VERDI: La forza del destino – 10/06/1978
Montserrat Caballé, sop(Leonora);
José Carreras, ten(Don Alvaro);
Piero Cappuccilli, br(Don Carlo);
Nicolai Ghiaurov,bass (Padre Guardiano);
Maria Luisa Nave, ms(Preziosilla);
Sesto Bruscantini, bass (Fra Malitone);
Chorus & Orch. of La Scala/Giuseppe
Patanè, cond.
MYTO 3 MCD 984.192 (3 CDs) (F) (ADD) TT:
3' 35"
From MYTO comes this thrilling La Scala
performance of Verdi's La forza del destino, taped in Milan's great theater
June 10, 1978. It is a recording well worth investigating, even if you have a
Forza or two (or more!) in your collection. Of primary interest is the Leonora
of Montserrat Caballé, a role she never recorded commercially. A reviewer
quoted in the booklet accompanying this set opines that, "the role of
Leonora is surely not one of the most suitable for Caballé." If so, one
would be hard pressed to maintain that opinion after listening to this
performance. Caballé's luscious voice is in marvelous shape. Of course, the
famed breathtaking pianissimi abound. Further, the upper register, not always
the most secure aspect of Mme. Caballé's arsenal, is rock-solid on this
particular evening. Her Leonora is hardly a mere series of vocal effects. She
is passionate in the extreme, magnificently conveying the desperation of
Leonora's plight. I always felt that Caballé, at least in the early to middle
stages of her career, was not just an exceptional vocalist, but a singing
actress of the first order. Performances like this one confirm that impression.
The above-quoted comment about lack of
role suitability would seem far more appropriate for the Don Alvaro of José
Carreras. Unlike Caballé, Carreras did record this role in Forza, as part of a
1985 DGG issue. Unfortunately, he was in substandard voice on that occasion,
due in part, perhaps, to performances like the one preserved in the MYTO issue.
In this 1978 La Scala Forza Carreras is in sterling form. His voice is warm and
beautiful, and he admirably conquers the grueling tessitura Verdi employs for
the tragic Don Alvaro. Yet it is clear that such a distinguished accomplishment
did not come without exacting a price. Carreras was only 31 at the time and
clearly very much a lyric tenor. Singers often remark that one must sing on
one's interest, not one's capital. In this performance it is clear that Carreras
is expending far too much of the latter. The results are undeniably thrilling,
but the long-term devastation soon became all too apparent. If you want to
enjoy a considerable artist at the apex of a career whose prime years were
tragically few, this Forza is a "must."
Piero Cappuccilli was for many years a
reliable exponent of the Verdi baritone repertory. While his voice may never
have radiated the warmth of Leonard Warren, Ettore Bastianini or Robert
Merrill, Cappuccilli always gave a strong account of such demanding roles as
Don Carlo. On this evening he is in excellent form, singing with admirable
style and dramatic fire. He also offers several thrilling interpolated high
notes that draw enthusiastic response from the La Scala audience. As Padre Guardiano
Nicolai Ghiaurov is perhaps not in quite the sumptuous form he exhibited in the
1960's and early 1970's,but he is still an imposing presence. Sesto Bruscantini
is a Melitone brimming with character, and Maria Luisa Nave makes a fiery
Preziosilla.
Conductor Guiseppe Patanè leads an
animated performance, always demonstrating sympathy for his principals. The
mono recording sounds as if it was taped from an excellent location on the main
floor and on a fine recorder. At times the singers are a bit distant, but for
the most part the excellence of the performance emerges quite vividly. The La
Scala audience obviously enjoyed itself on this occasion, and the lengthy
ovations (and occasional quarreling!) are preserved. As a bonus, MYTO includes
excerpts from a 1969 Verona Don Carlo featuring Caballé and Placido Domingo. The
title role of Don Carlo was always a superb vehicle for Domingo, and his
singing is marvelous. Caballé, once again, is in exquisite voice. Her
pianissimo conclusion of "Non pianger, mia compagna" and the
16-second high B at the opera's close have to be heard to be believed. In sum,
an exciting issue, well worth investigating by fans of the principals, and of
thrilling Verdi singing in general.
