# Il Trittico recordings



## adriesba (Dec 30, 2019)

Hello.
I didn't see any threads dealing with Puccini's Il Trittico operas in particular. What recordings, audio or video do you reccomend? Maybe recordings of the individual operas?


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## Tsaraslondon (Nov 7, 2013)

I have two sets of *Il Trittico*.

The operas in the old EMI set were all issued individually with different conductors and only *Gianni Scicchi* is stereo, but they are unignorable because of Gobbi's superb Michele in *Il Tabarro* and his Schicchi. De Los Angeles is also wonderful as Angelica and arguably the most adorable Lauretta on disc.










Maazel's set is also worth having, possibly more unified in having the same cast, with certain singers appearing in more than one opera. Scotto and Domingo are certainly finer than Mas and Prandelli in the EMI *Il Tabarro*, but I do miss Gobbi's menacing Michele. *Suor Angelica* is superb. Entirely different from the De Los Angeles version, it avoids sentimentality and emerges as an obsessive psychodrama. Gobbi is again Schicchi and still very fine indeed, though I find the rest of the cast on the EMI slightly more characterful.










There is also an excellent performance of *Suor Angelica* featuring Katia Ricciarelli, which is worth hearing if you can find it.

These would be my choices, but others will no doubt have different priorities and favourites.


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## The Conte (May 31, 2015)

I second the recommendation of the EMI 50s 'set' and I would add the EMI with Pappano conducting as an alternative with all the operas being lead by the same conductor. None of the principal singers appears in more than one of the operas and you miss out on the inimitable performances of Gobbi or De los Angeles, but it's a good all round set in modern sound.









I have to admit that I don't know the Maazel, so that is one I should look into. I also have a live Tabarro as it has Magda Olivero in, but it's only for fans of that singer.

On DVD this can't be beaten IMO:









Gallo is a characterful Schichi, which he manages better than Michele in Tabarro. Tabarro is the weakest of the three here as I also don't like Antonenko or Westbroek (they both have a distinct lack of musicality for me). However, the Suor Angelica is superb. Ermonela Jaho was a last minute replacement for (I think) Gallardo-Domas and brought the house down. Anna Larsson is a suitably scary Zia Principessa. The Gianni Schichi is wonderfully cast and under Pappano's direction is the perfect merry scherzo to finish off the evening.

N.


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## adriesba (Dec 30, 2019)

Yes, I saw a video of Tito Gobbi as Michele in a videotaped performance on YouTube, quite impressive I'd say. The Ricciarelli Suor Angelica is on YouTube and available on vinyl, but the CD seems to have disappeared off the market. What are your thoughts on Ileana Cotrubas and Marilyn Horne on the Maazel set?


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## The Conte (May 31, 2015)

adriesba said:


> Yes, I saw a video of Tito Gobbi as Michele in a videotaped performance on YouTube, quite impressive I'd say.


It's also available on DVD.









N.


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## Tsaraslondon (Nov 7, 2013)

adriesba said:


> Yes, I saw a video of Tito Gobbi as Michele in a videotaped performance on YouTube, quite impressive I'd say. The Ricciarelli Suor Angelica is on YouTube and available on vinyl, but the CD seems to have disappeared off the market. What are your thoughts on Ileana Cotrubas and Marilyn Horne on the Maazel set?


Cotrubas sings the smaller role of Sister Genovieffa. Scotto is Angelica and she is very impressive. It might just be my favourite version of the work. The opera's cloying sentimentality and religiosity is all a bit much for me, but in this version the final "vision" comes across more as the drug induced hallucinations of a hysterical, sexually repressed young woman. It has more than a hint of Powell and Pressburger's wonderful *Black Narcissus*.


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## adriesba (Dec 30, 2019)

I've read somewhere of someone saying that they interpreted the last scene as a hallucination. From what I've seen of the libretto, I personally wouldn't interpret it as a hallucination and would rather not since that scene is emotionally exhausting enough as it is. 
I wonder what Puccini had in mind.

Anyway, I wasn't sure about the Maazel set since I'm not crazy about Marilyn Horne.


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## Rogerx (Apr 27, 2018)

My favorites , Tebaldi a bit mature for the role but she makes it up in te other two. 
Gauci is so underrated.


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## Tsaraslondon (Nov 7, 2013)

adriesba said:


> I've read somewhere of someone saying that they interpreted the last scene as a hallucination. From what I've seen of the libretto, I personally wouldn't interpret it as a hallucination and would rather not since that scene is emotionally exhausting enough as it is.
> I wonder what Puccini had in mind.
> 
> Anyway, I wasn't sure about the Maazel set since I'm not crazy about Marilyn Horne.


Well actually the Zia Principessa, though obviously an important role, is not in the opera for that long, and it's probably better to base one's choices on the Angelica. Horne is very fine here by the way, but I do rather prefer Barbieri on the De Los Angeles recording and Cossotto on the Ricciarelli. In any case Scotto, De Los Angeles and Ricciarelli would be my favourite Angelicas. Of the others that I know, Sutherland and Freni recorded it too late and Tebaldi is strained in the upper reaches.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I have to admit that I don't know the Maazel, so that is one I should look into. I also have a live Tabarro as it has Magda Olivero in, but it's only for fans of that singer.
> 
> N.


I'd certainly recommend it. Wixell is no match for Gobbi in *Il Tabarro* (though he's not bad) but Scotto and Domingo are in a different world from Mas and Prandelli. Scotto's Angelica is riveting and *Gianni Schicci* is very good indeed, Domingo almost managing to convince us that he is a light lyric tenor. Cotrubas, so good as Genovieffa, is a delightful Lauretta, though she doesn't erase memories of De Los Angeles, but who does? As for Gobbi, his consistency is remarkable. You'd never believe it was recorded almost twenty years after the first.


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## adriesba (Dec 30, 2019)

I've heard that Tebaldi, Freni, and Sutherland were all past their prime in these cases which is too bad. I'll probably end up getting several sets. The EMI recording is a must. I may try the Maazel recording. I've liked what I've heard of Scotto.


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## adriesba (Dec 30, 2019)

I've been wondering about this one:
View attachment 128534

I'm not familiar with most of the performers but I wonder is it worth it for Popp?


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## Tsaraslondon (Nov 7, 2013)

adriesba said:


> I've been wondering about this one:
> View attachment 128534
> 
> I'm not familiar with most of the performers but I wonder is it worth it for Popp?


I haven't heard it so I can't comment. Popp is one of my favourite singers, but Puccini is not a composer I would associate with her and I haven't been tempted to try this. Maybe I should at least once.


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## adriesba (Dec 30, 2019)

It's on YouTube:


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## Rogerx (Apr 27, 2018)

adriesba said:


> I've been wondering about this one:
> View attachment 128534
> 
> I'm not familiar with most of the performers but I wonder is it worth it for Popp?







Puccini "Suor Angelica" Lucia Popp/Giuseppe Patané
If you got a spare hour....


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## Rogerx (Apr 27, 2018)

Talking about two souls and one thought


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## adriesba (Dec 30, 2019)

Rogerx said:


> Talking about two souls and one thought


It was almost exactly the same time! :lol:


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## nina foresti (Mar 11, 2014)

Strange that an album cover would misspell the name of Shicoff in one section but not the other.


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## DavidA (Dec 14, 2012)

adriesba said:


> I've heard that Tebaldi, Freni, and Sutherland were all past their prime in these cases which is too bad. I'll probably end up getting several sets. The EMI recording is a must. I may try the Maazel recording. I've liked what I've heard of Scotto.


