Giulini conducts Verdi (live)
Posted by: Tam on 12 October 2006
I have mentioned before my love of Giulini as a conductor and also that I think he had a special connection with Verdi. (Actually, I think to some extent he had a special connection with everything he conducted - his repertoire was surprisingly narrow and I have read that he only would conduct works that he felt he really knew, understood and had something to say about. For example, there are his wonderful readings of Figaro and Don Giovanni but he never touched Magic Flute or Cosi.)
My introduction to his Verdi was through his rather special recording of [urlhttp://forums.naim-audio.com/eve/forums/a/tpc/f/38019385/m/6082989207?r=7032973307]Don Carlos[/url] which is a favourite opera of mine (but annoyingly, due to the number of versions, one which will probably never see a recording that suites me perfectly). Recently I mentioned a very fine effort in the original French whose only major problem was that occasionally, particularly with longer orchestral passages, I was left craving the magic that someone like Giulini brings.
Therefore, the new release from the Royal Opera House's own label was not one I was about to pass up:
Now, I have mentioned before, on the classical must have threads, by example of the Requiem, that I think live Giulini brought an extra special energy and that is precisely what I find here. I buy perhaps three or four CDs a year that I absolutely cannot stop playing - this is one of them. From the very first bars there is just an electricity to it that makes his studio recording feel dull in comparison (it isn't, but that's how fine this feels). So fine, indeed, that it's a struggle to note anything down whilst listening. however, there are moments which simply take my breath away: Fedora's exquisite singing as Eboli (not one of my favourite roles) in her first aria in act II, orchestral playing as the temple doors open in act III, Rodrigo's chilling disarmament of Carlos, just about every minute of act four, but especially Eboli's "O don fatale". The fact that act V doesn't drag, as it so often can.
This is not, however, quite a perfect reading. For a start, there are cuts (act I has certainly fallen victim, it is simply too much shorter than in the studio to be explained by time alone), however it is to the credit of Giulini and his ensemble that these are not noticeable. Save one. The decision to end act IV with Rodrigo's death and not have the insurrection. There are two problems with this: in the first place it is a wonderful scene and in the second it is very important to the plot (not least in that it really showcases the Inquisitor's power). However, while it seems this was done for reasons of time, there are justifications (Verdi cut it himself after the first performance), and it does lend the death of Rodrigo a certain something that it otherwise loses. Indeed, he feels more key to the work in this reading than in some accounts (and given my fondness and sympathy for the character, this is no bad thing).
The other reservation that might be leveled is that of sound quality. But I have no complaints whatsoever. I think the sound is extremely good mono for a 1958 live relay (and much better than the Beeb managed for Mackerras at Edinburgh last month). It is very natural and all the instruments sound right - there is none of the nasty tinnyness that besets, say, the Krauss Ring cycle at times. Nor is there overly intrusive hiss and crackle (there is hiss, but like it is no more noticeable or annoying than that on Miles Davis's Kind of Blue). The set goes out of its way to apologise, in particular for the sound in the finale of act I. I wondered why (only having read the note after listening and I think I only noticed the source of their complaints, which I would still argue are pretty slight - a little drop-out and crackle - because I was listening hard for it).
What may be more of a concern is audience noise. This is one of the more poorly behaved audiences I have heard on disc - there is a lot of coughing and towards the end, particularly, they ride their applause over the orchestra after arias quite horrible (a practice that always winds me up). However, here it barely bugs me at all - perhaps a measure of just how fine a disc this is.
The cast is ranges from the very good to the outstanding (Eboli, I have mentioned but also Boris Christoff as Philip, John Vickers' Carlos and Tito Gobbi's Rodrigo stand out, but there is nothing approaching a weak link).
In summary this is an extraordinary disc and well worth the asking price. There is a lovely bonus in the form of a twenty minute interview with Lord Harewood (who ran the ROH at the time) - annoyingly the interviewer is balanced right over to the left, but since he has the good sense to shut up and let Harewood talk for the most part, it doesn't really matter.
I commend this to all Verdians, Giulinians, indeed, all opera or classical music fans, it is really something.
