Ponchielli La Gioconda
View record and artist detailsRecord and Artist Details
Composer or Director: Amilcare Ponchielli
Genre:
Opera
Label: Grand Opera
Magazine Review Date: 9/1993
Media Format: CD or Download
Media Runtime: 150
Mastering:
ADD
Catalogue Number: 433 770-2DMO2
Tracks:
Composition | Artist Credit |
---|---|
(La) Gioconda |
Amilcare Ponchielli, Composer
Amilcare Ponchielli, Composer Anita Cerquetti, La Gioconda, Soprano Athos Cesarini, Isèpo, Tenor Cesare Siepi, Alvise Badoero, Bass Ettore Bastianini, Barnaba, Baritone Florence Maggio Musicale Chorus Florence Maggio Musicale Orchestra Franca Sacchi, La Cieca, Contralto (Female alto) Gianandrea Gavazzeni, Conductor Giorgio Giorgetti, Zuàne, Bass Giulietta Simionato, Laura Adorno, Mezzo soprano Mario Del Monaco, Enzo Grimaldi, Tenor |
Author: Alan Blyth
Over 35 years Decca have issued no fewer than four versions of this work, three of which are now available. This one first appeared in mono in 1958 and features Cerquetti in the title-role. Expected to be Tebaldi's natural successor, she sadly fell by the wayside. She here heads an all-Italian cast, with Florentine forces in support, under the seasoned and lively baton of Gavazzeni. Cerquetti fulfils the vocal demands of the taxing part with breadth and ease, but her reading is generalized when set beside those of Tebaldi (Gardelli/Decca), Caballe (Bartoletti/Decca), and especially Callas (Votto/EMI). She hardly conveys the sorrow or desperation of the poor, jilted street singer's plight, nor offers the verbal insights of which Callas and, to a slightly lesser extent Caballe, were capable although today most of us would be pleased enough just to hear a voice with such security, cut and thrust in the role.
As the impassioned Enzo, del Monaco is impressive. Of course, his voice was made for the more heroic moments in the role, such as his ''Assassini!'' entrance and much else, but contrary to received opinion he was capable, when he wished, of singing quietly and sensitively, as the whole of his love duet in Act 2 with Laura shows, and several times he manages—just—a measured messa di voce. The ever-popular ''Cielo e mar'' evinces a few moments of clumsy vocalization, and in general, in spite of his positive contribution, he isn't quite in the class, as a stylist, of Pavarotti (Bartoletti), let alone Bergonzi (Gardelli). Simionato is a Laura in the grand tradition; generous of phrasing—listen to her ''Stella del marinar'', one of the best on disc—and matching Cerquetti note for note in the splendid slanging match in Act 2, but Horne (Bartoletti) and Cossotto (Votto) bring more urgency to the part.
The star of the set is undoubtedly Bastianini as Barnaba. He conveys all the evil and sardonic bite of the spy, also his Iago-like nihilism avant la lettre. His voice, in superb trim, equals if not surpasses those of such formidable rivals as Cappuccilli (Votto) and Milnes (Bartoletti). Siepi is a properly vengeful Alvise, but La Cieca is feebly cast. Chorus and orchestra are able without being remarkable in their performances. The recording is about average for its time, a shade restricted by the standards of today.
What will make this set attractive to an impecunious newcomer is that it is the first Gioconda contained on two discs, a generous offering at mid-price. If economy is an essential factor, it's for you and you will be getting a thoroughly authentic, no-nonsense reading. Also at mid-price but on three CDs, the Gardelli is the best conducted and, in many ways, the most vivid performance, though the full-price Decca under Bartoletti has a more modern sound. For the most compelling, indeed unsurpassed, interpretation of the title-role, easily the most interesting, you'll need Callas, pretty well supported by EMI's cast.'
As the impassioned Enzo, del Monaco is impressive. Of course, his voice was made for the more heroic moments in the role, such as his ''Assassini!'' entrance and much else, but contrary to received opinion he was capable, when he wished, of singing quietly and sensitively, as the whole of his love duet in Act 2 with Laura shows, and several times he manages—just—a measured messa di voce. The ever-popular ''Cielo e mar'' evinces a few moments of clumsy vocalization, and in general, in spite of his positive contribution, he isn't quite in the class, as a stylist, of Pavarotti (Bartoletti), let alone Bergonzi (Gardelli). Simionato is a Laura in the grand tradition; generous of phrasing—listen to her ''Stella del marinar'', one of the best on disc—and matching Cerquetti note for note in the splendid slanging match in Act 2, but Horne (Bartoletti) and Cossotto (Votto) bring more urgency to the part.
The star of the set is undoubtedly Bastianini as Barnaba. He conveys all the evil and sardonic bite of the spy, also his Iago-like nihilism avant la lettre. His voice, in superb trim, equals if not surpasses those of such formidable rivals as Cappuccilli (Votto) and Milnes (Bartoletti). Siepi is a properly vengeful Alvise, but La Cieca is feebly cast. Chorus and orchestra are able without being remarkable in their performances. The recording is about average for its time, a shade restricted by the standards of today.
What will make this set attractive to an impecunious newcomer is that it is the first Gioconda contained on two discs, a generous offering at mid-price. If economy is an essential factor, it's for you and you will be getting a thoroughly authentic, no-nonsense reading. Also at mid-price but on three CDs, the Gardelli is the best conducted and, in many ways, the most vivid performance, though the full-price Decca under Bartoletti has a more modern sound. For the most compelling, indeed unsurpassed, interpretation of the title-role, easily the most interesting, you'll need Callas, pretty well supported by EMI's cast.'
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