 You certainly heard wrong about Tebaldi. The Decca set is pretty good all round. Corena is a good Schicchi. I've got the Papobo too and the Gobbi Schicchi although he is the only reason for the EMI.


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## The Conte (May 31, 2015)

nina foresti said:


> Strange that an album cover would misspell the name of Shicoff in one section but not the other.


Yes, however the picture on the right is of the original album cover, the new wording (for this re-release) is on the left and contains the mistake. Very, very sloppy!

N.


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## The Conte (May 31, 2015)

I also have this Tabarro (just remembered):









I enjoyed it without being blown away. Whilst I much prefer Price over Scotto (and adore Milnes), I can imagine Scotto would make much more of the role than Price. I need to carry out a Tabarro listening survey!

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I also have this Tabarro (just remembered):
> 
> View attachment 128538
> 
> ...


I used to have this one on LP. I don't remember that much about it, to be honest. Price sounds very glamorous (too glamorous?), but, yes, Scotto makes more of the role.


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## Rogerx (Apr 27, 2018)

I have the same, only with a second disc containing Leoncavallo - Pagliacci


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## The Conte (May 31, 2015)

Rogerx said:


> I have the same, only with a second disc containing Leoncavallo - Pagliacci


I have the Pag as a separate recording and it's wonderful! It's interesting how a number of sopranos sang both Santuzza and Nedda, but with different tenors (Caballe and De los Angeles are the two that first come to mind).

Domingo/Caballe/Milnes are the perfect trio for this opera and are comparable with Di Stefano/Callas/Gobbi IMO.

Anyway, back to Tabarro and Triticco.

N.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> I used to have this one on LP. I don't remember that much about it, to be honest. Price sounds very glamorous (too glamorous?), but, yes, Scotto makes more of the role.


I only have it because it comes in the Price remastered RCA complete opera recordings set. I have only heard it once and so need to give it a listen again. I seem to remember there wasn't anything wrong with it, but it didn't particularly mine the drama.

N.


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## amfortas (Jun 15, 2011)

adriesba said:


> I've been wondering about this one:
> View attachment 128534
> 
> I'm not familiar with most of the performers but I wonder is it worth it for Popp?


I have this, only listened to it once, and it was a while ago. Popp is always worth hearing, but I remember being in agreement with a critic who said she was over-parted in the role.


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## vivalagentenuova (Jun 11, 2019)

Best overall Tabarro:





Best overall Angelica:





Best overall Schicchi:





Pappano's is good for the orchestra, but the singing ranges from mediocre to really bad, with Guleghina being particularly offensive.


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## adriesba (Dec 30, 2019)

DavidA said:


> You certainly heard wrong about Tebaldi. The Decca set is pretty good all round. Corena is a good Schicchi. I've got the Papobo too and the Gobbi Schicchi although he is the only reason for the EMI.


Really? Wasn't that recorded when she had adopted that weird squawking sound? Perhaps I need to listen to it. I'm surprised to hear this.


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## Barelytenor (Nov 19, 2011)

I watched the Tabarro DVD today with Levine conducting Scotto and Cornell Macneil. Both are pretty unbelievable, she is supposed to be 25 but is at least 50 (and her high notes all have a sort of _pinched _quality rather than free, and Macneil for all his wonderful (and unusual) high notes has never captured my imagination. He has a bad habit of leaving his mouth open when he's not singing. Vasile Moldoveanu gives a yeoman performance as Luigi but is just not a tenor I enjoy listening to. I really enjoyed Bianca Berini as La Frugola though, she was a wonderful character singer. I got to know her a little bit many years ago in Dallas when she sang Ulrica in Ballo, she absolutely burned the house down with "Re, dell' abisso affretati."


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## adriesba (Dec 30, 2019)

Has anyone compared the sound quality between these two releases? The bottom one is a newer remastering but pricey.
View attachment 128561

View attachment 128562


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## Granate (Jun 25, 2016)

Maazel Scotto for _Suor Angelica_ and Gardelli Monaco Tebaldi Merrill Corena for the other two.

Just seeing the CBS cast you know it can't go wrong at all. That's what is like to care about an opera.

And about the EMI analogue _Trittico,_ you should better wait until Warner releases a new edition of the recordings, but they already released in bargain edition the Pappano ones... so it's up to you.


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## The Conte (May 31, 2015)

adriesba said:


> Has anyone compared the sound quality between these two releases? The bottom one is a newer remastering but pricey.
> View attachment 128561
> 
> View attachment 128562


The remastering has cleaner sound and I think it is worth paying extra for such a wonderful set. (Presumably the cheaper, earlier edition is because sets are second hand?)

As for waiting for Warner to remaster it, I wouldn't hold my breath. They seem to be leaving the Gobbi and De los Angeles recordings in their catalogue go to waste. Whilst I understand that there isn't much money in opera recordings (certainly on physical media), they should have produced Gobbi remastered and De los Angeles remastered box sets as they did with Callas. It has been suggested that they produce a release timed to coincide with the centenary of De los Angeles' birth, but I doubt they will.

N.


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## adriesba (Dec 30, 2019)

The Conte said:


> As for waiting for Warner to remaster it, I wouldn't hold my breath. They seem to be leaving the Gobbi and De los Angeles recordings in their catalogue go to waste. Whilst I understand that there isn't much money in opera recordings (certainly on physical media), they should have produced Gobbi remastered and De los Angeles remastered box sets as they did with Callas. It has been suggested that they produce a release timed to coincide with the centenary of De los Angeles' birth, but I doubt they will.
> 
> N.


True. If they haven't re-released their Turandot recording with Nilsson and Corelli outside of Decca's La Nilsson box, I wouldn't expect much. It probably is worth it to get the newest remastering since two of the operas are in mono (want them to sound the best possible).


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## The Conte (May 31, 2015)

This thread has inspired me to get out the various recordings I have (and can find on YouTube). I may as well start with what I believe is the first studio recording.









Like many of the Cetra 40s/50s recordings this presents a largely Italian cast in Italian rep and gives one a good idea of what one could expect to hear at the time in provincial Italian theatres. Some of these Cetras have stood the test of time, especially for the lesser known works that have received fewer outings in the recording studio. However the majority of them were soon surpassed by bigger budget versions with starrier casts on the international labels and that's the case here. The EMI recording made six years later leaves this one behind in its wake. The virtually forgotten Antenore Reali and Glauco Scarlini are reliable, but it's easy to understand why they did not record widely or were snapped up by the bigger labels. Clara Petrella fares better, but isn't one of the better Cetra sopranos.

The main shortcoming with this disc is the sound, though. Puccini's wealth of orchestral colour needs really decent stereo sound to be fully appreciated and Cetra's famously boxy mono just doesn't even begin to do the work justice. I can't recommend this set for anyone other than completists.

N.


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## The Conte (May 31, 2015)

Another one that can be discarded (although I can't bare to part with an Olivero recording) due to its substandard sound is this live one from 1970. One thing that must be noted is the excellent conducting which is robust and heroic. I wonder why I haven't heard of the conductor, Delogu before. Fioravanti and Bottion are competent, if no more than that. Olivero is her inimitable self and tends to oversing, but there is still something captivating in the way she approaches the more emotional parts of the role.

