Search - Vincenzo Bellini, Richard Bonynge, London Symphony Orchestra :: Bellini: I Puritani

Wonderful Puritani

06/22/2003

(5 out of 5 stars)

"Sutherland recorded two fantastic Puritani. The first one with Duval has a girlish, opulent, open sound, with bigger voice and more spectacular high notes. The trills are stunning, as is the runs and chromatic downward fioratura. So it's my favorite. It is certainly infinitely superior to Sill's or Callas's.
The second Puritani finds a more mature Sutherland. The voice sounds bored at times, but the coloratura still stunning. But the voice have lost half its size. Although still big enough to compete with the great Luciano Pavarotti. (usually Dame Joan's high notes drown out everyone, including the chorus). But in this 1974 recording the highest notes are half it's former size. Pavarotti is the reason that makes the second set competitive with Sutherland's first since Sutherland's first finds the soprano in so much better voice and high notes.
I'm not a huge fan of Pavarotti's. But he must be given credit for singing all the notes written by Bellini for Rubini. And that is quite an accomplishment. The opening aria for the tenor is splendid, the D flat a knockout. But it's the two high Ds in the last end that floored me. They were huge, and for the first time ever, he upstage Dame Joan in the above high C stratosphere. Plus Pavarotti is in his absolute prime here, making this an essential recording.
Actually, both Sutherland's Puritani's are essential recordings. The first featuring a Dame Joan with a superhuman voice and even more breaktaking coloratura and especially HUGE high notes. The second Sutherland Puritani features a more refined Dame Joan with smaller but still spectacular high notes and still perfect coloratura. The difference in the second set is a not quite as gorgeous tones for the diva. A fault that is made up for by pavarotti's best performance on record.
So which set to get? I have both, and so should you. Callas also has a nice one, but it is tame next to Dame Joan's."

Bellini: I Puritani review]

06/30/2003

(5 out of 5 stars)

"... Everyone in opera knows that Sills is America's Queen of opera. But there are other divas who are as good as her... I am a big fan of Sill's too. In fact, she used to be my favorite singer in my college days. I have mature then, and found that Callas, Sutherland, Caballe and Price as well as Renee Fleming are equally enjoyable.
With that over with, I can comment on this Puritani. It is on the same level as both Sill's and Callas's efforts. But it is not on the same level as Sutherland's earlier one. The reason is Puritani is the epitomy of a bel canto opera, and opulence of tone and impeccable technique is a must. With the drama being of less importance since the plot is so silly.
Because of this, Sutherland's earlier Elvira with its radiant tone and classic coloratura is my favorite. But I can see how others would consider the Callas, Sills, or even the later Sutherland Elvira as being the best. It's all a matter of taste. And all of these puritani is delightfully delicious to me.
Elvira aside, I will have to say that Pavarotti in Sutherland's later set is the classic Elvino. With his sweet tenor, he handles the fiendishly high tessitura effortlessly, edging out Gedda.
So this makes a difficult decision. Which Puritani is the best overall. I still say the Sutherland's first one because Sutherland's then clear silvery tone is just too beautiful to be true. But I also have Sutherland's second Puritani, Callas's, and Beverly Sills, and enjoy all of them immensely."

Why isn't this available?

John R. Jaeger | Rochester, NY | 06/13/2001

(5 out of 5 stars)

"This is the best overall rendition of Puritani, why isn't it available? Arguably Bellini's best score (Norma is admittedly more dramatic, but the melodies really soar in this work), this is the only recording to present it complete. As if that wasn't enough, you have a 'Puritani Quartet' that was pretty much unbeatable at the time (mid 70's). One wishes that the Met's cast from the period (substitute Milnes for Capucilli) was used, but that's a quibble. After its initial appearance, this recording was a must have. Where did it go? Callas' interpretation of Elvira was always considered classic, but her recording is sliced to ribbons. Here this score is not only complete, but Bonynge restores the middle section of the soprano/tenor duet that Bellini removed prior to the Paris premiere (but had already shipped to Milan). Pavarotti sings the F in alt as written, and Sutherland sings the rondo finale with true abandon (She also sings this on her original recording. Sills was the only other soprano to record it, also unavailable.). Besides, Sutherland is magnificent here. The voice is not as fresh as her initial recording (which has been unavailable for ages), but she is more than a match for this music. So she isn't Callas. She's Sutherland, with an amazing technique combined with a achingly beautiful instrument and a real performing intelligence.Pavarotti became an international sensation with this role (this is when he hit to covers of Time and Newsweek). No one has ever sung this role with more stunning results. The tessitura is brutal, but he makes it sound easy, with just enough effort to make it exciting.If you find this recording, buy it. Bel Canto rarely sounded better. This is a work that you just float away on. I can't recommend this one enough."