Not a very maidenly or vulnerable performance—this is very much Madame Melba with picture hat and long strands of pearls. But her attack, her fabulous mordents and the supernatural trills (especially the one at the end...) are just beyond the beyonds.
There is also a mechanical, charmless style to her singing in this aria; she is too in control of the situation here as though the Duke doesn't have a chance, inappropriate for Gilda despite the fact she does sacrifice her life for him at the end. But you're so right about the attack (also too strong, however, at the beginning), the mordents, and the liquid trills. I would add the firm vocal line and astonishing resonance of the voice as well as a hypnotic quality that makes one pay attention.
Melba sings this aria with a fierce efficiency that is hard to construe. Not that I know many really satisfactory versions of it. Galli Curci, in her famous acoustics, seems thin and anonymous to me, but I know I'm in the minority there. As for her electrics, the least said about them the better.
Maria Ivogün comes closest perhaps, to the poetry and delicate brilliance that Caro nome calls for.
Galli-Curci's electric version of Caro Nome is one of her worst recordings, no argument about that; but I believe her acoustic version is one of her best. Tetrazzini's two recordings of the aria are favorites of mine despite--perhaps because of--the liberties she takes with the score. The technique is so brilliant, the tone so beautiful, who cares if it's not Gilda. Ivogun achieves an angelic interpretation as if to anticipate Gilda's approaching demise. I like it better than most.
Compare Melba's utterance of the phrase "A te sempre volera (or any other soprano's, for that matter) to way Galli-Curci sings it, and the difference with respect to charm and feeling is clear.
Tetrazzini is just as arrogant as Melba, only a little more charming. It's as if they saw it as a separate concert stunt, never mind the character of Gilda. Sembrich and Boronat are, as usual, elegant and charismatic, also sketchy, especially in the higher flights. Barrientos and Pareto are disappointingly twittery. I wish I could hear Elizza and Guglielmetti again. There is, however, a lovely version by Maria Gentile. I wish she, and not Mercedes Capsir, had been in the Stracciari complete.
Your comments make me wonder (once again) to what extent the recordings of most of these famous singers of yesteryear accurately reflect their live performances in the opera house. One of the myriad deficiencies of the recording process is the time constriction, which may have something to do with the fast tempi of both Melba and Tetrazzini in this aria. Tetrazzini's abrupt staccato scale ending in Regnava nel silencio from Lucia is another example. Ponselle discussed the time constraint issue.
This problem is augmented by the fact that Melba's voice did not record well at all, and old-timers who heard Tetrazzini insisted that her so-called brilliant tone on records was nowhere near what she sounded like in person. I recall the recordings of Sembrich and Boronat and agree with your description. I'd have to check Barrientos and Pareto before commenting. Capsir was never one of my favorites; I think any substitute within reason would be better. I also regret Stracciari was past his best.
A first-rate transcription of the Stracciari Rigoletto, all sides at the correct speeds, would show what an absolutely fabulous vocal artist Stracciari still was, even in 1930. Capsir, whose touching Violetta I recently listened to, was a heartfelt singer with a good voice, but I have trouble with her verismo mannerisms.
Preiser has issued a 1920 Rigoletto with superb singing from Cesare Formichi as the Jester. The Duke is Giuseppe Taccani, the Gilda Ines-Maria Ferraris.
I'll have to look for that Rigoletto with Formichi, Taccani, and Ferraris. I know Formichi was an excellent baritone and Taccani a reliable tenor; Ferraris I'm not familiar with. I agree that even past his glorious prime, Stracciari was considerably better than any baritone before the public today. His was one of the most beautiful and expressive voices in an era of great baritones.
Taccani had a great voice. He was otherwise a typical Italian tenor. I like him. Ferraris was a "creatura della Scala", like Storchio or Pertile. She recorded duets from Rosenkavalier and Hänsel und Gretel with Conchita Supervía. She had a quick tremolo that I don't always care for. The re-issue has a fill-up of Formichi arias. He had a fine, dark, big voice. First rate.
Thanks for the info about the Rigoletto recording and Ferraris. I can just imagine what she and Supervia sounded like together with their quick vibratos. Supervia's, however, was well-controlled and charming. I may even own one or both of the duets you mention since I have so many Supervia recordings. If Ferraris is half as good as she or Storchio, that would be fine (though Storchio and Pertile have their severe critics as well as staunch admirers).
I admit to preferring the leggero type of Gilda voice like Galli-Curci, Tetrazzini, Melba as well as Pons, Berger, Peters, D'Angelo, rather than the Storchio- or Moffo-type soprano and definitely not the Callas variety. This may be contrary to Verdi's conception of the role (and Toscanini's, who chose Milanov for his Gilda); but it's the meltzerboy conception!
Comment removed
AulicExclusiva 2 years ago
Not a very maidenly or vulnerable performance—this is very much Madame Melba with picture hat and long strands of pearls. But her attack, her fabulous mordents and the supernatural trills (especially the one at the end...) are just beyond the beyonds.
