Arturo Toscanini conducts Giuseppe Verdi and Arrigo Boïto

★★★★

   Giuseppe Verdi was most popular opera composer in nineteenth century. It is possible his fame was wider than any other opera composer in the whole history. After his great successes he composed the cycle of four religious works: Laudi Alla Vergine Maria (1888), Ave Maria (1889), Te Deum (1896) and Stabat Mater (1897) premiered April 7th, 1898 at Paris Grande Opéra and published together as Quattro pezzi sacri (Four Sacred Pieces). Whole cycle can be seen as Verdi’s farewell to musical scene. It is also an attempt of crossing the borders of opera compositions. Te Deum, the Ambrosian Hymn was set by dozens of composers and it is one of most common setting in history of music. Giuseppe Verdi had composed this hymn for two four-part choirs, soprano solo and large orchestra. It is powerful, almost ecstatic act of worship.
   Opposite position takes Prologue to the opera Mefistofele by Arrigo Boïto, composer of very few works, famous Verdi’s librettist (Otello, Falstaff), poet and writer. The Prologue is a kind of argue between Mephistopheles and heaven choirs worshiping God or being God’s incarnation. Mephistopheles mocks with God and deride with humankind. Conversation between God and Mephistopheles ends with their bet about Faust fate. Although Prologue construction is closer to oratorio than opera, this part had best reception after premiere of Boïto’s opera. Whole work is one of best musical settings based on Johann Wolfgang Goethe’s Faust. This is also version closest to the original story.

Arturo Toscanini - Verdi's Te Deum & Boïto's Mefistofele (1955)

   Verdi’s hymn and Prologue from Mefistofele by Arrigo Boïto are two elements of one program conducted by Arturo Toscanini. This very interesting album consists of one LP record published by RCA Victor (LM 1849) in cassette with eight-page insert including original Latin and Italian texts with English translation. It was produced in 1955 on the basis of live radio broadcast of March 14, 1954. This radio performance was ten days after April 4th, 1954 Toscanini had announced his retirement. Conducting the NBC Symphony Orchestra, and two choirs, Arturo Toscanini gave one of his unforgettable performances. In Te Deum by Giuseppe Verdi leading part was sung by Robert Shaw Chorale, the choir of Toscanini’s choirmaster and probably the best choir recording for RCA in fifties. In Prologue to Boïto’s opera their parts were taken Nicola Moscona as Mefistofele and The Columbus Boychoir directed by Herbert Huffman. It’s needless to say this release is excellent opportunity to see Italian postromanticism from rare point of view.
   Toscanini was one of last great Italian romantics, who took part in finishing Boïto’s Nerone. His phenomenal musical talent and his achievements had set direction for developing contemporary art of conducting the orchestra. Such recordings are always great medium to test aesthetical criteria, then revolutionary, today maybe historical. Seeing interpretative differences we can better understand real capacity of musical form. In 1955 artistic quality of NBC Symphony – these time one of leading orchestras in the world – and sound of new recording system, based on high quality magnetic tape and full range pressing was the new exciting technology. Four stars, even with some cracks this record can be ravishing.

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   Producer's notice on Toscanini's album insert can be interesting as a document of technical solution. It says about “new raised center and outer edge which is an RCA Victor improvement designed to help protect the playing surface of the record from abrasion, scratches, and any contact with other records”. Those were the days when most records were stored just as a stack of discs and most of them were out of sleeve. Maybe this is the reason to give the regular cassette bound for just one LP edition. This album intentionally differs from other productions and it’s easy to understand why. 

Anna Moffo In Great Duets From Opera

★★★✰

   Anna Moffo was one of the greatest opera stars in the era of stereo hi fi vinyl records. Besides few early recordings for EMI like Coloratura Arias she recorded with Colin Davis in 1959, she was recording for RCA. Exclusive contract with RCA, for many artists would be fulfilling of their dreams, but Anna Moffo was already primadonna of best opera houses all over the world. And this cooperation of star and label of the stars* resulted in a series of great recordings in sixties. She was recorded with Italian orchestras conducted by Tullio Serafin, Fernando Previtali, Erich Leinsdorf, Franco Ferrara, Georg Solti, René Leibowitz, Leopold Stokowski, Fausto Cleva, Renato Fasano, Georges Prêtre and Francesco Molinari-Pradelli. The list of great singers she worked with is much longer. One can judge it from double LP selection published by RCA in 1975 as Anna Moffo in Great Duets from Opera.

