Lucia with Callas, Rome 1957

This Lucia is usually discounted as being an inferior performance to others that were recorded. Indeed, there are many signs of vocal frailty in evidence, Fernandi's singing as Edgardo isn't the most subtle, and the sound is variable depending on what label the performance was issued.

However, there is one feature of this performance that makes it extremely valuable and unique. The ensemble finale at the end of act two includes music not heard in Callas's voice anywhere else. In the Karajan production of Lucia at La Scala, he opened a cut that has been repeatedly noted in books on Callas. In the Rome performance, Serafin opens a different cut, and while Michael Scott mentions it in his book, he doesn't make the difference clear.

John Ardoin criticizes Serafin's conducting in this performance, but I disagree with his view. This is an exciting yet lyrical performance that deserves better than it has received.

Le Duc d'Alba

The libretto for Verdi's first original grand opera for Paris (Les Vespres Siciliennes) was initially about the Duke of Alva, a nobleman under Philip II of Spain. The subject was changed after Donizetti died and Scribe decided to recycle the libretto for the uncompleted work. Verdi got grief for this little bit of trickery later on.

When Verdi came to create his second original grand opera (Don Carlos), the Duke of Alva was in the source material as a character but Verdi eliminated him.  Coincidence? Maybe.

My First Review

This was the first review of a recording I ever composed. Although you can find the original on Amazon.com (http://www.amazon.com/Verdi-Traviata-Giuseppe/dp/B00000I92Y/ref=sr_1_2?ie=UTF8&s=music&qid=1285017553&sr=1-2) , due to the fact that it wasn't credited to me when I posted it, it's reproduced here:


I can't believe I'm the first to write a review of this recording! There's not much more you can ask in a Traviata than Sutherland, Bergonzi, and Merrill, all in their prime. On the surface, Sutherland's performance lacks the commitment Callas consistently brought to the role. However on repeated listenings, details surface that show Sutherland definitely had more than a vocal sympathy for Violetta. At this point in her career, she herself has said it was her favorite role. Her account of "Dite alle giovine" is shattering when listened to with the right ears. And of course, you have her immaculate vocalism. Set against this great achievement is the Alfredo of Bergonzi, the model Verdi tenor. Even Domingo, an artist I greatly respect and admire, is sometimes vocally incapable of the subtlety Bergonzi had at his command here. He is quite simply the best Alfredo I've heard. As for Robert Merrill, he may not be Tito Gobbi, but his account of Germont is more than adequate and what a voice! The recording is a little over-reverberant, obscuring some detail, but the Decca engineers were still struggling to cope with capturing the "Sutherland sound" in its fullest degree. Pritchard's conducting is generally inspired, only occasionally lapsing into the routine. The final factor in reviewing this recording is the price. As a Decca Double, this recording is a steal, a must have! (And yes, I've heard Decca's latest foray with Solti, Ghiorgiou, etc. It doesn't even come close.) There really is no perfect studio Traviata, but this one comes closer than most.