Bel canto society videos & CDs.(Sound Recording Review)

Il trovatore (London, May 12, 1939, live). Bjorling, Cigna, Wettergren, Basiola, Zambelli; Gui; Chorus and Orchestra of the Royal Opera, Covent Garden. (2 CDs) #5000 $19.95

Il trovatore (Berlin, Oct. 1, 1961, live). Corelli, Parutto, Barbieri, Bastianini, Ferrin; De Fabritiis, Rome Opera Chorus & Orchestra. (2 CDs) #5012 $19.95

Kenneth Meltzer, writing about two Trovatores in Classical CD Review

"THIS Trovatore is essential listening, as it ranks among Bjoerling's greatest recorded performances. The Swedish tenor is in his youthful prime, with a gloriously sweet and supple tone that also offers plenty of slancio. The high notes ring out with tremendous focus and power. Bjoerling joins Gina Cigna for a resounding D-flat at the conclusion of the Act I trio. The cabaletta 'Di quella pira' features two stunning high Cs, the second driving the Covent Garden audience into a frenzy. There is also a sensitivity in Bjoerling's performance that places it on an exalted level. The exchanges with Azucena and Leonora are delivered with a loving tenderness that serves to make Bjoerling's heroic outpourings all the more potent. In short, Bjoerling ideally captures all three aspects of Manrico's character--son, lover, and warrior.

"Bjoerling also possesses the technical gifts to do justice to Verdi's challenging music. 'Ah si, ben mio,' taken at a true adagio, demonstrates the tenor's impressive breath control. The aria also features beautiful dynamic shading, and a masterful employment of rubato. And, rarity of rarities, Bjoerling treats his audience to a pair of brief but perfectly executed trills, just as Verdi demands. This is certainly my favorite Bjoerling rendition of this beautiful aria, and one of the greatest versions of all time. I could go on and on about the magnificence of Bjoerling's Covent Garden Manrico. Suffice it to say that even if you own his excellent RCA studio Trovatore, you should make an effort to hear this far more inspired interpretation. When I want to hear the best of this unique and superb artist, I almost invariably seek his in-performance recordings, which sweep away all criticism that the Swedish tenor was a cold, uninvolved performer...."

"THE SOUND OF the October 1,1961 Berlin Trovatore by the forces of the Rome Opera is well balanced, with ample warmth and clarity--certainly clear enough to hear the prompter! Only the occasional, slight overload on the highest, loudest notes (usually female) keeps the recording from approaching the ideal. Bel Canto Society also retains a considerable amount of the audience's enthusiastic response, further adding to the atmosphere of the occasion.

"Corelli begins in magnificent voice, holding a B-flat in Manrico's entrance for what seems an eternity. As with Bjoerling, Corelli joins his Leonora for a high D-flat at the conclusion of the Act I trio (his far more secure than Parutto's). The audience loves both of these thrilling liberties with Verdi's score, as well as the interpolated high notes in 'Di quella pira'--here taken down a halt-step to B. But in the end it is the discipline and sensitivity aligned with these magnificent vocal gifts that make this Corelli Manrico so outstanding. Certainly there is the occasional sloppiness of rhythm, an aspirate instead of a tree legato here and there. And of course as with most Manricos there are no trills in the great aria. But for the greater part of the Berlin/Rome Trovatore, Corelli seeks and attains the synthesis of bel canto elegance and romantic passion that is at the heart of this great opera. I find this performance the best of the Corelli Manricos I've heard, including a 1961 Met broadcast led by Fausto Cleva, a 1962 Salzburg performance under von Karajan (both with Leontyne Price) and the 1965 EMI studio recording with Gabriella Tucci, Thomas Schippers conducting. Corelli was at his best when performing not in a studio but, rather, before appreciative audiences. In the heat of the moment, he seemed less inhibited, and inclined to give more of himself.