   All recordings were taken from RCA recordings. Program starts with 1957 recording of Giacomo Puccini’s Madame Butterfly (scene from 1st Act) with Cesare Valletti and Rome Opera Chorus and Orchestra conducted by Erich Leinsdorf. The same orchestra and conductor took part in of Puccini’s La bohème 1961 recording. This time her partner in Act 1 was phenomenal Richard Tucker in role of Rodolfo. In scene from 3rd Act Moffo and Tucker are supported by soprano Mary Costa (Musetta) and baritone Robert Merrill (Marcello). B-Side of first record brings fragments of three operas: Puccini’s Manon Lescaut and Jules Massenet’s Manon recorded with The RCA Italiana Opera Orchestra and Chorus under direction of René Leibowitz, and Massenet’s Thais recorded with new Philharmonia Orchestra conducted by Julius Rudel. In Manon Lescaut Anna Moffo was dialoguing with Flaviano Labo, in Manon she was singing with Giuseppe di Stefano and in Thais with Gabriel Bacquier.

Anna Moffo In Great Duets From Opera (1975)

   Third side comprises two scenes from Lucia di Lammermoor. Anna Moffo partners are tenor Carlo Bergonzi (Elgardo) in scene from Act 1, and baritone Mario Sereni (Enrico) in scene from Act 2 of Gaetano Donizetti’s masterpiece. The RCA Italiana Opera Chorus and Orchestra were conducted by Georges Prêtre. These recordings were made in 1965. Last side comprises fragments of two operas by Giuseppe Verdi, La Traviata in 1960 recording with Rome Opera Chorus and Orchestra conducted by Fernando Previtali, and 1963 recording of Rigoletto with The RCA Italiana Opera Chorus and Orchestra under the baton of Georg Solti. In La Traviata part of her partner Alfredo was sung Richard Tucker and in Rigoletto Robert Merill (Rigoletto), Alfredo Krauss (Duke), Mario Rinaudo (Ceprano) and Piero di Palma (Borsa).
   This choice of these fragments is clear. Although she was perfect in solo arias, the highest power of her opera performances is in dramatic scenes. She is not only beautiful voice singing, but also a responsive interpreter who can establish synergic relation on the scene. She is playing the stage role in depending of partner’s reactions. This album shows best sides of Anna Moffo. She was great bel canto singer, but even better dramatic performer. Perfect voice and appearance were the reason she was called La Bellissima, and by many she is still considered as most beautiful singer ever. In conclusion it’s worth to notice four stars is maximum for compilation album. Not only this album, also complete works she recorded are operatic must have.

Giuseppe Verdi Festival

THE 200th ANNIVERSARY OF GIUSEPPE VERDI'S BIRTH

   Among many musical theatre composers the two dominated the opera scene in 19th century were Giuseppe Verdi and Richard Wagner – both were born the same year and this was the only common point of these two. Giuseppe Verdi (1813-1901) was a child of the era. He was composer of extended romantic style with tendencies to popular music and in later works to the post-romantic ideas, partly as reaction to Wagner’s drama. He is probably most celebrated composer of the century. Main part of his work consists of nearly three dozens of operas and revisions. He has written also some songs and sacred works with highly valued Requiem. Although shortly after his death he was detronised by Giacomo Puccini, he should be remembered as the greatest opera composer of opulent era. 

   There are thousands of Verdi recordings, from life performances and complete opera albums to fragments in recitals of many composers and performers. And it’s negligible if there is full Verdi’s work or only short fragment. One of features of composers output is this simple fact, every work has highlights playing the role of hits in romantic music culture. No wonder there are many concert programs and records showing only these fragments. One of such was Verdi Festival published as the Capriccio Club Edition in 1985 with fragment of Giovanni Boldini’s famous portrait of 71 year old Verdi. This is very well pressed, introducing quite good performances and well edited choice, so it deserves three and a half of the five star scale.

