# Renata Scotto



## LouisMasterMusic (Aug 28, 2013)

Hi

I'm interested in rediscovering Renata Scotto. I know she has her flaws and detractors who say that the top notes are sometimes very shrill, but I find her to be quite a convicing actress. I think the only Scotto recording I own is the one she made with Placido Domingo on RCA entitled ''Romantic Opera Duets'', including Massenet, Mascagni, Gounod and Giordano. (I have this as part of ''Placido Domingo: The Album Collection'' box set). I'd appreciate thoughts on this CD and also where I should continue my journey of this soprano's discography, DVD's included. (I know the Luisa Miller from the Metropolitan Opera with Placido Domingo, James Levine conducting, as well as Puccini's Manon Lescaut and Zandonai's Francesca Da Rimini, both from the same opera house. Are any of these good?).

Any advice and guidance would be greatly appreciated.

Louis Solomons


----------



## nina foresti (Mar 11, 2014)

You might be interested in her biography, "Scotto, More than a Diva".


----------



## The Conte (May 31, 2015)

I'm not a particular fan of Scotto, but I don't dislike her. I have a few recordings of hers, mostly where there aren't others available in decent, modern sound.

I don't know about her filmed performances off hand, but I would recommend her recordings of Adriana Lecouvreur and Andrea Chenier with Domingo. These are good, all round performances of those two operas and would be my top choices for each if live recordings aren't included (Olivero WAS Adriana and I have a soft spot for Corelli's Chenier - there is a live recording with Tebaldi that is a dream).

I quite like her Tosca (also with Domingo) and some will no doubt recommend her Butterfly (not a role that she does anything for me in).

My favourite of her recordings is the Nabucco with Muti. She's not the best Abigaille on disc by any means, however she gives it her all and Muti is fantastic in early Verdi.

N.


----------



## Tsaraslondon (Nov 7, 2013)

I actually rather like Scotto and have been doing something of a reppraisal, having recently reviewed both the Verdi Arias Album and the Romantic Duets with Domingo for my blog.

https://tsaraslondon.wordpress.com/2019/05/13/romantic-opera-duets-placido-domingo-renata-scotto/

https://tsaraslondon.wordpress.com/2019/05/16/renat-scotto-sings-verdi/

Other recommendations include the DVD of *Otello* from the Met, with Vickers in the title role, the Barbirolli *Madama Butterfly* on EMI (now Warner), *Andrea Chenier* with Domingo, and *Il Tabarro* and *Suor Angelica* on Sony, under Maazel. I also like her contribution to Muti's first recording of the Verdi *Requiem*, with Baltsa, Luchetti and Nesterenko.

She started out as a coloratura, but even in her early days, the top notes never sounded particularly easy and later could turn harsh and squally. However the compensations were great; superior musicianship, superb diction and excellent dramatic awareness. She sometimes lacks spontaneity and her performances can occasionally sound studied, but I'd rather too much intelligence than too little.


----------



## LouisMasterMusic (Aug 28, 2013)

The Conte said:


> My favourite of her recordings is the Nabucco with Muti. She's not the best Abigaille on disc by any means, however she gives it her all and Muti is fantastic in early Verdi.
> 
> N.


 I only realised just now that I have that recording. Haven't listened to it for ages! Am watching Nabucco now on Medici.TV in a production from the Arena Di Verona.


----------



## Bellinilover (Jul 24, 2013)

It's funny--I must be the only one who's not a big fan of Renata Scotto's acting; I think she overacted. She had a beautiful voice and was great at phrasing; her high register got screechy in the later 1970's (and was always a bit wiry before that, I think).

The first time I ever heard her was on the RCA recording of OTELLO with Domingo and Milnes.


----------



## The Conte (May 31, 2015)

Bellinilover said:


> The first time I ever heard her was on the RCA recording of OTELLO with Domingo and Milnes.


How could I have forgotten that classic!

N.


----------



## howlingfantods (Jul 27, 2015)

Tsaraslondon said:


> She started out as a coloratura, but even in her early days, the top notes never sounded particularly easy and later could turn harsh and squally.


If anything, she had shriller and harder top notes earlier in her career than later.