What really lets this disc down though, is the sound. Worse than some live recordings from twenty years before, it sounds as though the microphone were behind the set. The orchestra is heard without a problem, but the singers are heard in an echo behind the swathe of the orchestra as if they are singing offstage. Even worse the offstage singing is heard in the foreground. In the first scene we get a wonderful chorus of stevedores with the all important opening lines between Giorgetta and Michele barely distinguishable in the background! This back to front acoustic means that much of the opera is lost in the background. Whilst that's a shame, I'm not sure that it is a great performance of the work in any case. One to miss.

N.


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## The Conte (May 31, 2015)

The Tabarro on this set of Trittico is my favourite so far. Gobbi is incomparable in what many would consider the opera's principal role. I would like to hear another baritone who can bring out the irony in the line "E' giusto, beve troppo." Margaret Mas is a total unknown to me and it takes some time to get used to her voice with its abundance of metal. It may not be an attractive or particularly memorable instrument, however she is expressive enough and her diction (as with all the singers in this recording) is exemplary. (I have listened to these recordings with the libretto in front of me, but had to get up and do something during this one, but I could still follow every word.) Giacinto Prandelli was a superb 'B' cast tenor who lacked the star quality and individuality of a Di Stefano or Del Monaco, however he sings his aria here with unbounded passion and he and Mas rise to the occasion in their short duets.

The conducting is excellent: musical with a superb sense of the overall architecture of the piece. Another asset is the casting of the smaller, yet important, parts. Each one is a nicely interpreted vignette with the trio of Tinca, Talpa and Frugola serving as a slice of life frame around the tragic drama involving the three main characters. The one drawback of the set is its mono sound, especially as this is an opera that deserves to be heard in all its detail. That said, this is such a wonderful performance that I am prepared to put up with less than ideal sound. This is an essential Tabarro.

N.


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## adriesba (Dec 30, 2019)

Looks like, based on this thread and other places I've seen on the internet, that the EMI set is the most popular recording. From some short listening on YouTube, I've found that I really like the Ricciarelli performance of Sour Angelica. Too bad the CD of it is unavailable everywhere. The vinyl can be found though. I'll likely get the vinyl eventually. 
I'm wishing I had seen Suor Angelica staged by a smaller nearby opera company when they did it not too long ago.  
I would like to try the Maazel set also, even though I'm not a fan of Marilyn Horne. A couple people recommended this video performance:
View attachment 128601


Any recommended videos for those of us with old-fashioned tastes in staging? :lol:


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## Rogerx (Apr 27, 2018)

adriesba said:


> Looks like, based on this thread and other places I've seen on the internet, that the EMI set is the most popular recording. From some short listening on YouTube, I've found that I really like the Ricciarelli performance of Sour Angelica. Too bad the CD of it is unavailable everywhere. The vinyl can be found though. I'll likely get the vinyl eventually.
> I'm wishing I had seen Suor Angelica staged by a smaller nearby opera company when they did it not too long ago.
> I would like to try the Maazel set also, even though I'm not a fan of Marilyn Horne. A couple people recommended this video performance:
> 
> Any recommended videos for those of us with old-fashioned tastes in staging? :lol:


Don't stretch your luck to much.......


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## adriesba (Dec 30, 2019)

Rogerx said:


> Don't stretch your luck to much.......


Well, that video with Gobbi on YouTube was more traditional. So there must be something.


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## Rogerx (Apr 27, 2018)

adriesba said:


> Well, that video with Gobbi on YouTube was more traditional. So there must be something.


First of all: I was only kidding you, no harm intended. 

Second, there are non as far as I know, a friend of mine has a box wit Puccini operas.

https://www.prestomusic.com/classical/products/8046735--tutto-puccini
See link for details, I never seen it myself but I see one of them is in German.


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## adriesba (Dec 30, 2019)

Rogerx said:


> Don't stretch your luck to much.......


Well, that video with Gobbi on YouTube was more traditional. So there must be something.


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## Rogerx (Apr 27, 2018)

adriesba said:


> Well, that video with Gobbi on YouTube was more traditional. So there must be something.


I just give you an answer post 40


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## adriesba (Dec 30, 2019)

Rogerx said:


> First of all: I was only kidding you, no harm intended.
> 
> Second, there are non as far as I know, a friend of mine has a box wit Puccini operas.
> 
> ...


:lol: Haha! No offense taken. I'm just always amazed that opera houses are afraid to explore any time period before 1900 or make sets that look real. Of course it's my favorite opera composer Wagner that gets it the most. My mom says I'm an old soul. :lol:

I found this: 
View attachment 128612

View attachment 128613

View attachment 128614


I think they're all the same, an old La Scala production. A reviewer on Amazon and a reviewer on IMDB (I think it's the same person because the wording is very similar) actually criticized the production for being too old fashioned. Maybe these are what I'm looking for?  I may have to find a European DVD player if I want to watch them though. :lol:


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## adriesba (Dec 30, 2019)

Rogerx said:


> I just give you an answer post 40


Sorry, my posts get duplicated sometimes. I'm not sure what I did that made it duplicate.


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## Rogerx (Apr 27, 2018)

adriesba said:


> :lol: Haha! No offense taken. I'm just always amazed that opera houses are afraid to explore any time period before 1900 or make sets that look real. Of course it's my favorite opera composer Wagner that gets it the most. My mom says I'm an old soul. :lol:
> 
> I found this:
> View attachment 128612
> ...


A bit off topic but do those still exist, ( in red now) the ones which are sold here are all region free, so if you would buy anything it's playing.


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## adriesba (Dec 30, 2019)

Rogerx said:


> [/COLOR]
> A bit off topic but do those still exist, ( in red now) the ones which are sold here are all region free, so if you would buy anything it's playing.


Not sure. I don't know much about that sort of thing. A couple of years ago or so, I was watching a movie at someone's house, and a message came up saying that a certain part could not be played because of a region or something. I have no idea how old his DVD player was. It might have been a Playstation 3 or 4 actually. I think we tried playing it in something else to try to get it to work, but I don't remember what the outcome was.


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## adriesba (Dec 30, 2019)

I think this is from that set: 



I haven't looked at the whole thing, but that staging was excellent.


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## The Conte (May 31, 2015)

adriesba said:


> I think this is from that set:
> 
> 
> 
> I haven't looked at the whole thing, but that staging was excellent.


That is the Tabarro from this DVD:









I have it and it is an old fashioned set with good, if not outstanding singing. There is also a US version if you are worried about region coding:









It's a good set and if you only like really traditional stagings, then it's the way to go.

N.


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## The Conte (May 31, 2015)

I'm continuing my survey of Tabarro recordings.









This is another Tabarro that isn't part of a complete Trittico and was released with a superb Pagliacci which had Caballe in, whereas this Tabarro has Leontyne Price singing with Domingo and Milnes. Leinsdorf's conducting may not be as musical as Vincenzo Bellezza's, but he does approach the score as a whole rather than presenting it in segments. This disc features Domingo's first studio Luigi and it's the best performance of the role on any of the recordings I listened to. He spits out the text of 'Hai ben ragione' and gives an interpretation full of fire. He overtakes Prandelli here. Milnes was a singing actor whose lack of beauty of tone can make him disappointing in more lyrical roles, but Michele is meat and drink to his dramatic instincts.

