Venice, which gave Beatrice di Tenda a thoroughly discouraging reception at its premiere, made amends in 1975 when the title-role was sung by the Romanian soprano who heads the cast in this recording. Till then the opera's revived fortunes in our time has been associated pre-eminently with Dame Joan Sutherland, who made her New York debut in a concert performance and had a notable success with it both at La Scala, Milan and on records. It was through her Decca LP recording that a wider public came to know Beatrice, and though it has not yet appeared on CD it must surely be on the waiting list. The question is, then, whether to take this new version while it is still with us or to leave it in the expectation that Sutherland will turn up sooner rather than later.
Sceptics might not find that too hard a dilemma, as the prospect of second-rate Bellini may not present an irresistible attraction. To this it has to be replied that a worthwhile proportion of it is first-rate Bellini, and that this new recording reveals a depth which may not have been apparent in the earlier version. Its dramatic force is more evident too, largely as a consequence of the increased musical seriousness. Reduced to a formula, the story is the familiar 'round' in which A loves B loves C loves D who is married to A. Its historical setting gives it a flavour of its own and the characters, especially Beatrice herself, are more than pasteboard figures. At best, as in the inventive, effectively constructed finale of Act 1, or in Beatrice's appeal (''Deh! se mi amasti un giorno''), the writing is inspired. So, on the whole, the opera deserves its renewed lease of life.
The title-role was written for Giuditta Pasta, the first Norma, whose range both of dramatic expression and vocal compass was probably her most remarkable attribute. In this, Nicolesco comes nearer than Dame Joan to matching the great original. Her voice is powerful, and (with such forward recording of the soloists as this set favours) can be almost alarmingly open and full-bodied on high notes. She commands the requisite fluency which becomes doubly impressive in combination with such a seemingly ample, dramatic voice. The trill is rudimentary when attempted and in this as well as other better features it is Caballe who comes to mind rather than, say Callas or Sutherland if one is looking for a modern comparison; Caballe's ethereal soft tones, on the other hand, do not find a counterpart. Nicolesco's style can be disconcerting, as in her very first utterance when (apart from an ominous modification of the first vowel) she pushes individual notes in a way that suggests a squally performance in store with little care for line. It turns out to be something much finer; and though each solo is an intricate interplay of light and shade there is also a firm basis of homogeneous tone and a knowledge of when to 'keep still'. By contrast Sutherland is wanting in both these opposite respects—in the subtlety of shading and in the 'norm' of unfussy, solid tone. Nicolesco lacks Sutherland's purity and ease in the cabalettas but she does have a way of making her scalework emotionally expressive. There are times when she seems graceless by comparison with the shapeliness of Sutherland's delineation of (say) the opening of the first cabaletta (''Ah, la pena''). But she is better at suggesting the Norma in Beatrice, and her listener is much more likely to find a reminiscent cry of ''sublime donna'' rising to her lips.
The Agnese and Orombello here are no match for their opposite numbers on Decca, Josephine Veasey and Luciano Pavarotti. Toczyska has developed an edgy vibrancy, and the tenor, Vincenzo La Scola, is pallid if inoffensive. Cappuccilli sings with customary breadth of tone and phrasing, and is impressive rather than likeable, thus suiting the part. Zedda's tempos are less bright and breezy than Bonynge's (Decca), and without being at all ponderous or pretentious he finds genuine depth in the music (compare the two performances of the Overture as an example). The recording is excessively resonant. If investing, it is advisable before playing to read up the historical background provided by Rodolfo Celletti's introductory essay which will also tell you what a good performance it is.'