Donizetti: Parisina

Well, this is a "chestnut" for all fans of the bel canto period, but I wanted to pay a return visit to this benchmark recording on the eve of receiving my copy of Opera Rara's brand new edition. It's hard to believe the Caballe version was recorded (live, in Carnegie Hall) almost 35 years ago. Even harder to fathom is that only two additional recordings of this superbly dramatic opera have appeared in the interim. One of them (on Bongiovanni, and recorded live) can be dispensed with quickly: it is a poor performance in every way. The other, a studio effort issued on the Dynamic label, features an uneven cast, headed by the fascinatingly individual, yet (in this instance) squally Alexandrina Pendatchanska. I anticipate that the new Opera Rara set will trump all others - certainly in terms of "completeness", if not necessarily in terms of performance quality (this remains to be determined). It is also worth noting that the superb Mariella Devia sang the titular heroine a decade or so ago, and the live air-check of that performance is very much worth acquiring.

Returning to the Caballe performance from 1974, it should go without saying that this is a must for every bel canto lover's collection. Caballe is in top form, holding the audience in the palm of her hand throughout - singing bel canto in with all her signature flourishes: high pianissimi, dramatic bursts, incredible dynamic contrasts, and extraordinarily beautiful tone. Quilico - in a truly wonderful bel canto baritone role, sounds more Verdian than truly "bel canto", but this is late Donizetti, and thus the foreshadowings of the Verdi style are not problematic. Still, he seems a bit detached, though his overall achievement is excellent. Do we have ANY baritones like him around today? Pruett holds up his part very effectively, even if his voice, per se, is on the light side. He sings with great sincerity and gusto, and is richly rewarded with applause from the appreciative audience. James Morris was a real youngster back in '74, and he sounds terrific in his every scene. Queler's conducting - the object of derision over the years (much of which has been deserved, IMO) is quite good here. She holds the forces together nicely, while giving Caballe all the room she needs to work her considerable magic. As I said above: this recording is a must for all fans of Donizetti and Caballe.