The remastered sound on the latest release is very good and the climaxes between Domingo/Milnes and Price are sumptuous. But what of Price herself? She's not a natural Giorgetta and she sounds far too posh to have been anywhere near a barge. However, she does manage to act her lines convincingly and the scenes with Milnes work very well (this is the only recording apart from Bellezza's where the short exchange between Giorgetta and Michele near the beginning of the opera is played as a tif). I would have preferred it if Caballe had been cast in this recording instead of Price (in actual fact a Leinsdorf Cav/Pag and a complete Trittico with Domingo, Caballe and Milnes would have been pretty much invincible). I suppose we have to be happy with what we have and this recording is a good candidate for stereo choice to complement the EMI/Warner set.

N.


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## The Conte (May 31, 2015)

This Tabarro comes from a complete set and I was looking forward to listening to it as I enjoy a number of Domingo/Scotto verismo recordings. I was hoping this would work in the same way as their Andrea Chenier and Adriana Lecouvreur. However the disc is let down by Wixell's characterless Michele. He puts more inflexion into his singing by the time we come to his aria, but that is far too late and his earlier duet with Scotto's Giorgetta is bland due to his plain delivery of the lines. The voice is very fine, of course, but this is the least appealing Michele I listened to. Domingo is the best thing about this recording, although I prefer his more ardent earlier account of the role. Scotto is another soprano who doesn't sound like Giorgetta to my ear and I find her cold and passionless. If Price is too posh for a barge, then Scotto is too pure. (A thought that whets my appetite for her Suor Angelica.)

The sound is good, but there is too much echo (at least on the version I found on YouTube) and whilst I like a lot of what Maazel does, it doesn't feel particularly italianate or stylish. I much prefer Bellezza or Leinsdorf (especially the latter's wallowing in the odd luxurious rubato here and there). I will be interested to hear the rest of this Trittico and how it stands up to the competition, but it's certainly not worth getting for its Tabarro.

N.


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## The Conte (May 31, 2015)

I'm now going to jump ahead to another recording that leaves a lot to be desired.









Of all the recordings I have listened to, this has the best sound. However, apart from Guelfi's well defined Michele (and one other little bonus in its favour) there is nothing else to recommend it. Shicoff is over parted and listening to him in his aria and the duet with Giorgetta I was constantly worried that he wouldn't make it through to the end. Guelfi fares much better, even though he doesn't dig as deeply into this fascinating character as Gobbi or Milnes do. On the other hand Guleghina is the worst of all the Giorgettas on these recordings. Her vowels aren't pure by any stretch of the imagination and I can't understand anything that she is singing. There is no interpretation, no colouring of her tone, no inflexion to bring out the words. This is the blandest of Giorgettas.

Pappano's conducting isn't up to his usual standard and he presents the opera as a series of episodes, rather than one whole within which there are changing parts. The tenor and bass in the small, yet highly important roles of Tinca and Talpa are second rate comprimari with little to no voice. This brings me to the bonus of the set: Elena Zilio's superlative Frugola, which is as superb a characterisation as Gobbi's Michele. I wish Pappano had waited before conducting the tryptich as it could have been a very different affair five years later when Gheorghiu and Alagna would have been ready to undertake all the principal soprano and tenor roles (and Guelfi or Gallo could have taken on the baritone parts). But that's hindsight for you!

N.


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## The Conte (May 31, 2015)

The last recording I listened to (this morning) is another one that many here have mentioned.









Recorded in 1962, it's in fairly decent stereo sound, but doesn't quite gel overall. Tebaldi is the best of the Giorgettas, this is what I have in mind when considering the role. It needs someone who can deal with the demands of Butterfly (and I wish De los Angeles had been in the EMI recording - I imagine she may have been thought as not having the heft for the role). In any case Tebaldi is superb and gives us the complete package. Merrill is a strong Michele, even if he isn't quite at the level of Gobbi or Milnes, but it's Del Monaco's over singing that lets this recording down. The duet with Giorgetta where they are keen not to be heard by Michele who is down below becomes comic with Del Monaco's loud proclamations above deck. Unfortunately this tendency to over do things extends to the Tinca and Talpa and the keenly observed slice of life that this opera should be is betrayed so that it is more akin to a budget Aida.

N.


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## The Conte (May 31, 2015)

*Tabarro*

To conclude, the overall winner is the EMI/Warner with Gobbi, Mas and Prandelli conducted by Bellezza, with the Leinsdorf with Milnes, Price and Domingo my stereo choice. I look forward to sampling the various Suor Angelicas and I hope the recordings fare better than this disappointing crop of Tabarros.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> *Tabarro*
> 
> To conclude, the overall winner is the EMI/Warner with Gobbi, Mas and Prandelli conducted by Bellezza, with the Leinsdorf with Milnes, Price and Domingo my stereo choice. I look forward to sampling the various Suor Angelicas and I hope the recordings fare better than this disappointing crop of Tabarros.
> 
> N.


Excellent survey, N. I should probably give the Leinsdorf another listen, though I doubt I'd be tempted to buy it again. I think I've got the opera covered with Bellezza and Maazel.

One thing that strikes me about the Bellezza is that Mas doesn't sound glamorous and actually sounds quite mature, which is maybe right for this role.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Excellent survey, N. I should probably give the Leinsdorf another listen, though I doubt I'd be tempted to buy it again. I think I've got the opera covered with Bellezza and Maazel.
> 
> One thing that strikes me about the Bellezza is that Mas doesn't sound glamorous and actually sounds quite mature, which is maybe right for this role.


In the Ricordi score of the opera it lists her age as 25, however I'm not that dogmatic about the supposed ages of the characters in opera. Mas doesn't have a distinctive voice, just good old fashioned decent singing and interpretation, that it would seem were far more widespread back then than they are today.

One thing I forgot to mention about the relative merits of Price and Scotto is that Scotto sticks to what Puccini wrote, whereas Price is more approximate and that contributes to the impression that she isn't right for the role. I was much impressed with Patricia Racette when she sang the in the opera at the ROH and she is meant to be a good Butterfly...

N.


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## adriesba (Dec 30, 2019)

The Conte said:


> *Tabarro*
> 
> To conclude, the overall winner is the EMI/Warner with Gobbi, Mas and Prandelli conducted by Bellezza, with the Leinsdorf with Milnes, Price and Domingo my stereo choice. I look forward to sampling the various Suor Angelicas and I hope the recordings fare better than this disappointing crop of Tabarros.
> 
> N.


Wow, thanks for the survey.  I don't think I've ever seen someone do a survey of Il Tabarro before. Still looks like the old EMI set is the favorite. When I saw the video of Il Tabarro with Tito Gobbi on YouTube I knew why he is a favorite as Michele. He is quite convincing through singing and acting. I'd be interested in hearing your thoughts on the other two operas.
Here is the Ricciarelli performance of Suor Angelica on YouTube if anyone is interested:


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## vivalagentenuova (Jun 11, 2019)

There are two good old RAI video recordings as well for _Gianni Schicchi_ and _Tabarro_, though not for _Angelica_ as far as I can tell. Both feature traditional staging and costumes, and the singing is preferable to more recent live video recordings under Levine and Pappano. I personally can't stand Renata Scotto and her pinched, shrill voice, and though Cornell MacNeil was a great singer, he had a serious wobble by the time the Levine recording was made. Maldoveanu was the best in that production. The fact that Lucio Gallo, Michele and Schicchi for Pappano, is a major star today proves standards have declined. (He sang Rance at the 100th anniversary of _Fanciulla_ at the Met. In a century we went from Pasquale Amato to Lucio Gallo. Yikes.)

This one features the great Carlo Tagliabue (a bit past his prime, but no wobble in sight), as well as a still-outstanding Clara Petrella, easily the best Giorgetta on record imo. Picchi is not as good as Scarlini in the 1949 audio-only recording.