Giuseppe Verdi Festival (1985)

   The Capriccio Verdi album is very good starting point for somebody who needs short introduction to best achievements of Giuseppe Verdi. It’s opened with La forza del destino overture in nice rendition of Budapest State Opera Orchestra conducted by Trikolidisz Karolosz. Than come full version of Va pensiero choir from Nabucco and ballet scene from Aida performed by London Symphony Orchestra with Laurence Siegel and Di quella pira from Il trovatore sung with brave by Ludovic Spiess. Second side comprises Intermezzo from La Traviata again with Budapest Opera and Karolosz, gypsy chorus from Il trovatore performed by Chor und Orchester Der Staatsoper Berlin conducted by Otmar Suitner and two fragments from Don Carlos – duet of Don Carlos and Rodrigo Carlo Bergonzi and Dietrich Fischer-Dieskau, air Ella giammai m’amo sung by Nicola Rossi.
   Second record of the album starts with Triumphal March from Aida continued with Zitti, zitti, noviamo a vendetta from Rigoletto and soldiers chorus from Il trovatore. These fragments were recorded by ensemble of Staatsoper Berlin under Otmar Suitner. In this choice there have to be some arias and great vocal performances. Nicola Herlea in Di provenza il mar from La Traviata, Eva Marton sings Pace, pace from La forza del destino and Sylvia Sass with Giorgio Lamberti duet from Ernani. The fourth part concluding the choice comprises three spectacular arias: Cortigiani from Rigoletto sung by Nicola Herlea, Mia madre aveva una povera ancella from Othello perfectly exposed by Anna Tomova-Sintov, and Studia il passo from Macbeth performed by Boris Christoff. These fragments are framed by Prelude to 3rd Act of Aida (Staatsoper Berlin, C. Litvin) and Matador Choir from La Traviata (Opera Bukarest, J.Bobescu). I have to admit it's quite a nice program for birthday celebration.

Anna Moffo – Coloratura Arias

Anna Moffo, famous Italian-American soprano was one of best female voices of LP recording era and phenomenal interpreter of bel canto music. She was benefited by the great popularity in sixties and seventies as lyric-coloratura soprano. She was also beautiful woman and gifted actress. Her signature roles with coloratura passages are remembered both for great stage appearances and musical performances. In her wide discography there are many complete opera performances, mainly for RCA. Interesting presentation from the period of her early career are two albums recorded for EMI with The Philharmonia Orchestra - Mozart Arias (from Mozart's operas but also from Mess C Minor and Exsultate, Jubilate) and Coloratura Arias (from operas by Donizetti, Rossini, Bellini and Verdi). Record sessions for Mozart Arias took place in Abbey Road Studios in May 1958 and for Coloratura Arias in December 1959. During Mozart session orchestra was conducted by Alceo Galliera. In USA where it was mastered by Columbia and published by Seraphim (EMI-Angel label) these recordings became the great introduction to her triumphal years as a star in Metropolitan Opera.

Anna Moffo – Coloratura Arias

Coloratura Arias was last album Anna Moffo recorded for EMI. She appeared with The Philharmonia Orchestra conducted by Colin Davis. The program was carefully and well chosen. Arias and scenes with strong emotional impact from doubts and despair to joy and hope - the whole range of emotions connected with love. On the A-side great two tracks - madness scene from Second Act of Donizetti's Lucia di Lammermoor and aria Una voce poco fa from Act I of Rossini's Il Barbiere di Siviglia. Opposite side contains arias by Bellini and Verdi - from I Puritani (Act II) scene with Elvira's lament and joyous finale aria of Amina from La sonnambula. Giuseppe Verdi is represented by two arias of women in love - Gilda's confession Caro nome from Rigoletto and full of doubts, sad monologue of Violetta from 1st Act of La Traviata. Idea of this set is readable, the exemplary vocal performances have deeper meaning, showing different degrees of love and the dramatic motives of coloratura.