(The) Sublime Voice of Carlo Bergonzi

Carlo Bergonzi receives the compilation treatment and reminds us what a superb singer he was

Record and Artist Details

Composer or Director: Giacomo Puccini, Giuseppe Verdi, Ruggiero Leoncavallo, Amilcare Ponchielli, Francesco Cilea, Pietro Mascagni

Label: Decca

Media Format: CD or Download

Media Runtime: 154

Mastering:

ADD

Catalogue Number: 467 023-2DX2

Tracks:

Composition Artist Credit
(La) Bohème, 'Bohemian Life', Movement: Che gelida manina Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Ettore Bastianini, Baritone
Giacomo Puccini, Composer
Gianna d' Angelo, Soprano
Renata Tebaldi, Soprano
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Tullio Serafin, Conductor
(La) Bohème, 'Bohemian Life', Movement: O soave fanciulla Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Ettore Bastianini, Baritone
Giacomo Puccini, Composer
Gianna d' Angelo, Soprano
Renata Tebaldi, Soprano
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Tullio Serafin, Conductor
(La) Bohème, 'Bohemian Life', Movement: ~ Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Ettore Bastianini, Baritone
Giacomo Puccini, Composer
Gianna d' Angelo, Soprano
Renata Tebaldi, Soprano
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Tullio Serafin, Conductor
(La) Bohème, 'Bohemian Life', Movement: Donde lieta uscì (Mimì's farewell) Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Ettore Bastianini, Baritone
Giacomo Puccini, Composer
Gianna d' Angelo, Soprano
Renata Tebaldi, Soprano
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Tullio Serafin, Conductor
Madama Butterfly, Movement: Dovunque al mondo Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Enzo Sordello, Baritone
Fiorenza Cossotto, Mezzo soprano
Giacomo Puccini, Composer
Renata Tebaldi, Soprano
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Tullio Serafin, Conductor
Madama Butterfly, Movement: ~ Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Enzo Sordello, Baritone
Fiorenza Cossotto, Mezzo soprano
Giacomo Puccini, Composer
Renata Tebaldi, Soprano
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Tullio Serafin, Conductor
Cavalleria rusticana, Movement: ~ Pietro Mascagni, Composer
Carlo Bergonzi, Tenor
Fiorenza Cossotto, Mezzo soprano
Herbert von Karajan, Conductor
Milan La Scala Orchestra
Pietro Mascagni, Composer
Pagliacci, 'Players', Movement: ~ Ruggiero Leoncavallo, Composer
Carlo Bergonzi, Tenor
Herbert von Karajan, Conductor
Milan La Scala Orchestra
Ruggiero Leoncavallo, Composer
Don Carlo, Movement: ~ Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Dietrich Fischer-Dieskau, Baritone
Georg Solti, Conductor
Giuseppe Verdi, Composer
Royal Opera House Orchestra, Covent Garden
Rigoletto, Movement: ~ Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Dietrich Fischer-Dieskau, Baritone
Fiorenza Cossotto, Mezzo soprano
Giuseppe Verdi, Composer
Milan La Scala Chorus
Milan La Scala Orchestra
Rafael Kubelík, Conductor
Renata Scotto, Soprano
Otello, Movement: Dio! mi potevi (Monologue) Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Giuseppe Verdi, Composer
Nello Santi, Conductor
New Philharmonia Orchestra
(Un) ballo in maschera, '(A) masked ball', Movement: ~ Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Georg Solti, Conductor
Giuseppe Verdi, Composer
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Sylvia Stahlman, Soprano
(Un) ballo in maschera, '(A) masked ball', Movement: È scherzo od è follia Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Georg Solti, Conductor
Giuseppe Verdi, Composer
Santa Cecilia Academy Chorus, Rome
Santa Cecilia Academy Orchestra, Rome
Sylvia Stahlman, Soprano
Tosca, Movement: E lucevan le stelle Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Giacomo Puccini, Composer
Gianandrea Gavazzeni, Conductor
Santa Cecilia Academy Orchestra, Rome
Manon Lescaut, Movement: Donna non vidi mai Giacomo Puccini, Composer
Carlo Bergonzi, Tenor
Giacomo Puccini, Composer
Gianandrea Gavazzeni, Conductor
Santa Cecilia Academy Orchestra, Rome
Aida, Movement: ~ Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Giuseppe Verdi, Composer
Herbert von Karajan, Conductor
Renata Tebaldi, Soprano
Vienna Philharmonic Orchestra
(La) Gioconda, Movement: Cielo e mar! Amilcare Ponchielli, Composer
Amilcare Ponchielli, Composer
Carlo Bergonzi, Tenor
Lamberto Gardelli, Conductor
Santa Cecilia Academy Orchestra, Rome
(La) traviata, Movement: ~ Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Giuseppe Verdi, Composer
Joan Sutherland, Soprano
John Pritchard, Conductor
Maggio Musicale
(Il) trovatore, Movement: ~ Giuseppe Verdi, Composer
Carlo Bergonzi, Tenor
Ettore Bastianini, Baritone
Giuseppe Verdi, Composer
Milan La Scala Chorus
Milan La Scala Orchestra
Tullio Serafin, Conductor
Adriana Lecouvreur, Movement: ~ Francesco Cilea, Composer
Carlo Bergonzi, Tenor
Francesco Cilea, Composer
Gianandrea Gavazzeni, Conductor
Santa Cecilia Academy Orchestra, Rome
Adriana Lecouvreur, Movement: L'anima ho stanca Francesco Cilea, Composer
Carlo Bergonzi, Tenor
Francesco Cilea, Composer
Gianandrea Gavazzeni, Conductor
Santa Cecilia Academy Orchestra, Rome
'Carlo Bergonzi is known as the tenor's tenor' apparently. He was also very much the critic's tenor and, as far as I can recall, he was the public's too. For a different opinion see Opera Fanatic ('Bergonzi is overrated'), spring 1986. Meanwhile, start listening.
The collection opens with one of the warmest gelide manine ever. The voice is at its freshest and most beautiful (the recording comes, with other excerpts, from the 1959 Boheme under Serafin), but impresses especially with the variety of its handling, the fertility of imagination. A year earlier, the Butterfly is similarly delightful, Bergonzi's Pinkerton being all confidence and energy, ardent in his Yankee patriotism as in his very Italian love-making. These are some of the best things, but the composer most closely associated with Bergonzi, and of whom we hear most, is not Puccini but Verdi. From the Rigoletto of 1964 (Kubelik) all of the Duke's solos find something very close to their ideal singer, the clean cut of the voice suiting their requirement for an elegance of manner. That is an immediate presence, too, in the items from Un ballo in maschera (Solti, 1962) : Bergonzi's voice at the start of the second disc enters with magical lightness and grace in the opening phrases of 'La rivedra nell' estasi'. Then, how the Karajan Aida (1959) challenges its singers with those (you'd think) impossibly slow speeds - and how nobly Bergonzi meets the challenge in his 'Celeste Aida'.
Not everything is as good as that: he unexpectedly turns his verse of 'Parigi, o cara' to mush (perhaps anticipating what Sutherland is about to do with hers), and I wouldn't for choice choose his 'Di quella pira' to take into battle. Otello's monologue (1975) is not really in his voice or sensibility. Some of the excerpts end abruptly, and sometimes the sequence is disconcerting. Transfers are generally fine, but tracks from the 1958 recital under Gavazzeni have a rough surface on the voice. This is a collection for dotting around rather than listening from start to finish, but whatever the procedure, I can't think it is going to win many recruits for the 'Bergonzi-is-overrated' lobby.'

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