Capecchi is an excellent Schicchi.


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## adriesba (Dec 30, 2019)

vivalagentenuova said:


> There are two good old RAI video recordings as well for _Gianni Schicchi_ and _Tabarro_, though not for _Angelica_ as far as I can tell. Both feature traditional staging and costumes, and the singing is preferable to more recent live video recordings under Levine and Pappano. I personally can't stand Renata Scotto and her pinched, shrill voice, and though Cornell MacNeil was a great singer, he had a serious wobble by the time the Levine recording was made. Maldoveanu was the best in that production. The fact that Lucio Gallo, Michele and Schicchi for Pappano, is a major star today proves standards have declined. (He sang Rance at the 100th anniversary of _Fanciulla_ at the Met. In a century we went from Pasquale Amato to Lucio Gallo. Yikes.)
> 
> This one features the great Carlo Tagliabue (a bit past his prime, but no wobble in sight), as well as a still-outstanding Clara Petrella, easily the best Giorgetta on record imo. Picchi is not as good as Scarlini in the 1949 audio-only recording.
> 
> ...


Thank you!  These look interesting.

Some have mentioned a Met performance with Scotto. Is this it?

Puccini's Il Trittico - Metropolitan Opera James Levine Exclusive DVD https://www.amazon.com/dp/B0064RBZ2K/ref=cm_sw_r_cp_apa_i_yQMeEb13V9ASM

It's expensive, wow!


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## howlingfantods (Jul 27, 2015)

The Conte said:


> *Tabarro*
> 
> To conclude, the overall winner is the EMI/Warner with Gobbi, Mas and Prandelli conducted by Bellezza, with the Leinsdorf with Milnes, Price and Domingo my stereo choice. I look forward to sampling the various Suor Angelicas and I hope the recordings fare better than this disappointing crop of Tabarros.
> 
> N.


Ever heard the 1955 Hamburg Bastianini? I think that's probably my favorite. No name Giorgetta and Luigi but I like them better than the ones on the Gobbi--in the Giorgetta's case, far better, I think Mas's performance is pretty awful. The role suits Bastianini well.


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## The Conte (May 31, 2015)

I've been listening to Suor Angelica today.

If there isn't a perfect Tabarro, there isn't a bad Angelica (although I haven't listened to all the recordings!)

One of my favourites is the already mentioned De los Angeles/Barbieri/Serafin which comes in the EMI/Warner complete Trittico. Serafin conducts this music lovingly and injects dynamism and excitement at the dramatic highpoints. The main drawback with this mono recording is the sound and there is a fair amount of distortion at the few loud passages. The singing from all concerned, on the other hand, is marvelous with De los Angeles an almost perfect Angelica - her singing of the small arioso 'I desideri sono i fiori dei vivi' is unsurpassed. She imbues her singing and vocal lines with girlish simplicity, yet doesn't hold back in the final scenes, singing them with great passion. Barbieri is stern and commanding as the Zia Principessa and is remarkably memorable in what amounts to no more than a few lines. Serafin's italianate touch makes the whole thing work and this is a very recommendable recording.

N.


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## The Conte (May 31, 2015)

Next another very strong contender:

Scotto/Horne/Maazel

This stereo recording takes quite a different approach to this opera compared to the earlier 50s recording by Serafin. Maazel is no less in love with the music and isn't afraid to let the sentimental moments speak for themselves, however there is a modern post 60s feel as if the work is being tailored for a new era. (This is no bad thing, it just means that the recording is different from the earlier one that is steeped in a 50s ethic.)

If De los Angeles' Angelica is a girl, Scotto's is very much a woman. This makes it very difficult to compare the two singers as they have very different approaches that are equally valid. Scotto's Senza Mamma is masterly in her phrasing and colouring of key moments in the text, however it is in the final moments of the opera that she comes into her own as she lets herself go whilst the melodramatic ending takes over. Very enjoyable. Horne is similarly impressive as the bad aunt and overall this is as recommendable as the Serafin recording.

N.


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## The Conte (May 31, 2015)

Next the Gallardo-Domas/Manca di Nissa/Pappano.

This is recorded in pristine stereo and the modern sound does help in a score where Puccini has used different orchestral textures and tonal painting in subtle and interesting ways. I like Pappano's conducting of this score much more than his Tabarro and he isn't ashamed to wallow in the moments of naive sentimentality. The smaller roles are strongly cast with Palmer, Roschman and Zilio supporting the two principal women. Manca di Nissa and Gallardo-Domas are perfectly cast and perform the roles with dramatic involvement. They may not be quite up to the singers on the Serafin and Maazel sets, but they are good none the less and this more than makes up for the disappointing Tabarro in the same set.

N.


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## The Conte (May 31, 2015)

The fourth and final one that I have listened to is the Tebaldi/Simionato/Gardelli.

This looks wonderful on paper, but doesn't come anywhere close to what I was expecting. Tebaldi lets forth a stream of beautiful sound during her arioso 'I desideri', but I can't understand a word of the text and it comes across as a meaningless series of pretty sounds. Simionato should have been the perfect Zia Principessa, but lacks the coldness to make the character work. Barbieri sends chills down your spine and Horne and Manca di Nissa have an imperiousness that is lacking in Simionato's technically flawless, yet oddly bland performance. 

Another drawback is the banal conducting, I've mentioned the love that the conductor's of the previous recordings have for this score, however Gardelli skates over the details as if he doesn't really care. This makes the first half of the recording rather flat and it doesn't take off until half way through when the confrontation heats up between Angelica and her aunt. Tebaldi and Simionato rise to the occasion here and we get a superbly sung Senza Mamma. Tebaldi is genuinely moving here, but despite dramatic singing to the end, her hysteria or genuine repentance don't echo with the ring of truth about them and the ending isn't the climax it is in the other recordings.

N.


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## The Conte (May 31, 2015)

*Suor Angelica*

I find it impossible to choose an outright winner, but if pushed to pick just one then it is the Serafin as part of the EMI/Warner set:









Very close behind are the Maazel and Pappano sets with Maazel slightly in front due to its interesting modern take on the opera itself.
















N.


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## Tsaraslondon (Nov 7, 2013)

Another excellent survey, N. I can't decide whether I prefer Serafin or Maazel, but they are so different it isn't necessary to choose.

I note you didn't include the Ricciarelli in your survey. Do give it a try if you can. It's available on youtube and spotify and as a download, though the CD might prove hard to track down. It was recorded when Ricciarelli was still in her twenties. The voice is in prime condition and her portrayal is very affecting. A very moving performance of the opera.


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## Barelytenor (Nov 19, 2011)

adriesba said:


> Thank you!  These look interesting.
> 
> Some have mentioned a Met performance with Scotto. Is this it?
> 
> ...


Yes, that's it. It didn't cost nearly that much when I bought it ... Recommended for the Suor Angelica unless you really dislike Scotto's voice.


