# Where to start with Verdi?



## flamencosketches (Jan 4, 2019)

Hello. I'm interested in getting into the operas of Giuseppe Verdi. Obviously, he is a towering figure in opera with many great works. I have no idea where to start. What little I have heard (and seen), I've liked: mostly individual arias from Rigoletto, Aida, La Traviata, and Otello. I would say I enjoyed most the ones from Rigoletto, but there was some good music throughout. 

What is a good full recording of one of his operas that you might recommend to a beginner? Which conductor/orchestra/singers...? 

I would be interested to hear the perspective of the opera forum here. I am not a big opera guy. I've only heard a couple of Mozart operas in their entirety, and enjoyed them. Outside of that, I've heard a handful of Bellini arias sung by Maria Callas that are all beautiful. I've heard samples of Wagner and Strauss operas (I've heard all of Elektra several times, love that one) which I enjoyed. And then I've heard a handful of Puccini arias and those are always good too. Trying to get deeper into opera as a whole though and it seems the big Italians are going to be a good way to start. 

I will take similar recommendations for Puccini, if anyone has any there, too


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## Itullian (Aug 27, 2011)

The middle period 3 are a great place to start.
Rigoletto, Trovatore, Traviata all have great stories and melodies.
They are very easy to like.


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## JosefinaHW (Nov 21, 2015)

Flamenco, What are your two favorite voice types--male or female?


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## Fat Bob (Sep 25, 2015)

I would suggest staring with Aida, Traviata or Rigoletto. 
These recordings are personal favourites -


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## flamencosketches (Jan 4, 2019)

JosefinaHW said:


> Flamenco, What are your two favorite voice types--male or female?


Probably tenor and soprano. I enjoy them all though if it's a good singer!

Thank you to everyone for your responses, especially Fat Bob with your wealth of recommendations. From the little I have heard, I enjoy Karajan (bits of Boris Godunov mostly), Kleiber (his Tristan und Isolde is great) and Giulini (his Don Giovanni is amazing, I just got it on CD) as opera conductors.

I think I will likely seek out Giulini's Rigoletto as a possible starting point. I can't say I am familiar with any of the singers mentioned but I am a fan of the conductor and orchestra. But I am still open to hearing everyone else's input.


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## gellio (Nov 7, 2013)

Itullian said:


> The middle period 3 are a great place to start.
> Rigoletto, Trovatore, Traviata all have great stories and melodies.
> They are very easy to like.


This is absolutely where everyone interested in exploring Verdi should start. Musically, there's little in each of these works that isn't interesting. AIDA is a bore.


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## nina foresti (Mar 11, 2014)

DVD: Verdi - Otello / Solti, Domingo, Te Kanawa, Leiferkus Royal Opera Covent Garden


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## elgar's ghost (Aug 8, 2010)

_Macbeth_ (1847) is an early-ish example of Verdi's mastery, although the revision of 1865 is the one usually recorded. I would start with this then plunge into other tragic masterpieces such as _Rigoletto_ (1851) and _Otello_ (by 1887).

Below are the recordings I have of these three.


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## JosefinaHW (Nov 21, 2015)

flamencosketches said:


> Probably tenor and soprano. I enjoy them all though if it's a good singer!
> 
> Thank you to everyone for your responses, especially Fat Bob with your wealth of recommendations. From the little I have heard, I enjoy Karajan (bits of Boris Godunov mostly), Kleiber (his Tristan und Isolde is great) and Giulini (his Don Giovanni is amazing, I just got it on CD) as opera conductors.
> 
> I think I will likely seek out Giulini's Rigoletto as a possible starting point. I can't say I am familiar with any of the singers mentioned but I am a fan of the conductor and orchestra. But I am still open to hearing everyone else's input.


Flamenco, we are somewhat in the same boat. I love Verdi but I've listened to Verdi via my love for bass, bass-baritone, and the baritone voice.

I'm sort of absorbed in Wagner right now, but I am going to explore ALL of Verdi's operas very soon (I haven't yet decided if I am going to start from the beginning of opera and listen to the greats that I haven't already listened to in chronological order. For example, I adore _Orphe_o by Monteverdi, but I haven't listened to L'Incoronzaione di Poppea yet (although I now own two version that I am dying to listen to.)

Let me show you two videos that I adore and see what you think. Personally, when I decide to REALLY listen to all of Verdi I think I am going to begin with the beginning.

