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Berlioz: Benvenuto Cellini.(Sound Recording Review)

Opera News

| December 01, 2003 | Baker, David J. | COPYRIGHT 2003 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

[] Wells, Williams; Vickers, Reardon, Beni, Gramm; Chorus and Orchestra of the Opera Company of Boston, Caldwell. Brief notes, no libretto. VAI (Video Artists International) VAIA 1214-2

"It had really never occurred to me to take on the title role of Berlioz's Benvenuto Cellini," Jon Vickers states in a liner note. He adds, in what now seems self-defense: "Sarah Caldwell contacted me and persuaded me to do it."

In recruiting the great tenor in 1975 for Cellini, Caldwell must have hoped he could duplicate the splendor of his other Berlioz role, Enee in Les Troyens. This recording of a live performance by Opera Company of Boston proves just how wrong she was.

Vickers, woefully miscast, is forced to sing the first aria entirely in head voice, and to skip the second ("Sur les monts les plus sauvages") altogether. Elsewhere he is given to amusical demonstrations of macho bluster that seem borrowed from other roles. In this English-language performance, when he roughly addresses his apprentice, Ascanio, listeners may suffer a post-traumatic flashback to Peter Grimes.

The cast includes disciplined American singers of the day, stylistically at sea. The best work comes from Opera Company of Boston stalwart Donald Gramm, as a fairly forceful Pope Clement VII, and John Reardon's puffed-up Fieramosca. ...

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