----------



## SixFootScowl (Oct 17, 2011)

nina foresti said:


> You might be interested in her biography, "Scotto, More than a Diva".


Great book! I read it last year.


----------



## nina foresti (Mar 11, 2014)

The Conte said:


> How could I have forgotten that classic!
> 
> N.


If you thought that was a classic please find the DVD of Otello with Vickers/Scotto. Incredible!!


----------



## The Conte (May 31, 2015)

nina foresti said:


> If you thought that was a classic please find the DVD of Otello with Vickers/Scotto. Incredible!!


I have that version, but haven't watched it. My favourite Otello is probably Martinelli, followed by Vickers and then Domingo (preferably live with Kleiber).

I'm far more interested in the tenor and baritone in this opera than the soprano, hence favourites are Martinelli with Tibbett, Vickers with Gobbi and Domingo with Milnes. My favourite Desdemonas are Studer and De los Angeles.

The Vickers/Scotto has MacNeil as Iago which doesn't entice me, however I know it is meant to be a legendary performance so I will give it a go!

N.


----------



## Open Book (Aug 14, 2018)

I haven't seen Scotto on DVD, but her acting from a vocal standpoint is excellent in the Verdi "Rigoletto" under Gavazzeni, Maggio Musicale Fiorentino, with Kraus and Bastianini. She is slightly out of breath in "Veglia O Donna", but I have not heard a more moving version. Her voice and characterization are perfect for the role. The whole cast is great. This recording is essential in my opinion.


----------



## BalalaikaBoy (Sep 25, 2014)

a light soprano trying to be spinto, but when she actually stuck to her native rep, she was decent. she had NO place singing roles like Abigaille, Lady Macbeth and Norma, but in more lyric rep and even some higher coloratura roles like Gilda, the voice sounded much more pleasant and the trouble high notes she reported in most of her rep didn't seem to be there.


----------



## nina foresti (Mar 11, 2014)

Tsaraslondon said:


> I actually rather like Scotto and have been doing something of a reppraisal, having recently reviewed both the Verdi Arias Album and the Romantic Duets with Domingo for my blog.
> 
> https://tsaraslondon.wordpress.com/2019/05/13/romantic-opera-duets-placido-domingo-renata-scotto/
> 
> ...


Actually she started out as a mezzo but soon discovered through a voice teacher that she had a soprano sound and went with it.


----------



## Tsaraslondon (Nov 7, 2013)

nina foresti said:


> Actually she started out as a mezzo but soon discovered through a voice teacher that she had a soprano sound and went with it.


I hadn't heard that, but her first operatic performance was in her home town of Savona in 1952 at the age of 18, when she sang Violetta. Her "official" debut followed the next day at the Teatro Nuovo in Milan, when she also sang Violetta. Butterfly followed soon after. She must have decided she was a soprano when she was quite young.


----------



## nina foresti (Mar 11, 2014)

Tsaraslondon said:


> I hadn't heard that, but her first operatic performance was in her home town of Savona in 1952 at the age of 18, when she sang Violetta. Her "official" debut followed the next day at the Teatro Nuovo in Milan, when she also sang Violetta. Butterfly followed soon after. She must have decided she was a soprano when she was quite young.


What you say is true, but at the age of 16, after using "Stride la vampa" as her "go-to" audition piece, while studying in Milan at the Canossian convent, her teacher, Emilio Ghirardini discovered another sound: "With my teacher Ghirardini, eventually I began to think of myself as a soprano, and I auditioned as a soprano." (pp. 14-15 "_Scotto More Than a Diva_")


----------



## amfortas (Jun 15, 2011)

Her Suor Angelica under Levine on the Met DVD is tremendous. Serious vocal issues on the high notes, yes, but transcendent acting, especially in the final moments.

I also give high marks to her Desdemona in the Domingo/Milnes/Levine _Otello_ CD.