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## Revitalized Classics (Oct 31, 2018)

I'm rather curious about a couple of recordings I've not noticed mentioned yet. There is the Trittico with Freni and Bartoletti - I read that the Tabarro is good - and Suor Angelica with Joan Sutherland and Christa Ludwig - any thoughts? 
Thanks
David


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## Tsaraslondon (Nov 7, 2013)

Revitalized Classics said:


> I'm rather curious about a couple of recordings I've not noticed mentioned yet. There is the Trittico with Freni and Bartoletti - I read that the Tabarro is good - and Suor Angelica with Joan Sutherland and Christa Ludwig - any thoughts?
> Thanks
> David


Both sopranos were a bit over the hill when they recorded Angelica. Neither of them sounds like a young girl (Freni was 56, Sutherland 52) and Sutherland lacks firmness in the middle register, which is a real problem in this opera. I don't think either recording is really convincing. Ludwig is good, but Souliotis is an odd piece of casting, considering she hadn't made a recording for twenty-six years, when she was a dramatic soprano. By this time her voice was in tatters. I wonder if Decca just remembered that she hadn't fulfilled all her contractual obligations.

Freni is more convincing as Giorgetta, but I wouldn't prefer her to Scotto or Price, or even Mas.


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## The Conte (May 31, 2015)

I couldn't find all of the Sutherland Angelica on YouTube to listen to, but managed to listen to most of the part with Ludwig's Zia Principessa and then from 'Senza Mamma' to the end of the opera. A couple of people here have pointed out that this recording was made too late, however, I just don't think Sutherland suits the Puccini soprano parts. (Turandot being the exception that proves the rule - and it is a very different soprano that is required here compared with all his other soprano roles.) There's nothing wrong technically, she just doesn't sound right for the character and doesn't suit Puccini's ethic.

Christa Ludwig is very good without surpassing Barbieri, Horne or Manca di Nissa, but Sutherland is totally out of sorts. Of course, uber fans of the diva who are in love with the sound of her voice will have it, but it's one for the rest of us to leave alone. There was so much that Sutherland sang well (and not only when it came to the bel canto rep), it's no surprise that not everything she tried worked out.

N.


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## The Conte (May 31, 2015)

howlingfantods said:


> Ever heard the 1955 Hamburg Bastianini? I think that's probably my favorite. No name Giorgetta and Luigi but I like them better than the ones on the Gobbi--in the Giorgetta's case, far better, I think Mas's performance is pretty awful. The role suits Bastianini well.


I listened to this recording today and yes, it's superb.









Cordone's conducting is full of passion and drive and I am sure that is part of the reason the singers are so committed to the emotions of the big moments. Bastianini is very good as you point out and whilst a large part of the attraction is the beauty of his dark, solid voice, he plays the rough barge owner well. Despite oversinging in places I like Salvatore Puma's Luigi and Nora de Rosa is a convincing Giorgetta. She has more vocal qualities than Mas, although I still think Mas has a higher degree of dramatic involvement. Still, this should be added to the list of Tabarros that are worth having.

N.


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## The Conte (May 31, 2015)

Revitalized Classics said:


> I'm rather curious about a couple of recordings I've not noticed mentioned yet. There is the Trittico with Freni and Bartoletti - I read that the Tabarro is good - and Suor Angelica with Joan Sutherland and Christa Ludwig - any thoughts?
> Thanks
> David


I've already answered about the disappointing Sutherland recording. I don't know the Freni recording and there are only excerpts on YouTube. However, I remember when it was released and it had dreadful reviews (and was, of course, compared unfavourably with the EMI/Warner set). Souliotis was heavily criticised for having a completely broken voice and Freni was considered to have recorded it too late in her career.









Similar criticisms were made about Freni and Pavarotti in their Decca Manon Lescaut and so I had always steered clear. However I gave it a listen a few months back and really enjoyed it. Their vocal prowess was still intact as far as I am concerned and if anything their darkened instruments made the dramatic moments all the more effective. I wonder if the same applies to this recording.

N.


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## 89Koechel (Nov 25, 2017)

All of the Tabarro recommendations seem pretty-sound, but if one REALLY wants to go back, a bit, there was a Myto CD reissue of a 1938/Stuttgart performance ... yes, it's in GERMAN. The German language doesn't impede the quality of the performance, moreover. Clemens Krauss (the veteran) conducts, with Peter Anders as Henri. Another key role/Georgette is filled by Hildegard Ranczak, and has MANY moments of excellent characterization, plus the requisite grasp of the soprano role. My favorite is still the Marcel of Mathieu Ahlersmeyer; menacing but never malevolent, characterful but not slick/superficial. I'd say it still might be the best MARCEL on record, and neither Anders nor Ranczak are slouches, either.


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## The Conte (May 31, 2015)

This thread is fast turning into 'name the most obscure recording you can find to see if the Conte will listen and review it!'

I'm sure Puccini in German is delightful, but I still have Ricciarelli's Suor Angelica and the Freni Trittico to sample (and then Gianni Schichi).

N.


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## Revitalized Classics (Oct 31, 2018)

The Conte said:


> I've already answered about the disappointing Sutherland recording. I don't know the Freni recording and there are only excerpts on YouTube. However, I remember when it was released and it had dreadful reviews (and was, of course, compared unfavourably with the EMI/Warner set). Souliotis was heavily criticised for having a completely broken voice and Freni was considered to have recorded it too late in her career.
> 
> View attachment 128722
> 
> ...


It might be my favourite recording of Manon Lescaut. Allowing for the difference in microphone placement, Freni sounds much as she did years earlier with Sinopoli.


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## Revitalized Classics (Oct 31, 2018)

Tsaraslondon said:


> Both sopranos were a bit over the hill when they recorded Angelica. Neither of them sounds like a young girl (Freni was 56, Sutherland 52) and Sutherland lacks firmness in the middle register, which is a real problem in this opera. I don't think either recording is really convincing. Ludwig is good, but Souliotis is an odd piece of casting, considering she hadn't made a recording for twenty-six years, when she was a dramatic soprano. By this time her voice was in tatters. I wonder if Decca just remembered that she hadn't fulfilled all her contractual obligations.
> 
> Freni is more convincing as Giorgetta, but I wouldn't prefer her to Scotto or Price, or even Mas.


Yes, I found the middle register with Sutherland problematic around the same time in her recording of Trovatore. Very conspicuous by the time of Adriana Lecouvreur and Anna Bolena.

With Freni, I find that a fair bit of wear and tear had already happened by the start of the 1980s and her singing was more effortful thereafter (Don Carlo, Forza del Destino, Ernani, Manon Lescaut at least on records) which was apparent even when she returned to her earlier rep like Don Pasquale and Boheme.

Given that concession, her changed voice survived and there is not a huge difference between Tosca in 1979 and 1990, Manon Lescaut in 1984 and 1992.

The trouble with Trittico for Freni is that she would have suited Lauretta in the 1960s, Suor Angelica in the '70s and Giorgetta in the '80s the way her voice and style changed.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Another excellent survey, N. I can't decide whether I prefer Serafin or Maazel, but they are so different it isn't necessary to choose.
> 
> I note you didn't include the Ricciarelli in your survey. Do give it a try if you can. It's available on youtube and spotify and as a download, though the CD might prove hard to track down. It was recorded when Ricciarelli was still in her twenties. The voice is in prime condition and her portrayal is very affecting. A very moving performance of the opera.


I listened to this one this afternoon and it seems like the stereotypical Puccinian Angelica. Bartoletti is all lyrical sentimentality and Ricciarelli is the embodiment of innocent youth. I thoroughly enjoyed it, however I don't know if it is one that I would want to listen to often. I also liked Cosotto as a cold and distant Princess. It's in the mold of the Serafin, but not as sophisticated in the conducting or the singing.

N.