AulicExclusiva 3 years ago
There is also a mechanical, charmless style to her singing in this aria; she is too in control of the situation here as though the Duke doesn't have a chance, inappropriate for Gilda despite the fact she does sacrifice her life for him at the end. But you're so right about the attack (also too strong, however, at the beginning), the mordents, and the liquid trills. I would add the firm vocal line and astonishing resonance of the voice as well as a hypnotic quality that makes one pay attention.
meltzerboy 2 years ago
Melba sings this aria with a fierce efficiency that is hard to construe. Not that I know many really satisfactory versions of it. Galli Curci, in her famous acoustics, seems thin and anonymous to me, but I know I'm in the minority there. As for her electrics, the least said about them the better.
Maria Ivogün comes closest perhaps, to the poetry and delicate brilliance that Caro nome calls for.
AulicExclusiva 2 years ago
Galli-Curci's electric version of Caro Nome is one of her worst recordings, no argument about that; but I believe her acoustic version is one of her best. Tetrazzini's two recordings of the aria are favorites of mine despite--perhaps because of--the liberties she takes with the score. The technique is so brilliant, the tone so beautiful, who cares if it's not Gilda. Ivogun achieves an angelic interpretation as if to anticipate Gilda's approaching demise. I like it better than most.
meltzerboy 2 years ago
Compare Melba's utterance of the phrase "A te sempre volera (or any other soprano's, for that matter) to way Galli-Curci sings it, and the difference with respect to charm and feeling is clear.
meltzerboy 2 years ago
Tetrazzini is just as arrogant as Melba, only a little more charming. It's as if they saw it as a separate concert stunt, never mind the character of Gilda. Sembrich and Boronat are, as usual, elegant and charismatic, also sketchy, especially in the higher flights. Barrientos and Pareto are disappointingly twittery. I wish I could hear Elizza and Guglielmetti again. There is, however, a lovely version by Maria Gentile. I wish she, and not Mercedes Capsir, had been in the Stracciari complete.
AulicExclusiva 2 years ago
Your comments make me wonder (once again) to what extent the recordings of most of these famous singers of yesteryear accurately reflect their live performances in the opera house. One of the myriad deficiencies of the recording process is the time constriction, which may have something to do with the fast tempi of both Melba and Tetrazzini in this aria. Tetrazzini's abrupt staccato scale ending in Regnava nel silencio from Lucia is another example. Ponselle discussed the time constraint issue.
meltzerboy 2 years ago
This problem is augmented by the fact that Melba's voice did not record well at all, and old-timers who heard Tetrazzini insisted that her so-called brilliant tone on records was nowhere near what she sounded like in person. I recall the recordings of Sembrich and Boronat and agree with your description. I'd have to check Barrientos and Pareto before commenting. Capsir was never one of my favorites; I think any substitute within reason would be better. I also regret Stracciari was past his best.
meltzerboy 2 years ago
A first-rate transcription of the Stracciari Rigoletto, all sides at the correct speeds, would show what an absolutely fabulous vocal artist Stracciari still was, even in 1930. Capsir, whose touching Violetta I recently listened to, was a heartfelt singer with a good voice, but I have trouble with her verismo mannerisms.
Preiser has issued a 1920 Rigoletto with superb singing from Cesare Formichi as the Jester. The Duke is Giuseppe Taccani, the Gilda Ines-Maria Ferraris.
AulicExclusiva 2 years ago
I'll have to look for that Rigoletto with Formichi, Taccani, and Ferraris. I know Formichi was an excellent baritone and Taccani a reliable tenor; Ferraris I'm not familiar with. I agree that even past his glorious prime, Stracciari was considerably better than any baritone before the public today. His was one of the most beautiful and expressive voices in an era of great baritones.
meltzerboy 2 years ago
Taccani had a great voice. He was otherwise a typical Italian tenor. I like him. Ferraris was a "creatura della Scala", like Storchio or Pertile. She recorded duets from Rosenkavalier and Hänsel und Gretel with Conchita Supervía. She had a quick tremolo that I don't always care for. The re-issue has a fill-up of Formichi arias. He had a fine, dark, big voice. First rate.
AulicExclusiva 2 years ago
Thanks for the info about the Rigoletto recording and Ferraris. I can just imagine what she and Supervia sounded like together with their quick vibratos. Supervia's, however, was well-controlled and charming. I may even own one or both of the duets you mention since I have so many Supervia recordings. If Ferraris is half as good as she or Storchio, that would be fine (though Storchio and Pertile have their severe critics as well as staunch admirers).
meltzerboy 2 years ago
I admit to preferring the leggero type of Gilda voice like Galli-Curci, Tetrazzini, Melba as well as Pons, Berger, Peters, D'Angelo, rather than the Storchio- or Moffo-type soprano and definitely not the Callas variety. This may be contrary to Verdi's conception of the role (and Toscanini's, who chose Milanov for his Gilda); but it's the meltzerboy conception!
meltzerboy 2 years ago