----------



## Tsaraslondon (Nov 7, 2013)

nina foresti said:


> What you say is true, but at the age of 16, after using "Stride la vampa" as her "go-to" audition piece, while studying in Milan at the Canossian convent, her teacher, Emilio Ghirardini discovered another sound: "With my teacher Ghirardini, eventually I began to think of myself as a soprano, and I auditioned as a soprano." (pp. 14-15 "_Scotto More Than a Diva_")


Well, as I said, she was very young and still finding her voice. I don't think that necessarily bears out the statement she started out as a mezzo. Many singers go through the same process. Maria Trivella trained Callas as a mezzo, but Elvira De Hidalgo thought otherwise. Scotto started her career as a soprano and remained a soprano for the duration of her career. I don't really think early experiments in the mezzo repertoire really count.


----------



## nina foresti (Mar 11, 2014)

Tsaraslondon said:


> Well, as I said, she was very young and still finding her voice. I don't think that necessarily bears out the statement she started out as a mezzo. Many singers go through the same process. Maria Trivella trained Callas as a mezzo, but Elvira De Hidalgo thought otherwise. Scotto started her career as a soprano and remained a soprano for the duration of her career. I don't really think early experiments in the mezzo repertoire really count.


Ohhhhhhhhh-KAY!


----------



## DavidA (Dec 14, 2012)

I have Scotto as Desdemona in the Levine Otello which is absolutely superb, the best all-round set in my opinion, even if individual performances on other sets might be better. Scotto here is at the height of her powers.


----------



## Barelytenor (Nov 19, 2011)

I was fortunate enough many years ago to perform in the chorus of _Manon Lescaut_ with Scotto in the lead role. She was an amazing singing actress, tragic in the finale "Sola, perduta, abbandonata," _grande_ in the levée scene, and passionate throughout. The rather thin high notes did not bother in the least compared with the generosity which she invested into the emotion of this role, and many others. I also recommend her as Elisabetta in _Don Carlo._

Kind regards, :tiphat:

George


----------



## amfortas (Jun 15, 2011)

Back in 1981 I had the pleasure, along with 150,000 other people packed on the Great Lawn in Central Park, to hear an open-air concert performance of _Tosca_ featuring Scotto, Domingo, and Milnes, with Levine conducting the Metropolitan orchestra. A magical evening!


----------



## Azol (Jan 25, 2015)

On DVD there are available:

- Il Trittico (Met) - especially great Suor Angelica! bring lots of tissues... and her glances at Schicchi during O mio babbino caro are priceless!
- Don Carlo (with Moldoveanu, Met) - she takes risks! amazing portrayal of this difficult role, love this on par with Domingo/Freni version, maybe even better!
- Manon Lescaut (with Domingo, Met) - BEST Manon EVER! You cannot afford not to watch this
- L'elisir d'amore (with Bergonzi, Firenze) - amazing comic duet!
- Luisa Miller (with Domingo, Met) - brilliant all around, plus Milnes!
- Francesca da Rimini (with Domingo, Met) - when your stage partner is Scotto, you don't have to worry, she'll do all the magic! (watch the 1st Act Finale!) This was a real eye-opener!

and other recordings mentioned above. Get them all!


----------



## Barelytenor (Nov 19, 2011)

*Renata Scotto Prepares Manon Lescaut: Dallas Civic Opera 1979*

And here she is, preparing her first _Manon Lescaut _in Dallas 1979 under Maestro Nicola Rescigno. This is the production I sang in. The YouTube clip is a bit fuzzy but well worth listening and watching. A luminous "In quelle trine morbide" runs from about 9'15" to 11'30".







Kind regards, :tiphat:

George


----------



## Hele (Aug 26, 2020)

Although I don't find her voice too beautiful and the top notes are as they are, she still is one of my favorite sopranos because as an artist she's just incredibly good! She's not simply an opera singer, but a MUSICIAN, very intelligent one + she has perfect stage instinct.
Yesterday I was watching her Francesca and although she's not young and beautiful (as Francesca is supposed to be), but my God ... after 10 minutes I just didn't care about her voice anymore  I was totally overwhelmed by her portrayal and the chemistry she had with Domingo. I guess that's the reason, I like more her performances on DVD than on CD, although I just love her Desdemona (Domingo, Milnes, Levine) and some other roles as well. And honestly, listening to her makes me somehow very sad, that there are no Freni, Scotto and even Ricciarelli to be found anymore ...