More generally, this confirms a view I have been forming for a while, think there is a lot to be said for genuinely live performances (not so much 'spliced' live) versus what can be managed in the comfort of the studio.
regards, Tam
My introduction to his Verdi was through his rather special recording of [urlhttp://forums.naim-audio.com/eve/forums/a/tpc/f/38019385/m/6082989207?r=7032973307]Don Carlos[/url] which is a favourite opera of mine (but annoyingly, due to the number of versions, one which will probably never see a recording that suites me perfectly). Recently I mentioned a very fine effort in the original French whose only major problem was that occasionally, particularly with longer orchestral passages, I was left craving the magic that someone like Giulini brings.
Therefore, the new release from the Royal Opera House's own label was not one I was about to pass up:
Now, I have mentioned before, on the classical must have threads, by example of the Requiem, that I think live Giulini brought an extra special energy and that is precisely what I find here. I buy perhaps three or four CDs a year that I absolutely cannot stop playing - this is one of them. From the very first bars there is just an electricity to it that makes his studio recording feel dull in comparison (it isn't, but that's how fine this feels). So fine, indeed, that it's a struggle to note anything down whilst listening. however, there are moments which simply take my breath away: Fedora's exquisite singing as Eboli (not one of my favourite roles) in her first aria in act II, orchestral playing as the temple doors open in act III, Rodrigo's chilling disarmament of Carlos, just about every minute of act four, but especially Eboli's "O don fatale". The fact that act V doesn't drag, as it so often can.
This is not, however, quite a perfect reading. For a start, there are cuts (act I has certainly fallen victim, it is simply too much shorter than in the studio to be explained by time alone), however it is to the credit of Giulini and his ensemble that these are not noticeable. Save one. The decision to end act IV with Rodrigo's death and not have the insurrection. There are two problems with this: in the first place it is a wonderful scene and in the second it is very important to the plot (not least in that it really showcases the Inquisitor's power). However, while it seems this was done for reasons of time, there are justifications (Verdi cut it himself after the first performance), and it does lend the death of Rodrigo a certain something that it otherwise loses. Indeed, he feels more key to the work in this reading than in some accounts (and given my fondness and sympathy for the character, this is no bad thing).
The other reservation that might be leveled is that of sound quality. But I have no complaints whatsoever. I think the sound is extremely good mono for a 1958 live relay (and much better than the Beeb managed for Mackerras at Edinburgh last month). It is very natural and all the instruments sound right - there is none of the nasty tinnyness that besets, say, the Krauss Ring cycle at times. Nor is there overly intrusive hiss and crackle (there is hiss, but like it is no more noticeable or annoying than that on Miles Davis's Kind of Blue). The set goes out of its way to apologise, in particular for the sound in the finale of act I. I wondered why (only having read the note after listening and I think I only noticed the source of their complaints, which I would still argue are pretty slight - a little drop-out and crackle - because I was listening hard for it).
What may be more of a concern is audience noise. This is one of the more poorly behaved audiences I have heard on disc - there is a lot of coughing and towards the end, particularly, they ride their applause over the orchestra after arias quite horrible (a practice that always winds me up). However, here it barely bugs me at all - perhaps a measure of just how fine a disc this is.
The cast is ranges from the very good to the outstanding (Eboli, I have mentioned but also Boris Christoff as Philip, John Vickers' Carlos and Tito Gobbi's Rodrigo stand out, but there is nothing approaching a weak link).
In summary this is an extraordinary disc and well worth the asking price. There is a lovely bonus in the form of a twenty minute interview with Lord Harewood (who ran the ROH at the time) - annoyingly the interviewer is balanced right over to the left, but since he has the good sense to shut up and let Harewood talk for the most part, it doesn't really matter.
I commend this to all Verdians, Giulinians, indeed, all opera or classical music fans, it is really something.
More generally, this confirms a view I have been forming for a while, think there is a lot to be said for genuinely live performances (not so much 'spliced' live) versus what can be managed in the comfort of the studio.
regards, Tam