One of my favorites for a million in one reasons is _Don Carlo_ in Italian. Check it out. (There is also a French version _Don Carlos. _My suggestion: Begin w. the Italian.. 





The other is _MacBeth. _ This is definitely a baritone opera. What the hell, right? Try another voice type.






I look forward to your posts. As I said, soon or later I will listen to all of Verdi's operas, too.


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## JosefinaHW (Nov 21, 2015)

Flamenco, Please notice in the listing of the singers on the _MacBeth_ recording, Robert Llloyd! Not Verdi, but Bartok. If you are passionate soul--as your name would suggest--listen (and watch) Bartok's _Duke Bluebeard's Castle_..... and just melt.


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## flamencosketches (Jan 4, 2019)

@Josefina, thanks for the links. I'm listening to that Macbeth now, and this guy has a hell of a voice. I certainly do appreciate some good baritone/bass singing when I hear it (I like Dietrich Fischer-Dieskau--I was listening to Die Zauberflöte earlier today, he is Papageno on the CD I have and he sounds great--and then some others). There's just something about the higher ranges that is so piercing and resonant. But a good baritone or bass can sometimes get that earth shaking quality in their voice that's something to behold. Certainly seems Verdi knew how to write a great baritone part, at the very least!

That duet from Don Carlo was nice too. Wiki tells me this is a "grand opera", can someone tell me exactly what that means? All I know is that I associate the term with French opera, people like Berlioz, Meyerbeer, etc. But I'm not really familiar with their music.

As for Bluebeard's Castle, thanks for a good video link w/ subtitle. I'm saving this one for another day when I have an hour to spend (not bad at all for opera!) I do love some Bartók, though. I've listened to all 6 of his string quartets in as many days and I'm probably going to repeat the cycle starting tomorrow, they were all fantastic. I would say he's probably one of the most versatile composers of his generation. Still, though, I can hardly picture what he might sound like in an opera and I'm excited to hear it. 

Thanks again :cheers:


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## SalieriIsInnocent (Feb 28, 2008)

I can't recommend Ponelle's films of operas more for people wanting to dip into the world of opera. He made several great films, that had some absolute monsters of the stage in them. I quite like his Rigoletto, and while I haven't seen it, I believe he did Falstaff as well.


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## BalalaikaBoy (Sep 25, 2014)

Nabucco. the following singers slay the lead role: Maria Callas, Ghena Dimitrova, Elena Souliotis, Julia Varady


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## DavidA (Dec 14, 2012)

I started my operatic listening overall with Rigoletto, the first of Verdi's truly great operas. Just about has everything - superb concept, fine libretto, finely drawn characters, great music, the tragic ending. My first recording was Solti's (then new - it cost £4 about 3 weeks wages from my job) and I played it again and again. Still available with Merrill, Kraus and Moffo and very finely sung. One snag is that Solti's exciting conducting tends to rush the thing off its feet.


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## Tsaraslondon (Nov 7, 2013)

DavidA said:


> Rigoletto.... Solti's ... with Merrill, Kraus and Moffo and very finely sung. One snag is that Solti's exciting conducting tends to rush the thing off its feet.


So you might be better to go with Serafin, a justly famous performance that has stood the test of the time, although it employs the cuts standard back then. The cast is probably the finest and most dramatically attuned on disc, with Gobbi and Callas truly heartrending as Rigoletto and Gilda. Di Stefano's Duke might not be as elegantly sung as some, but you truly understand how he could charm an innocent young girl to the extent that she would kill herself for him. Serafin pacing is just perfect and he conducts with a sure understanding of the lyric Italian style. Not that he's any slouch and the Act II finale, for one, is absolutely thrilling.


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## The Conte (May 31, 2015)

GregMitchell said:


> So you might be better to go with Serafin, a justly famous performance that has stood the test of the time, although it employs the cuts standard at the time. The cast is probably the finest and most dramatically attuned on disc, with Gobbi and Callas truly heartrending as Rigoletto and Gilda/ Di Stefano's Duke might not be as elegantly sung as some, but you truly understand how he could charm an innocent young girl to the extent that she would kill herself for him. Serafin pacing is just perfect and he conducts with a sure understanding of the lyric Italian style. Not that he's any slouch and the Act II finale, for one, is absolutely thrilling.


I can only second this suggestion. I agree with Itulian that the best place to start is with the middle three, some would say that Otello, Falstaff and Aida are Verdi at his best, but Traviata, Rigoletto and Trovatore are his most popular works and are easier to enjoy. If you like what you hear then move on to latter three next.