----------



## The Conte (May 31, 2015)

I generally think of her as a good, standard, reliable soprano. Her best role was possibly Desdemona (both on DVD and CD) and I like all those Levine recordings with Domingo and Milnes. I sometimes find her underpowered and lacking in emotional intensity (see the Francesca da Rimini with Domingo).

N.


----------



## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I generally think of her as a good, standard, reliable soprano. Her best role was possibly Desdemona (both on DVD and CD) and I like all those Levine recordings with Domingo and Milnes. I sometimes find her underpowered and lacking in emotional intensity (see the Francesca da Rimini with Domingo).
> 
> N.


Funnily enough emotional intensity is one of the things I like about her singing, especially in those recordings she made in the 1970s, and the only role in which she sounds a little underpowered is Abigaille on the Muti *Nabucco*. Her Angelica is possiby the most emotionally wrought on disc and yet her singing is always musically conceived. She never resorts to the tricks used by many sopranos in _verismo_ repertoire, those glottal stops and parlando effects, which tend to cheapen the music.

She is my favourite Desdemona and I also really like her Santuzza, Butterfly, Maddalena, Adrianna Lecouvreur and Giorgetta. It's a shame she never got to record Luisa Miller as the role suited her really well.


----------



## nina foresti (Mar 11, 2014)

I'll still stand by my vote for the best Butterfly (Barbirolli) anywhere and any time ever was Scotto.
She also was a superior Desdemona and Suor Angelica. 
Yes her voice could sometimes be shrill but her commitment to a role was usually quite compelling till she got to later years when I guess she felt the need to overact a bit, as in her later Musetta, where she literally chews the scenery.


----------



## Tsaraslondon (Nov 7, 2013)

I also really enjoy her contribution to Muti's first recording of the Verdi Requiem. The only other soprano to treat the text with such intelligence is Schwarzkopf. I suppose neither of them could be considered to have the right voice for the work (we would probably think of a Tebaldi or a Leontyne Price) but I like them better than most.


----------



## The Conte (May 31, 2015)

Tsaraslondon said:


> Funnily enough emotional intensity is one of the things I like about her singing, especially in those recordings she made in the 1970s, and the only role in which she sounds a little underpowered is Abigaille on the Muti *Nabucco*. Her Angelica is possiby the most emotionally wrought on disc and yet her singing is always musically conceived. She never resorts to the tricks used by many sopranos in _verismo_ repertoire, those glottal stops and parlando effects, which tend to cheapen the music.
> 
> She is my favourite Desdemona and I also really like her Santuzza, Butterfly, Maddalena, Adrianna Lecouvreur and Giorgetta. It's a shame she never got to record Luisa Miller as the role suited her really well.


Like Caballe and Domingo I find her variable and I like all those Levine sets with Domingo. That said, she is always second to Callas or Olivero for me in the roles where recordings exist of both her and one of those. I also can't get on with her butterfly, I've listened to it a number of times, but it leaves me cold. The same is true of the Solti Gotterdamerung that everyone tells me is so wonderful.

N.


----------



## Tsaraslondon (Nov 7, 2013)

The Conte said:


> Like Caballe and Domingo I find her variable and I like all those Levine sets with Domingo. That said, she is always second to Callas or Olivero for me in the roles where recordings exist of both her and one of those. I also can't get on with her butterfly, I've listened to it a number of times, but it leaves me cold. The same is true of the Solti Gotterdamerung that everyone tells me is so wonderful.
> 
> N.


I'll have to listen to it again. It's been a while, but it was always one of my favourites. Have you heard her second recording under Maazel?

I sometimes think of her as Callas-lite, but they are really quite different. I feel that, whereas singers like Souliotis and Sass can be accused of being copycat Callases, Scotto can be said to have absorbed the lessons of Callas without losing her own individuality.


----------



## Seattleoperafan (Mar 24, 2013)

On Sirius they used to play her late stuff mostly. It sort of worked for Lady Macbeth. Someone once said that Scotto knew dirt on Levine, which is why he gave her so much work. I'm just quoting. I can't speak to that statement. I just know that her late stuff had awful high notes.


