RECORDINGS &
REVIEWS
1968.02.15
Herkulessaal, Munich
Chor des Bayerischen Rundfunks
Symphonieorchester des Bayerischen Rundfunks
Mario Rossi conductor
Bruno Pizzi chorus master
Leyla Gencer soprano
Binaca Maria Casoni mezzo-soprano
Luigi Alva tenor
Forbes Robinson bass
Nuova Era – 1 CD
I won't speculate on how a Bavarian chorus and orchestra, an Italian conductor, and an odd assortment of soloists came to perform Rossini's Stabat Mater in Monaco on an unspecified date in 1967, but the outcome is surprisingly agreeable. Rossi eschews sanctimony and moves things along smartly, though he's perhaps too relaxed in "Sancta Mater" and "Fac ut portem." Aside from the predictable exception, the vocalists are a modest, genteel group. Casoni is straightforward and rather faceless. Alva is sweet and buoyant, a far cry from the muscular Merritt and Pavarotti. He needs a good admixture of falsetto to reach his top Db. Robinson lacks weight on bottom but sings with feeling and intelligence; he knows exactly how his music should go. Gencer is in capital voice, free and soaring on top. A few glottal grunts notwithstanding, this is lovely singing, yet there's no want of power and temperament. The chorus is competent but not flattered by the compressed, muddy sound. (The soloists, incidentally, take "Quando corpus morietur.") Even if the sonics were first-rate, however, I wouldn't rate this performance above Kertész's (London) or Scimone's (Erato) and commend it primarily to fans of Gencer.
Messa da Requiem – Verdi [Live]
1967.11.26
Teatro Margherita, Genoa
Orchestra e Coro del Sinfonica di Teatro Comunale di Genoa
Sir John Barbirolli conductor
Bruno Pizzi chorus master
Leyla Gencer soprano
Franca Mattiucci mezzo-soprano
David Hughes tenor
Marius Rintzler bass
Opera Depot – 1 CD
1970.06.20
Teatro La Fenice, Venezia
Gianandrea Gavazzeni conductor
Corrado Mirandola chorus master
Leyla Gencer soprano
Mirna Pecile mezzo-soprano
Armando Moretti tenor
Alessandro Casis bass
Eftimios Michaopoulos bass
Mondo Musica – 1 CD
DONIZETTI Belisario • Giandrea Gavazzeni, cond; Leyla Gencer
(Antonina); Mima Pecite (Irene); Rina Pallini (Eudora); Umberto Grilli
(Alamiro); Bruno Sebastian (Eutropio); Giuseppe Taddei (Belisario); Giovanni
Antonini (Eusebio); Niccola Saccaria (Giustiniano); Augusto Veronese (Ottano);
Alberto Carusi (Centurione); La Fenice O & Ch • MONDO MUSICA MFOH 10301 (2
CDs: 119:58)
Myto lives up to its name in resuscitating a treasurable recording of Rossini's Cenerentola that allows us to revel in the special qualities of Sara (aka Zara) Dolukhanova. In the two sources I consulted, the recording variously dates from 1951 or 1953, information lacking in the summary notes provided with the set. For its age, the sound is not bad: Presumably Myto had access to either original tapes or pristine masters. if it is for Dolukhanova that one is first drawn to these discs, listeners will not be disappointed. The smoothness of her singing can still be a model today, imparting character at the same time as we marvel at her way with the coloratura. Conductor Onissim Bron has the measure of the piece, but his treatment of the text has its moments of shock. While the (then) customary cuts—and others as well—are made, Cenerentola gets an extra solo before the act I finale, a cabaletta to Malcolm's aria interpolated from Donna del Lago, but that is nothing compared to the shock in store when we get to the heroine's rondo-finale, which is parceled out between her and the tenor, negating Rossinian logic. The notes give us biographical information about soprano, tenor, and conductor, evidently forgetting that Belov had his moment as Onegin for Vishnevskaya's first recorded Tatiana. Unfortunately, Rossini's demands are not the same as Tchaikovsky's, and we hear a lot of sliding around the notes instead of cleanly articulated runs. Orfenov also has his problems dealing with Rossinian intricacies but is a far cry from the namby-pamby hero too long perpetuated as the ideal in the West. Once over the initial shock of Clorinda's first words emerging as "Nyet, nyet, nyet, nyet" instead of "No, no, no, no," it is easy to overlook this drawback in the face of characterful singing, particularly when it is the mezzo.
Mondo Musica has been given access to the Fenice archives so that the reconstruction fund will be the beneficiary. Why, however, have they found it necessary to duplicate so much material that has already been through countless reincarnations throughout the LP and CD eras? Yes, Belisario is a product of Donizetti's maturity and worthy of study as a Verdian precursor in its treatment of father-daughter relations, but its otherwise clunky libretto shows that Cammarano, despite Lucia, still had not entirely found his way. The set is recommended only to collectors who do not already possess a copy of the performance of May 14, 1969, especially as the sound offers virtually no improvement over previous editions: Onstage movements, stagehands' conversations, and an odd occasional crackle are still present. In other respects, the performance retains its privileged status, as it is unlikely that you will hear a more representative performance from Leyla Gencer as Antonina. All the familiar elements are there, including the heavenly fil di voce, so that we are reminded of how few singers today are capable of investing themselves so totally in a performance, Nelly Miricioiu being one of the very few carrying on this tradition. Giuseppe Taddei's noble baritone in the title role is the other major attribute, leaving Mirna Pecile's tremulous, lightish mezzo Irene and Umberto Grilli's tenorino Alamiro as honorable colleagues. Once again, it is Gianandrea Gavazzeni who leads us through the work, even though he has performed various bits of surgery, though not the evisceration to which he subjected Anna Bolena; but then Belisario is considerably more concise.
