(The) Sublime Voice of Carlo Bergonzi
Carlo Bergonzi receives the compilation treatment and reminds us what a superb singer he was
View record and artist detailsRecord and Artist Details
Composer or Director: Giacomo Puccini, Giuseppe Verdi, Ruggiero Leoncavallo, Amilcare Ponchielli, Francesco Cilea, Pietro Mascagni
Label: Decca
Magazine Review Date: 4/2000
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 |
Author: John Steane
'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.'
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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