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## Revitalized Classics (Oct 31, 2018)

The Conte said:


> I listened to this one this afternoon and it seems like the stereotypical Puccinian Angelica. Bartoletti is all lyrical sentimentality and Ricciarelli is the embodiment of innocent youth. I thoroughly enjoyed it, however I don't know if it is one that I would want to listen to often. I also liked Cosotto as a cold and distant Princess. It's in the mold of the Serafin, but not as sophisticated in the conducting or the singing.
> 
> N.


"Sophisticated" is a lovely and useful word for describing the Serafin set.

I remember reading that Elisabeth Schwarzkopf was incredulous that Thomas Beecham did not think Victoria de los Angeles was a perfect fit for Mimi. I never did read what his reasons were...I'm wondering if her "sophisticated" style might be what he was getting at. For me, it is nearly always a plus and rarely a negative.

Although Victoria de los Angeles was never gutteral as Angelica, Nedda, Santuzza or Carmen a lot of her singing was vital and vivid and I enjoy her in that repertoire - especially Butterfly. I'm not sure if she went near most of these parts on stage.


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## Tsaraslondon (Nov 7, 2013)

Revitalized Classics said:


> Yes, I found the middle register with Sutherland problematic around the same time in her recording of Trovatore. Very conspicuous by the time of Adriana Lecouvreur and Anna Bolena.
> 
> With Freni, I find that a fair bit of wear and tear had already happened by the start of the 1980s and her singing was more effortful thereafter (Don Carlo, Forza del Destino, Ernani, Manon Lescaut at least on records) which was apparent even when she returned to her earlier rep like Don Pasquale and Boheme.
> 
> ...


I'm not sure I'd call Freni's Elisabetta in *Don Carlo* in the least effortful. It was recorded in 1978, not long after her Amelia in the Abbado *Simon Boccanegra* and I think the role suited her very well at that time in her career.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I listened to this one this afternoon and it seems like the stereotypical Puccinian Angelica. Bartoletti is all lyrical sentimentality and Ricciarelli is the embodiment of innocent youth. I thoroughly enjoyed it, however I don't know if it is one that I would want to listen to often. I also liked Cosotto as a cold and distant Princess. It's in the mold of the Serafin, but not as sophisticated in the conducting or the singing.
> 
> N.


Well I evidently enjoy it more than you and I'd place it in my top three with De Los Angeles/Serafin and Scotto/Maazel.

Ricciarelli is a singer I've come to admire more and more with the passing years. Although sometimes vocally fallible, I find her a very communicative and affectig singer. I'm very fond of her Luisa Miller and ultimately prefer her in the role to both Caballé, who sings gloriously but can sound too much like a _grande dame_ and Moffo, who also sings beautifully, but is less inside the role.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Well I evidently enjoy it more than you and I'd place it in my top three with De Los Angeles/Serafin and Scotto/Maazel.
> 
> Ricciarelli is a singer I've come to admire more and more with the passing years. Although sometimes vocally fallible, I find her a very communicative and affectig singer. I'm very fond of her Luisa Miller and ultimately prefer her in the role to both Caballé, who sings gloriously but can sound too much like a _grande dame_ and Moffo, who also sings beautifully, but is less inside the role.


I like Ricciarelli in the Philips early Verdi recordings - Foscari and Battaglia and prefer her to the sopranos who are in the Cetra versions of those operas. However, I don't have any other recordings of hers other than her Zaira, Donna del Lago and Gazza Ladra, which are excellent. I like her in bel canto and she would have suited lighter Puccini roles (I haven't heard her Mimi) I guess and her Angelica may well be the best thing she recorded. One thing I find with her is, that although I like her singing, there is often someone I prefer in most of her recorded roles and I don't think she suited a lot of the rep she recorded (she just isn't Amelia in Ballo for me).

I haven't particularly warmed to Scotto, Ricciarelli and Freni up until now, mainly buying their few recordings that are total classics (Freni in Boccanegra or Don Pasquale and Scotto in Andrea Chenier and Adriana Lecouvreur) or where there is next to no competition in the recording studio (those early Verdi sets). That said, my appreciation of them is growing with my having a preference for Freni at the moment.

N.


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## 89Koechel (Nov 25, 2017)

OK, The Conte/"N", in your preferences for some of the best, available recordings of all 3 of these operas. I think you've found the best of the extant versions, even though many of THOSE stem-from recordings of the not-so-recent past. Well, maybe THAT trend (insofar as not-so-recent past recordings and/or performances) is the one that stands, these days ... as some of the better/best of the post-War singers simply go away, and maybe there're not TOO many singers, these days, who could fulfill the Trittico roles, as they were done in the past. I hope you will NOT disregard the old, "obscure" version of "Il Tabarro", the one with Anders, Ranczak & Ahlersmeyer, from 1938, and this performance has perfectly-acceptable sonics. I'll simply suggest it as a fine comparison, with any version that you might find - OK? I can provide you, and/or others with a dub of the latter, if you might like - and it might prove to be very-interesting. ... Thanks, and good night, and take care.


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## The Conte (May 31, 2015)

I've just remembered I have a classic, vintage Tabarro:









I haven't listened to it recently, but I remember it being very dramatic. This version comes with a Don Pasquale (I think they were performed as a double bill). In any case you could start a thread devoted to which of the two operas was performed better on the night and I think there would be passionate and valid opinions on both sides.

N.


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## The Conte (May 31, 2015)

Now onto Gianni Schichi. If Tabarro has been unlucky on disc, not really enjoying a definitive performance in good sound, then Schichi has been very lucky with most of the available options having something to offer. The dud out of the ones I sampled is the one in the Gardelli Trittico set.









This opera needs a masterful troop of singing actors headed by a talented baritone with impeccable comic timing, plus a light tenor and soprano who can sing lyrically with great ease. Whilst I like Agostino Lazzari, I find his 'Avete torto' effortful and lacking in interpretative nuance. I find the conducting and the ensemble rather dull and uneven and whilst Corena gives a knowing wink here and there and a few lines are thrown away with cunning innuendo, too much of the part is rather plainly sung and in any case it can't work if the Donatis and the conductor aren't responding in kind. Tebaldi is at her best in this opera compared with the other two in the set and delivers a superlative 'O mio babbino caro'. However, one doesn't listen to Gianni Schichi just to hear that aria sung well. You can find it on many a Tebaldi compilation album. This set disappoints yet again.

N.


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## The Conte (May 31, 2015)

There was much to like in all the other Gianni Schichis I listened to. Freni is a delightful Lauretta in her set and the role is so small she gets away with not having as fresh a voice as she did ten years earlier.









I like Bartoletti's conducting here in general, but he could be more playful and incisive at times. Alagna is a good Rinuccio, but sounds stretched in his aria where there are a few pinched notes. The Donati's are all wonderfully characterised and this ensemble is as good as the one on the classic EMI/Warner conducted by Santini and the more recent EMI/Warner under the baton of Pappano. Nucci is a very good Schichi, but could have added a bit more colour. That said, this is a very good recording of the opera and could have been first modern stereo choice if the competition weren't so strong.

N.


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## The Conte (May 31, 2015)

Gobbi's second recording is very strong and he plays the role in the same way as he did in his earlier recording. However this set has better sound than that one. The earlier set has a better supporting cast, but the bar was set extremely high. I like the Donati's here and Cotrubas is a charming Lauretta. She doesn't have as much character or individuality as the other sopranos I sampled, but she is very good all the same. Domingo isn't a Rinuccio in my head, but he convinces here and his 'Avete torto' is possibly only surpassed by Carlo del Monte on the Santini recording. The Donati's have plenty of character and comedic ability, however it is Maazel's italianate, lively and vibrant conducting that really makes this recording such a success.