----------



## nina foresti (Mar 11, 2014)

We all knew those rumors on Levine years and years ago. No one ever said anything much or gave it attention in those days. It was a hush-hush from the Met. 
So I don't really think that was the reason he used her so much. He used Kathleen Battle all of the time -- a favorite of his. I doubt that he thought she'd give trouble.
But ... you could be right. I guess we'll never really know.


----------



## The Conte (May 31, 2015)

Tsaraslondon said:


> I'll have to listen to it again. It's been a while, but it was always one of my favourites. Have you heard her second recording under Maazel?
> 
> I sometimes think of her as Callas-lite, but they are really quite different. I feel that, whereas singers like Souliotis and Sass can be accused of being copycat Callases, Scotto can be said to have absorbed the lessons of Callas without losing her own individuality.


I agree that she isn't really like Callas at all. Part of the attraction of her Desdemona is her lightness of touch. One thing they had in common, though, is they both concentrated on what was in the score, both fine musicians as well as great singers. Scotto's Desdemona is also emotionally convincing (especially on DVD). I haven't heard Scotto's second Butterfly, should I?

N.


----------



## VitellioScarpia (Aug 27, 2017)

It is unfortunate that there is not a video of her Butterfly from the Met years. I found on Youtube this 1980 concert performance with Levine at the Met of _Un bel dí_. It is worth the watch and listen in my opinion. How she tells her reverie of Pinkerton's return and later how she builds the ending.


----------



## Tsaraslondon (Nov 7, 2013)

The Conte said:


> I haven't heard Scotto's second Butterfly, should I?
> 
> N.


I don't know. I probably heard it once when it was first issued but not since then. I should give it a spin out of curiosity.


----------



## VitellioScarpia (Aug 27, 2017)

The Conte said:


> I agree that she isn't really like Callas at all. Part of the attraction of her Desdemona is her lightness of touch. One thing they had in common, though, is they both concentrated on what was in the score, both fine musicians as well as great singers. Scotto's Desdemona is also emotionally convincing (especially on DVD). I haven't heard Scotto's second Butterfly, should I?
> 
> N.


I find her second Butterfly less desirable than the Barbirolli one. The sonics provided by Columbia/Sony are less warm than those by EMI. She is in good mid-seventies voice but certainly not as youthful as in 1966. I tilt my preference to the 1966 on account of Maazel's conducting being colder than Barbirolli's. Also, Bergonzi and Panerai tip the balance in favor of the latter in my book.


----------



## MAS (Apr 15, 2015)

I used to like her *Cavalleria Rusticana* in the days I collected soprano recordings. I think Domingo & Milnes?


----------



## VitellioScarpia (Aug 27, 2017)

MAS said:


> I used to like her *Cavalleria Rusticana* in the days I collected soprano recordings. I think Domingo & Milnes?


Domingo and Pablo Elvira.


----------



## Tsaraslondon (Nov 7, 2013)

VitellioScarpia said:


> It is unfortunate that there is not a video of her Butterfly from the Met years. I found on Youtube this 1980 concert performance with Levine at the Met of _Un bel dí_. It is worth the watch and listen in my opinion. How she tells her reverie of Pinkerton's return and later how she builds the ending.


Thank you for posting this. I thought it wonderful.


----------



## nina foresti (Mar 11, 2014)




----------



## Hele (Aug 26, 2020)

VitellioScarpia said:


> It is unfortunate that there is not a video of her Butterfly from the Met years. I found on Youtube this 1980 concert performance with Levine at the Met of _Un bel dí_. It is worth the watch and listen in my opinion. How she tells her reverie of Pinkerton's return and later how she builds the ending.


Her interpretation is truly marvellous, but I have to admit, that Freni's Butterfly is somehow more magical for me.


----------



## MAS (Apr 15, 2015)

VitellioScarpia said:


> Domingo and Pablo Elvira.


VitrllioScarpia, thanks!


----------



## nina foresti (Mar 11, 2014)

The tenor is actually Giacomini.
This is spectacular ... and LIVE Met.


----------