Even odder is the Donizetti-Pizzetti pairing. It is
difficult to be much kinder to this performance than I was to that by Alexander
Rahbari on the Discover label that I reviewed in the July 1998 issue of
Fanfare. Gavazzeni leads an inflamed performance that might offer more pleasure
if the sound were less murky, as if it were recorded from behind the fire
curtain. And despite the conductor's lifelong advocacy and defense of
Donizetti, I would be curious to know the authorization for turning the tenor's
solo in the Ingemisco over to the soprano, however wonderfully Gencer sings it,
or allowing her some beautifully floated high notes in the "Libera
Me." The other soloists are credible, but it is clear that Gencer is the
star. Why, however, we are asked to purchase a double album with only 87
minutes of music to hear the Donizetti Requiem (66 minutes) and Ildebrando
Pizzetti's "Introduction to Aeschylus's Agamemnon" (21 minutes) is
something that defies logic. The Pizzetti starts out with brass fanfares and an
impressive slow introduction, but then rapidly deteriorates into Hollywood epic
background music, replete with a wordless chorus that moans and groans as well.
1971.03.26
Sala Verdi, Milano
Orchestra e Coro della RAI [Radio Broadcast]
Gianandrea Gavazzeni conductor
Mino Bordignon chorus master
DONIZETTI: Messa de
Requiem, “To the Memory of Vincenzo Bellini”
Leyla Gencer, sop; Mirna Pecile, mezzo-soprano; Ennio Carlo Buoso, ten; Alessandro Cassis, bar; Agostino Ferrin, bs; Orchestra Sinfonica e Coro d Milano della RAI; Gianadrea Gavazzeni, cond / Archipel ARPCD0475 (live: Milan, March 26, 1971)
© 2019 Lynn René Bayley
Recordings > Opera
News > The Met Opera Guild
... Adrift and Sheppard's Missa Cantate; recitals by Iris Vermillion,
Anne-Sophie Schmidt,
Marie-Nicole Lemieux; historic Gounod La Colombe; Gencer and Bergonzi in ...
vehicle for a prima donna; Maria Callas, Leyla Gencer, Joan Sutherland ...
Recordings > Opera
News > The Met Opera Guild
... sang the title roles in Anna Bolena and Maria Stuarda, and so, like
Montserrat Caballé,
the Gemma on this recording (and Beverly Sills, Leyla Gencer and Edita ...
Recordings > Opera
News > The Met Opera Guild
... Olivero, like Leyla Gencer, is a singer whose importance is based
largely upon her
legacy of pirated and broadcast live performances, and therefore another ...
Recordings > Opera
News > The Met Opera Guild
... Leyla Gencer, the Turkish soprano beloved in Italy in the 1950s and
'60s for her
service to Donizetti, Bellini and Verdi, can now be heard as Norma in this ...
Recordings > Opera
News > The Met Opera Guild
... JC. Leyla Gencer ARIAS from Anna Bolena, Assassinio nella Cattedrale,
Due Foscari,
Forza, Lucia, Suor Angelica, Tabarro, Trovatore (1957-58). No texts. ...
Recordings > Opera
News > The Met Opera Guild
... an early Rossini (1815) and a mature Donizetti (1837), revolve around
episodes in
the reign of Elizabeth I. Turkish soprano Leyla Gencer, a contemporary of ...
Recordings > Opera
News > The Met Opera Guild
... Caught in late career, the dramatically and stylistically authoritative
but vocally
unsteady Leyla Gencer mars her Falena, the enchantress role, with hoarse ...
Recordings > Opera
News > The Met Opera Guild
... In Sills's day, Leyla Gencer and Montserrat Caballé sang Elisabetta
more powerfully
or more beautifully, and nowadays, Edita Gruberova enjoys success in the ...
Recordings > Opera
News > The Met Opera Guild
... In the title parts, Leyla Gencer and Renato Cioni, sensitive and
colorful, are more
persuasive than the authoritative Maria Caniglia (heard in 1951, late in ...
Recordings > Opera
News > The Met Opera Guild
... Legato LCD-159 (2). Leyla Gencer and Maria Callas began the postwar
restoration
of bel canto opera, but Montserrat Caballé has done even more for the cause.
...
Recordings > Opera
News > The Met Opera Guild
... Leyla Gencer as the
put-upon heroine is vibrant and touching in her finest
late-career form. Renato Bruson is strong and sympathetic as King Lusignano. ..
Recordings > Opera
News > The Met Opera Guild
... Joan Sutherland and Leyla Gencer, who made something of its dull title
role, perhaps
inspired Mirella Freni to take it on in 1976 in Bologna. ...
Recordings > Opera
News > The Met Opera Guild
... remastering of a 1967 Maggio Musicale Stuarda, while thoroughly
accomplished under
Francesco Molinari-Pradelli, exists mainly for the Maria of Leyla Gencer. ...