Search - Verdi, Caniglia, Stignani :: Don Carlo

Rome Opera Tradition

Impostazione | New York City Area | 03/23/2004

(4 out of 5 stars)

"Maria Caniglia had, by the time of this recording, become far less regular at La Scala now that the other MC had arrived. She sings Elisabetta with a truly queenlike accent and her "Guistizia! Oh Sire!" achieves a kind of noble desperation not heard on any other recording. She brilliantly mingles grandezza with humility and feminity. Yet another MC recorded this role in the early 70's and she gave a superb performance, but La Caniglia, in spite of all of her dramatic eccentricity, has a warmth that I have grown to adore. Mirto Picchi is adequate vocally but very expressive and interested in characterization to a large degree. Later recordings display his influence. Stignani sings a high B in "O don fatale" that Ceasar could hear. Stunning voice! The lower men's voices are not to my taste.I do enjoy Prevatali's quick approach, he never drags and that is essential to a good Verdian performance.The extras include Stignani singing "Re del abisso" from Ballo and it is simply the most fantastic out there.Buy it!"

A splendid Don Carlo with tremendous Grand Inquisitor and Eb

Anton Zimmerling | Moscow, Russia | 12/26/2008

(5 out of 5 stars)

"Contrary to the previous reviewer, I think that this item deserves all five stars, not four - it is one of the best 'Don Carlos' with a superb all-Italian cast. I am especially fond of the lowest voices - Rossi-Lemeni (Philippo II) and Neri Grand Inquisitor. Their famous bass duet is stunning: Rossi-Lemeni's fine bass-baritone is set-off by Neri's huge profundo. This Inquisitor does not strain vocally in the presence of a king ('dinanzi al re') but simply blows him down by his menacing voice. The portrayals are excellent: both basses keep in mind, whom they embody on the scene. Awesome.

The rest of the cast, including Caniglia and Stignani, is first-rate, in spite of the fact that both ladies were already past their prime. Stignani is nevertheless perfect, and Caniglia is powerful as usual, although she had big problems with legato to the time of the recording (1951). Paolo Silveri (marchese di Posa) sounds more secure in the lower part of his register: I would not call him an ideal Rodrigo. Picchi is a very good Don Carlo.

The appendix contains not only two items sung by Stignani, but also 'Il Lacerato Spirito' recorded by Neri - really impressive.

The manner of Previtali is convincing and all ensembles sound natural. This 1951 Torino variant of 'Don Carlo' is clearly superior to the 1954 Rome version w. Santini/Christoff, Neri, Gobbi, Stella, Nicolai, Filipeschi (EMI 7243 567479-2): although Boris Christoff boasted the role of Philippe the II, and had a richer bass voice than Rossi-Lemeni, the latter's intonation is more appropriate, at least here.



The sound is fine, given the date of the recording. Highly recommended."