Seeing as you have already heard some arias from Rigoletto and like those, then that is the place to start. The recording that Gregg suggests IS the best Rigoletto without doubt. It's interesting that the trio of singers in the main roles are those heard on the famous Tosca made three years before this recording and yet, I think this recording is better than that one! This recording will change your whole view of what opera is and can be.

N.


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## The Conte (May 31, 2015)

AND as you are also interested in Puccini, if you like that Rigoletto suggested above, then you MUST hear the Tosca I mention. Actually anybody interested in opera needs to hear this recording as it is possibly the most famous opera recording ever made:









N.


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## flamencosketches (Jan 4, 2019)

Ok, interesting. I will probably start with Rigoletto in either that Serafin recording or Giulini as someone else had mentioned. In addition to seeking out those films another poster mentioned, I'm pretty sure at least one of them is on youtube. Just a matter of if it has subtitles.

Those album covers with the outline of La Scala are really cool. I might be swayed over to that recording off the artwork alone. :lol:


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## Barbebleu (May 17, 2015)

In answer to the OP, start with Otello and probably finish there too!


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## Tsaraslondon (Nov 7, 2013)

Barbebleu said:


> In answer to the OP, start with Otello and probably finish there too!


Aaargh!!!! :devil::lol::tiphat:


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## Diminuendo (May 5, 2015)

flamencosketches said:


> Those album covers with the outline of La Scala are really cool. I might be swayed over to that recording off the artwork alone. :lol:


Those covers are even better in "the flesh" so to speak. I have the Tosca on vinyl and I have to say it looks pretty good.


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## Diminuendo (May 5, 2015)

For Puccini you might be interested in Madama Butterfly. Callas and Karajan do amazing things together. Callas really breaks your heart.


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## howlingfantods (Jul 27, 2015)

flamencosketches said:


> That duet from Don Carlo was nice too. Wiki tells me this is a "grand opera", can someone tell me exactly what that means? All I know is that I associate the term with French opera, people like Berlioz, Meyerbeer, etc. But I'm not really familiar with their music.


"Grand opera" general denotes long 4 or 5 act historical dramas with large and lavish stage productions, large casts and grand sets, often including an extended ballet, usually in Act 2. It's a form that became most popular in France from the 1830s to 50s, with some of the most important composers being Berlioz, Halevy, and Meyerbeer.

Verdi received commissions for several grand operas, including Don Carlos. As such, it started life as a large 5 act opera, with a ballet in Act 2; he shortened it to a 4 act opera, eliminating Act 1 for domestic Italian audiences.

Verdi continued to be influenced by grand opera later in life--Aida, which is a much shorter 3 act opera (around 2.5 hours vs 3.5-4 hours) while shorter and tighter with fewer characters still includes grand historical settings, the visual splendor of the stage productions, the act 2 ballet.


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## howlingfantods (Jul 27, 2015)

To answer your question, I'd start with his very best operas. To me, these are his best:

1) Otello
2) Don Carlo
3) Aida
4) Rigoletto

My tastes in Verdi recordings are pretty different, I guess. People around here tend to vote for the same recordings that's generally recommended by Penguin or Gramaphone or Good CD guide or whatever. I always think it's a little funny to hear people saying that Aida or Rigoletto or Don Carlo are boring, then suggest recordings like the Muti Aida or Giulini Rigoletto or Don Carlo that I consider to be among the more boring versions of those operas available.

I tend to find that the most exciting and stirring recordings--the one that most sells me on the greatness of the operas--tend to be live recordings. Not exclusively, but I think a lot of performers focus on different things on stage (dramatic force, singing out to the top rows) than they do in studios (mostly perfection and beauty of sound), and my preference is on those things that performers focus on when on stage.

For Otello, my favorite recording is a live performance from 1980, conducted by Carlos Kleiber, with Domingo, Margaret Price, and Silvano Carrolli - https://www.amazon.com/dp/B00005CBUS. Domingo live in the 70s and early 80s is a completely different performer than in studios, and he is just outstanding here--beautifully sung, tragic, heartbreaking. Margaret Price is an ideal Desdemona, Carrolli is a somewhat ugly voiced but very dramatically effective villain. Coming from my background mostly listening to German opera where villains sound like villains, it bothers me very little that Iago is sung by someone without a handsome voice. The sound is pretty decent FM stereo sound from the era.

