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Verismo opera incites passionate,
sometimes violent loyalties in its
devotees, and Pagliacci is no different. Here we have two different
recordings, one well-known to collectors and a studio recording, the
other an important new addition to the discography of the work and a broadcast of
a live performance. They could not be more different. Even Leonard
Warren, the one unchanged member of the cast, sounds and acts totally
differently, displaying another side of the despised Tonio.
 The Scandinavian Jussi
Björling and the Chilean Ramon Vinay (left) were
both very great tenors, the first recorded much more than the
latter. Björling's is a straight reading of Canio and his famous
ease of access to the top registers of his voice doesn't fail to
impress, but Vinay's baritonal voice, as the notes say, was
particularly well-suited to the expression of jealousy (he was
particularly impressive as Otello), or rather, his temperament was
especially well-suited to acting jealous characters. Björling's
interpretation is a masterclass in singing; Vinay's is a
performance.
 The anger and emotions pour from him like a
lava from a volcano, and
you do get the impression that he had lost all control by the end of
Act II. In "Vesti
la giubba" Vinay is a towering mess of emotion that makes you
believe that his crimes in Act II were truly crimes of passion - a
masterly performance that has the audience in raptures. Björling
(right) 's performance is less convincing. Neither resorts to the
kind of sobbing that DiStephano did in his famous performance with
Callas and Serafin, which I always found rather affected.
Vinay's Nedda is the beautiful Florence Quartararo, a lyric soprano
who was sadly underrepresented due to her early retirement after
giving birth to her first child. She sang at the Metropolitan Opera
for only a few years, but during that period managed to catch the
ear of no less than Toscanini, who wanted her to be his Desdemona
(it never worked out due to Met restrictions.) Her performance of
Nedda is a fiery, temperamental one, not a vixen the way Callas
could be, but still you feel the sense that she wants
 to
be free. There is something extremely inflammatory about her Nedda
though, which is not very attractive, but which adds another
dimension to the role.
Björling's Nedda is his Mimi in La Boheme, the equally
beautiful Victoria de los Angeles. Björling and de los Angeles make
good foils against each other -- they are both accomplished singers
and have clear, lovely voices, something that perhaps works to their
disadvantage in playing such unlovely characters. Victoria de los
Angeles' Nedda is distinguished, Quartararo's is human.
In the Naxos version Leonard Warren's malice is less overt; with
Antonicelli he sneers, leers and is on the whole more over-the-top;
in the Act II Scene 2 Play he is positively detestable. On the whole
I find the over-the-top-ness enjoyable and not at all distracting.
Renato Cellini's performance is staid as compared with Antonicelli's,
and indeed the latter acquits himself admirably with his soloists.
He actually takes about the same time, but his performance seems to
take so much less time, in fact it's over in a twinkle of an eye.
The orchestra is sensitive and responsive, veterans as they are.
Comparing both performances then, I'd say that I prefer the
rough-and-ready performance of Vinay and Quartararo compared with
Björling and de los Angeles, though the latter is without not its
merits, namely the gorgeous singing from the principals (you won't
hear it sung better) Others
will have had this in their collection for a long time in the EMI
release; be assured that this transfer by Mark Obert-Thorne is miles
ahead of the EMI which was distorted in many places, truly a labour of love. You will want to replace
your copy.
The 1948 broadcast quality can't compare with the 1953, and those
who don't like audience noise may find it distracting. To me it adds
to the tension and occasion of the opera house. Milton Cross' broadcast
commentary for Guild is preserved and adds to the nostalgic element
of this performance.
The second disc of the Guild set includes 16
tracks from rare broadcast arias, recitals and song, in memorial of
Florence Quartararo, and is unalloyed joy to listen to. Fiery
intensity distinguishes Un bel di vedremo, without
sacrificing on tone and technique - a fantastic performance, though
no-one will believe she's an underaged geisha. Her
familiarity with Italian (and whichever language she happens to be
singing at the point) helps her colouration of the words she sings
and adds to the vividness of her characterization.
Quartararo's duets with Ramon Vinay show off her dramatic
acting-singing. Her Act I Tosca is eminently believable (if no
Callas), her Michaela in
Parle-moi de ma mère
feminine and sweet. Anyone can have a lovely voice, but one put to
such service to drama is rare and one
wonders what a performance with her as Desdemona under Toscanini
would have sounded like. Alas, she could have been one of the great
sopranos of her time but she gave up the theatre for her family. At least in this
release by Guild we can enjoy her art. Richard Caniell's transfers
are non-interventionist; the surface noise unobtrusive. A release to
treasure.
In Singapore, Naxos CDs may be bought most cheaply from Sing Music
at #02-75 Lucky Plaza . Call Doris for help at (+65)62358960. They
also take multiple orders and can supply Hyperion and many other
small labels. 10% discount if you mention The Flying Inkpot.
Guild's excellent catalogue of CDs may be viewed at
http://www.guildmusic.com
Naxos Historical CDs may be viewed at
http://www.naxos.com
Readers' Comments
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