo as Sharpless. It remains one of my fondest recollections of my
early opera-going years.
-- E.A.C.
Customoper
>The conductor of the fabulous DiStefano, De los Angeles, Gobbi recording is
>Gianandrea Gavazzeni, not the languid Santini who devitalized just about
>everything he directed.
>I am surprised you have not any kind words for the lovely Steber, Tucker,
>Valdengo recording superbly paced by Max Rudolf
You're certainly right, Dave. Gavazzeni is the conductor. I believe Santini
conducts the second De los angeles Butterfly, with Bjoerling.
I love both Tucker recordings, and for me, he is the very best Pinkerton on
records. His soaring Bb's make the opening scene, and the trio and Addio in
act 3 truly memorable, as does his natural ability to portray an American.
STeber is wonderful in the 1949 recording, and Price sings wonderfully in the
1964. I don't find her terribly moving, however, and I don't like Maero at
all. I recently asked Merrill why he didn't do this recording, and he said
they had asked him to, but he didn't feel like learning the role! Too bad.
Imagine that voice as Sharpless!!
Best,
AValeo1752
Tebaldi and Campora
Michael E. Miller/Robert E. Seletsky
> >From: grndp...@aol.com
>
> >The conductor of the fabulous DiStefano, De los Angeles, Gobbi recording is
> >Gianandrea Gavazzeni, not the languid Santini who devitalized just about
> >everything he directed.
>
> You're certainly right, Dave. Gavazzeni is the conductor. I believe Santini
> conducts the second De los angeles Butterfly, with Bjoerling.
I just heard the "fabulous" de los Angeles/di Stefano/Gobbi/Gavazzeni for the first
time (on LP, by the way), and found it very flawed. De los Angeles is magnificent,
pure-voiced, moving. Di Stefano is a wonderfully characterized and gorgeously sung
Pinkerton. However, Gobbi, whom I adore, did very little here. He played the
bureaucrat, not really getting involved in Butterfly's tragedy or denial. I have
never heard him so uninvolved. Panerai with Scotto or Borriello with Callas are far
more into the drama. Strange. The real problem is the great conductor Gavazzeni,
whom I usually admire enormously. But here he whips up the tempi to such an extent
that the singers occasionally have trouble getting the words out in time. The
emotional centerpiece of the opera "Del tua madre" is brisked along at such a clip
that, far from getting a chance to emote, you barely notice that it's there. If the
pitch hadn't been correct, I'd have thought the record was playing at the wrong
speed. I don't know what Gavazzeni's aim was, but I didn't have a good time.
However dull Santini/de los Angeles/Bjoerling is, I hope that at least the singers
don't give the impression that they'd need respirators after the taping sessions.
Bob Seletsky