Search - Gaetano Donizetti :: Donizetti: L'elisir D'amore

A Great Budget Choice

T. Dissinger | Jacksonville, AL USA | 05/11/2006

(5 out of 5 stars)

"This is one of the first operas Di Stefano learned and it is pretty obvious that if he had stuck to this kind of repetiore he wouldn't have burned out so fast. There are some slight hints of the problems that would become legendary later on, but for the most part his voice is in great shape and he makes a very likeable Nemorino. The rest of the cast keeps things bubbly and light. No real major flaws to complain about. Molinari-Pradelli seems right at home with this work. No libretto, but if you are a rabid opera fan, you probably already have a libretto in another set."

Am I missing something?

A Customer | 03/27/2008

(5 out of 5 stars)

"Nothing seems to tempt opera fans more than previously-neglected recordings by legendary singers. So I don't understand why this recording seems to be so overlooked; the Decca version is only available as an import and only got 2 reviews on Amazon, while the same recording on the Urania label got none. I bought it after the recent death of Giuseppe di Stefano, to hear him in a recording without Maria Callas. I've always thought he was a bit underrated due to that partnership; she was the genius without the conventionally beautiful voice, and he just had the voice. This recording proves that not to be the case; he was more imaginative and interesting than most singers. I find him better at delineating character than any other tenor before or since, simply because his delivery is so utterly natural and the diction perfect--you always feel he is singing to you. In fact, everyone on this recording--including Capecchi's pompous-sounding Belcore--sings with such 'face' that you immediately accept them in their role without the need for overt vocal 'acting' or effects. Di Stefano's Nemorino is lovestruck, ardent, and sad, which I find makes for a more touching portrait in the end than those who emphasize the buffoonish qualities of Nemorino's personality--i.e. Pavarotti, Villazon. The singing itself needs no recommendation; in my opinion, it was the most beautiful tenor voice of the last century. Gueden's Adina is the best for me on disc; there is something about the timbre of her light, airy voice that suits the personality of Adina so well. I was surprised by how good her diction was. She is infinitely more charming than Sutherland, and sounds more effortless than Battle (who I love). One should hear Corena's Dulcamara just for historical interest; he was the last of the great basso-buffos, and he owns this role, singing with fuller voice than most past-their-prime bassos who attempt it. Capecchi nails the arrogance of Belcore and sings wonderfully. Even Giannetta sounds great with Luisa Mandelli. The sound is great vintage early stereo from Decca, except for some slight shrillness when the singers sing loud and high. My only complaints are the omission of the cabaletta "Io gia m'immagino' after 'Saria possibile', and the sometimes sluggish conducting of Molinari-Pradelli. But this is quibbling; you need this set if you love this opera."

Perhaps the best L'elisir

Jay Adeff | 10/30/2007

(5 out of 5 stars)

"This recording was made in 1955 and is probably the only stereo recording of Giuseppe di Stefano made while his voice was still in its prime. All the EMI recordings are monaural and the later stereo EMI recordings were made after his voice had deteriorated. If you love di Stefano and love this opera, you simply must own this exquisite recording. It's too bad London/Decca pushes the Sutherland/Pavarotti recording instead because I think this one is better. Perhaps it will re-enter the catalog some day."