For Don Carlo, my most recommendable version is another live performance with Domingo, this time with Karajan, Freni, Ludwig, Cappuccilli and Ghiaurov. It's available from a number of places, but most inexpensively from OperaDepot: https://operadepot.com/products/verdi-don-carlo-freni-carreras-ludwig-ghiaurov-cappuccilli-karajan. It's only the 4 act version, not the longer 5 act version, unfortunately--Karajan always stuck with the 4 acter. Good stereo sound, dramatic, exceptionally well sung, and even the smaller parts benefit from luxury casting from the likes of Van Dam as the monk and Tomowa-Sintow as the voice from heaven.

My favorite Aida is another live performance, with the La Scala forces on tour recorded in Munich. This also can be purchased inexpensively from OperaDepot but has also been released by Opera D'Oro - this one has Martina Arroyo, a very under-recorded but outstanding spinto in the title role, Domingo as Radames, Cappuccilli as Amonasro, and Cossotto as Amneris. https://www.amazon.com/dp/B00000AFP2. Note that there is another identically cast recording circulating on other labels that was recorded in Milan--that has significantly worse sound though, so I would make sure to get the Munich.

For Rigoletto, unfortunately, my favorite recordings are in pretty awful sound. My favorite lately is a live Met recording from 1945 with Leonard Warren, Bidu Sayao and Jussi Bjorling, from Pristine Classical: https://www.pristineclassical.com/products/paco143. Pristine does what they can with the sound but it's still a little scratchy and dull. I'm also a fan of the Stracciari/Capsir/Bortioli recording from 1930, but that sounds about as good as you'd expect from 1930. If you absolutely need better sound, the Gobbi/Callas/DiStefano is in good mono sound. If you absolutely need stereo, I would at least recommend the Bruson/Gruberova/Schicoff over the Giulini, who in his later years seemed to think the key to greatness was to play everything in as slow and plodding a tempo as possible, a totally different performer from the conductor of that Don Giovanni you admire.


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## flamencosketches (Jan 4, 2019)

Damn, thanks for the words. I see I have more yet to think about.

Too bad about Giulini. His conducting in Don Giovanni, that style, I think, would lend perfectly to Verdi. I will definitely have to sample the competition before pulling the trigger on one. I would rather go for something that I enjoy rather than something deemed a classic by critics (though that is sometimes important to consider). 

Good sound I would say is a prerequisite for now, being so new to the composer. '50s or newer preferably, stereo preferably, but mono is not a deal breaker. I really think that Callas Rigoletto is what I'm leaning toward now.


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## flamencosketches (Jan 4, 2019)

Everyone in this thread has been extremely helpful. Wanted to say thanks again. The passion for Verdi in you all is massive, and admirable. :cheers:


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## SixFootScowl (Oct 17, 2011)

My Verdi collection includes Aida, Aroldo, Battaglia di Legnano, Givonna d'Arco, Jerusalem, La Traviata, Oberto, Simon Boccanegra, and Il Trovatore.
My current favorite is La Traviata, but Il Trovatore is quite good, and then maybe Aroldo. I have not listened to the others much though.


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## Fat Bob (Sep 25, 2015)

flamencosketches said:


> Damn, thanks for the words. I see I have more yet to think about.
> 
> Too bad about Giulini.
> 
> Good sound I would say is a prerequisite for now, being so new to the composer. '50s or newer preferably, stereo preferably, but mono is not a deal breaker. I really think that Callas Rigoletto is what I'm leaning toward now.


I would agree with the comment about Giulini and slow tempi as far as his recordings of Falstaff and Il Trovatore are concerned but to me his Rigoletto is far better. Can you sample before you buy? Spotify has a number of recordings of Rigoletto to compare, you may find you prefer something that none of us have suggested.


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## Tsaraslondon (Nov 7, 2013)

Fat Bob said:


> I would agree with the comment about Giulini and slow tempi as far as his recordings of Falstaff and Il Trovatore are concerned but to me his Rigoletto is far better. Can you sample before you buy? Spotify has a number of recordings of Rigoletto to compare, you may find you prefer something that none of us have suggested.


I would also say that his studio recording of *Don Carlo* is probably the most recommendable of all studio recordings of the opera, regardless of language. It has a superlative cast and I don't find it in the least bit slow. His *Il Trovatore* is also well cast, and though I might prefer the wonderfully well sprung rhythms of Karajan's first studio set with Callas as Leonora, Giulini's slower speeds never plod.


