Operas By Verdi And Wagner

Press, Volume CIV, Issue 30802, 14 July 1965, Page 7

Operas By Verdi And Wagner

A new recording Verdi’s “Rigoletto” on R.C.A. Victor stereo LSC. 7027 (two 12in, 85s, with libretto, box) brings the complete versions of this opera on L.P. to 10. Attractively sung, well recorded and packaged, this differs in being academically complete. Customary score cuts are missed and some almost customary singers’ embellishments are ignored, making a slight difference to familiar arias.

The biggest difference between this and the “Rigoletto” on Decca with Sutherland and Mac Neil is in the pit. That had a deliberately slow pace, while here Solti pushes the pace along, whipping up a tremendously exciting performance. The storm scene in > particular must outstorm any other. Against this is a lack of expansiveness in the moments that require it. Robert Merril is an exceptionally fine and dramatic Rigoletto, especially in the big moments of the second act. Anna Moffo is a charming Gilda, with some very pretty notes. Alfredo Kraus, a Canary islander, is a tenor with a very good top range, beautifully free in delivery, and suggests a youthful Duke. In the small roles are Rosalind Elias, Ezio Flagello and David Ward, who isn’t a very scarey Monterone. Being fitted on four sides—others take five or six— this set will also appeal to bargain hunters. There is slight pre-echo and post-echo, but no congestion in the sound —it remains beautifully clear and with a wide dynamic range throughout. The consistent clarity is the first thing you miss when returning to old mono sets like the Taddei/ Pagliughi/Tagliavini and the Gobbi/Callas/Stefano. The talking point for Wagnerians lately has been the recording of “Die Gotterdammerung” which means the entire Ring cycle of four operas is now available on 18 technically outstanding stereo discs. To have all these imported would cost £4O 10s, so there must be some who are turning gratefully to the World Record Club which has issued a 1956 mono recording of “Die Walkure” (five 12in, 142 s 6d, with box, libretto), the second opera of the cycle. This recording has other merits notably the great balance, order and breadth of Wilhelm Furtwangler's conducting. The value of owning a Ring opera is being able to work through it in sections instead of having to hear the lot in one sitting, as during the rare radio broadcast. As a guide through the parade of Wotan’s troubles—ambivalent confrontation witlj incest, adultery, a nagging wife and disobedient daughter—the libretto offers Ernest Newman’s leitmotif key.