N.


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## Tsaraslondon (Nov 7, 2013)

The Conte said:


> That said, this is a very good recording of the opera and could have been first modern stereo choice if the competition weren't so strong.
> 
> N.


Not forgettintg that the first Gobbi, though not exactly modern, is at least stereo.


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## The Conte (May 31, 2015)

In my opinion each opera of the Trittico is more enjoyable than the one that went before and that is true of the recordings on this set. Whilst the Tabarro has little to nothing to recommend it, the Suor Angelica is standard fare, the Schichi is superb. Pappano can be prosaic at times, but leads with dynamic tempi for the majority of the opera and it bubbles along nicely. Alagna is now ready for the role and he and Gheorghiu are the perfect pair of lovers, only bettered by De los Angeles and Del Monte. The cast of greedy relatives are all up for having a great time and Van Dam is a delight as the colourful Gianni. This would probably be my top choice for the opera in modern sound.

N.


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## The Conte (May 31, 2015)

The Maazel or Pappano recordings could easily be top choice in a poll of recordings, but only if it weren't for the fact that perfection had already been reached under the baton of Santini.









I'm not sure a need to say anything other than that I feel this is a definitive recording of the opera and I have nothing bad to say about it. The sound is very good, vintage stereo and whilst the more modern recordings have the improvement of their better sound, they lack this cast and conductor's all round perfection.

N.


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## The Conte (May 31, 2015)

*Conclusion*

Having now listened to the main sets a number of times, I think it a shame that a definitive modern recording hasn't been made to complement the classic EMI/Warner. These operas have Domingo/Scotto/Milnes written all over them and it's a shame that Freni took them on too late. There is a lot of truth in the comment about Freni recording each opera at different stages in her career, however, I think she would have been perfect for all roles in about 1980. If only Milnes and Pavarotti had been assembled to join her! However, it wasn't to be and so the absolute top choice is the EMI/Warner.









When it comes to the modern recordings my favourites of each opera are:

*Il Tabarro* - Milnes/Price/Domingo/Leinsdorf
*Suor Angelica* - Scotto/Horne/Maazel
*Gianni Schichi*- Van Dam/Alagna/Gheorghiu/Pappano

When it comes to choosing a favourite complete set, then the one that offers the best all round performances is this one (despite the weak Tabarro, but since the Leinsdorf Tabarro is a stand alone I would supplement this set with that one).









N.


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## The Conte (May 31, 2015)

*The Golden Rule*

What? There's more?

Yes, one thing I would say as a general rule when considering Trittico sets is that a number of them are built up around one soprano, De los Angeles, Tebaldi, Scotto or Freni and one should also consider how much one is a fan of each of these. Whilst I have reservations about some parts of the Scotto and Freni sets for example, fans of either singer should get their set as I don't think they will be disappointed.

N.


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## Azol (Jan 25, 2015)

I'd advise you to complement your collection with the Met DVD mentioned earlier (with Scotto) which sets the bar very high both for singing and acting (Gobbi aside, but there is no complete Schicchi on video available as far as I know). But believe me, Gabriel Bacquier is a delightful Schicchi!


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## The Conte (May 31, 2015)

There are plenty of complete Gianni Schichi's on DVD:

















As well as those in the complete Trittico sets from the ROH and La Scala.

N.


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## adriesba (Dec 30, 2019)

vivalagentenuova said:


> There are two good old RAI video recordings as well for _Gianni Schicchi_ and _Tabarro_, though not for _Angelica_ as far as I can tell. Both feature traditional staging and costumes, and the singing is preferable to more recent live video recordings under Levine and Pappano. I personally can't stand Renata Scotto and her pinched, shrill voice, and though Cornell MacNeil was a great singer, he had a serious wobble by the time the Levine recording was made. Maldoveanu was the best in that production. The fact that Lucio Gallo, Michele and Schicchi for Pappano, is a major star today proves standards have declined. (He sang Rance at the 100th anniversary of _Fanciulla_ at the Met. In a century we went from Pasquale Amato to Lucio Gallo. Yikes.)
> 
> This one features the great Carlo Tagliabue (a bit past his prime, but no wobble in sight), as well as a still-outstanding Clara Petrella, easily the best Giorgetta on record imo. Picchi is not as good as Scarlini in the 1949 audio-only recording.
> 
> ...


Are these available on DVD anywhere? I'm not sure where the uploader got them.


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## vivalagentenuova (Jun 11, 2019)

I have not seen them for sale anywhere.


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## Revitalized Classics (Oct 31, 2018)

adriesba said:


> Are these available on DVD anywhere? I'm not sure where the uploader got them.


DVDs appear on Premiere Opera's website - maybe the uploader ripped those to YouTube? I don't have copies to compare quality...

Tabarro w. Tagliabue 
"1945 RAI Film Tagliabue, Picchi, Petrella, de Fabritiis. Black and White"
(typo says 1945 rather than 1954)
https://www.premiereoperaintl.com/dvd5570iltabarro.aspx

Schicchi with Capecchi
"RAI Televisione (Studio Production) 1955 Capecchi, Ribetti, De Giorgi, Votto. B&W, No subtitles"
https://www.premiereoperaintl.com/dvd6607giannischicchi.aspx


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## adriesba (Dec 30, 2019)

Revitalized Classics said:


> DVDs appear on Premiere Opera's website - maybe the uploader ripped those to YouTube? I don't have copies to compare quality...
> 
> Tabarro w. Tagliabue
> "1945 RAI Film Tagliabue, Picchi, Petrella, de Fabritiis. Black and White"
> ...


Isn't Premiere Opera a pirate company? How would they have these if they were never released elsewhere I wonder?


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## adriesba (Dec 30, 2019)

I wish the Met would release this performance of Suor Angelica:


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## adriesba (Dec 30, 2019)

I just got the 2008 remastering (newest remastering) of the EMI Il Trittico set in the mail. It sounds pretty good. Even though the first two are in mono, it's probably the most tolerable mono I've ever heard. It looks like this remastering is slowly becoming hard to find unfortunately.


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## Rogerx (Apr 27, 2018)

adriesba said:


> Isn't Premiere Opera a pirate company? How would they have these if they were never released elsewhere I wonder?


The nicking it from old tapes, they are all rip off


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## The Conte (May 31, 2015)

Rogerx said:


> The nicking it from old tapes, they are all rip off


Were this issued on VHS? Is that what you mean by 'old tapes'?

N.


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## Rogerx (Apr 27, 2018)

The Conte said:


> Were this issued on VHS? Is that what you mean by 'old tapes'?
> 
> N.


10 bonus points for you 
VCR for overseas.


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## Op.123 (Mar 25, 2013)

The best suor angelica, imo, if you can find it is a mono 1950 recording with Rosanna Carteri, wonderful singing!


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## starthrower (Dec 11, 2010)

I just discovered these three today listening on YouTube. I'm not a massive Puccini fan but all three operas sounded beautiful to my ears. I ordered a copy of the Gardelli for now. Will keep an eye open for a good price on the Maazel set.


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## JB Henson (Mar 29, 2019)

The only Il Trittico I have is the old Lamberto Gardelli set on vinyl. Apparently its the worst one.


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## starthrower (Dec 11, 2010)

JB Henson said:


> The only Il Trittico I have is the old Lamberto Gardelli set on vinyl. Apparently its the worst one.


Not to my ears. But maybe not the pick for listeners who are not Tebaldi fans.


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