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## howlingfantods (Jul 27, 2015)

GregMitchell said:


> I would also say that his studio recording of *Don Carlo* is probably the most recommendable of all studio recordings of the opera, regardless of language.


Considering how poor all the studio recordings of this opera are, this hardly counts as a ringing endorsement.


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## Sonata (Aug 7, 2010)

howlingfantods said:


> Considering how poor all the studio recordings of this opera are, this hardly counts as a ringing endorsement.


Wow. Beg to differ!


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## howlingfantods (Jul 27, 2015)

Sonata said:


> Wow. Beg to differ!


As always, when I express opinions, they're simply my personal opinions. But yes, of the 25 to 30 recordings I have of this opera, I don't think there's a studio version I'd put in my top 5. Possibly not even my top 10.


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## MarioDelMonacoViva (Apr 1, 2019)

Sorry, I'm very late to the scene. My introduction to Verdi was Traviata. Although I have a Verdi collection comprising of Ernani, I Lomardi, Macbeth, Rigoletto x2, Il Trovatore, La Traviata x2, I Vespri Siciliani, Don Carlo, Un Ballo in Maschera x2, La Forza del Destino x2, Simon Boccanegra and Otello x2, my favourite Verdi recording is still Kleiber's Traviata. Cotrubas is such a touching Violetta. He voice is so vulnerable. Domingo, of course, is outstanding, and so is Milnes.

I must concur with recommendations of the Serafin Rigoletto - one of those in my collection. Also, if you're interested at all in Trovatore, I would whole-heartedly recommend Mehta's set, with Price, Domingo, Milnes and Cossotto. Muti's Macbeth, also with Cossotto and Milnes, on EMI, is also highly recommendable. One lesser-known Verdi opera that hasn't yet been mentioned is I Vespri Siciliani - to my mind it is action-packed and full to the brim with great music. Levine's recording with Arroyo, Domingo, Milnes and Raimondi is self-recommending.


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## DavidA (Dec 14, 2012)

Tsaraslondon said:


> I would also say that his studio recording of *Don Carlo* is probably the most recommendable of all studio recordings of the opera, regardless of language. It has a superlative cast and I don't find it in the least bit slow. His *Il Trovatore* is also well cast, and though I might prefer the wonderfully well sprung rhythms of Karajan's first studio set with Callas as Leonora, *Giulini's slower speeds never plod*.


Don't they? They do to me!


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## howlingfantods (Jul 27, 2015)

DavidA said:


> Don't they? They do to me!


And to me. His Trovatore made me burst out in incredulous laughter when I finally picked it up and gave it a spin a few years ago.

I'm surprised that you feel that way though David, I thought a cabal of British music journalists mandated loyalty and fealty to Giulini's reputation within the UK.


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## DavidA (Dec 14, 2012)

howlingfantods said:


> And to me. His Trovatore made me burst out in incredulous laughter when I finally picked it up and gave it a spin a few years ago.
> 
> I'm surprised that you feel that way though David, I thought a cabal of British music journalists mandated loyalty and fealty to Giulini's reputation within the UK.


 Not at all. I know he was very popular in Britain and his Verdi Requiem was the standard by which others were judged. Actually his best recording of it was in the Albert Hall with Amy Schuard as the soprano. I enjoy his Don Carlo but by the time he recorded Trovatore his speeds had decreased so much that they bore little resemblance to what Verdi actually had specified. His later Falstaff suffers the same and us not helped by the incredible theory he had that it was not a comic opera! His later requiem is also crippled by his slow speeds. And some of us are not into the cabal of British music journalists!


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## nina foresti (Mar 11, 2014)

flamencosketches said:


> Hello. I'm interested in getting into the operas of Giuseppe Verdi. Obviously, he is a towering figure in opera with many great works. I have no idea where to start. What little I have heard (and seen), I've liked: mostly individual arias from Rigoletto, Aida, La Traviata, and Otello. I would say I enjoyed most the ones from Rigoletto, but there was some good music throughout.
> 
> Trying to get deeper into opera as a whole though and it seems the big Italians are going to be a good way to start.
> 
> I will take similar recommendations for Puccini, if anyone has any there, too


Trying to get deeper into Verdi operas absolutely commands that you listen to Don Carlo which is right up there in greatness with Otello.
As to the "other" Puccinis (besides the usual Boheme, Butterfly, Tosca), give yourself a treat and listen to the more complicated but totally mesmerizing "La Fanciulla del West" -- especially the second act Poker Scene with a score which, in itself, will blow you away. Renata Tebaldi is on her game again after some previous vocal problems and she's bombastic!
Listen to the way Colzani says his exit words, "Buona Notte!" It will send shivers. Listen to the audience go ballistic!


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## Larkenfield (Jun 5, 2017)

Classic Verdi opera and classic recording with a stellar cast:


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## Tsaraslondon (Nov 7, 2013)

DavidA said:


> Not at all. I know he was very popular in Britain and his Verdi Requiem was the standard by which others were judged. Actually his best recording of it was in the Albert Hall with Amy Schuard as the soprano. I enjoy his Don Carlo but by the time he recorded Trovatore his speeds had decreased so much that they bore little resemblance to what Verdi actually had specified. His later Falstaff suffers the same and us not helped by the incredible theory he had that it was not a comic opera! His later requiem is also crippled by his slow speeds. And some of us are not into the cabal of British music journalists!


Actually I think you'll find that many of his speeds actually derive from the metronome marks Verdi specified. You may not like Giulini's viewpoint, but it was actually the result of long aquaintance with the opera and careful study of the autograph score. I happen to prefer Karajan's wonderfully sprung rhythms in the Callas set (in my opinion the best conducted set recorded in the studio), but I do enjoy hearing from time to time Giulini's alternative take.


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## Rogerx (Apr 27, 2018)

flamencosketches said:


> Everyone in this thread has been extremely helpful. Wanted to say thanks again. The passion for Verdi in you all is massive, and admirable. :cheers:


Did you end up exploring things already?


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## Bellinilover (Jul 24, 2013)

One of the first opera recordings I ever heard was the RIGOLETTO with Milnes, Sutherland, and Pavarotti from 1971, conducted by Richard Bonynge. It was this recording that sparked my interest in and love for RIGOLETTO and Verdi. 

Were I just getting into Verdi, I would start either with RIGOLETTO, LA TRAVIATA, or IL TROVATORE, as I think they're the easiest for an opera neophyte (I'm not suggesting here that the OP is an opera neophyte) to assimilate--far easier, imo, than a longer and more "complex" opera like DON CARLO (which I also love) or FALSTAFF.

Aside from RIGOLETTO, my favorite Verdi opera is the one composed right before RIGOLETTO: LUISA MILLER. There are a number of good recordings of LUISA MILLER; my favorites are the 1975 Caballe, Pavarotti, Milnes and the 1990 one with Millo, Domingo, and Chernov. On DVD, the Met production from 1979 (Scotto, Domingo, Milnes; Levine) is a must-have.


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## Tsaraslondon (Nov 7, 2013)

Bellinilover said:


> Aside from RIGOLETTO, my favorite Verdi opera is the one composed right before RIGOLETTO: LUISA MILLER. There are a number of good recordings of LUISA MILLER; my favorites are the 1975 Caballe, Pavarotti, Milnes and the 1990 one with Millo, Domingo, and Chernov. On DVD, the Met production from 1979 (Scotto, Domingo, Milnes; Levine) is a must-have.


Actually *Stiffelio* was the one just before *Rigoletto*. Like *Rigoletto* it fell foul of the censors, which, added to the fact that Catholic audiences found it hard to take an opera in a modern setting in which the central character was a married priest, meant it was not a success Verdi eventually re-worked the opera as *Aroldo* but the original work, which got a total reappraisal in the latter part of the last century, has a great deal going for it and is a more coherent work than *Aroldo*. I like it a lot.

Coincidentally, I've just been listening to the Maazel recording of *Luisa Miller* with Ricciarelli a perhaps more vocally fallible but much more affecting Luisa than either Caballé, who sounds gorgeous but a bit grand and Moffo, who is technically very good but not so committed. That said, any of these three (Maag with Caballé, Pavarotti and Milnes, Cleva with Moffo, Bergonzi and MacNeil and Maazel with Ricciarelli, Domingo and Bruson) make a good case for the opera. They compliment each other as they all have different virtues.


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## nina foresti (Mar 11, 2014)

It is very understandable that you would single out Rigoletto as a particular first favorite. It is very musical. 
Another which you would also enjoy for the same reason is _Don Carlo_.
Just find yourself the one that is a live version with Rene Pape as King Philippe and Dimitri Hvorostovsky as Rodrigo.
Mighty powerful.


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