Donizetti: Lucia di Lammermoor... Deluxe Sutherland!
Matt B | 08/16/2009
(5 out of 5 stars)
"Donizetti: Lucia di Lammermoor (Deluxe Edition)
This set was released to commemorate the 50th anniversary of Joan Sutherland's debut as Donizetti's Lucia... and what a wonderful concept! We get not only Sutherland's 1971 recording of Lucia complete for the first time on two CD's, but also get a bonus CD which features her two big solo scenes not only from her first recording of Lucia under Sir John Pritchard, but also from her even earlier first solo recital for Decca conducted by Nello Santi. After listening to Sutherland in her second complete Lucia, one simply can't imagine the title role being sung any better... but she actually in some ways did vocalize it better in her earlier efforts... However, there are trade-offs. The earlier versions give us the voice pure, fresh, and bright in the first blossom of youth. The coloratura is pristine and one is constantly impressed by the power of her vocalism. By the time of her second effort the voice was more luxurious, and aptly more sensuous... this is not only a more "interesting" sounding voice, but also the voice of a more womanly Lucia... The sound is larger, fuller, and consequently rather more satisfying in the long run. I heard Sutherland in this role in 1970 and this is the voice that I recall hearing in the theatre where her rich lower tones impressed almost as much as the stratospheric high notes. Still, there are places (such as the cabaletta to her opening aria and some sections of the Mad Scene) where she caresses the vocal line in a more affectionate manner in her earlier efforts where some of the tempi are a bit more relaxed. Plus there was something special about that early Sutherland sound that makes one want to have both... and with this set one can indeed have both!
Now this brings us to the conducting. Richard Bonynge was not really anyone's favorite conductor, but for the most part he conducts sensibly and while he captures the more passionate aspects of the score quite nicely (the Act I Duet and the Sextet) and often finds an appealing balletic lilt to some of the cabalettas (especially that of the Mad Scene), there are times where he selects tempi that are simply a trifle too fast for the music to be lovingly embraced. This of course adds brilliance to some scenes, but something is lost in the process as well. Furthermore at the conclusion of several numbers (the Tower Scene and the Mad Scene) he has a tendency to drive the music too forcefully in an attempt to stir up excitement... excitement that is already written into the music.
Regarding the supporting players, Pavarotti, Milnes, Ghiaurov and even Torrengeau in the small role of Alisa comprise a luminous cast with all being captured near the peak of their considerable careers. Milnes has a nice snarl to his clarion baritone that enhances his characterization while Ghiaurov, in contrast, has a voice that personifies a rich, buttery, dark, yet flexible basso cantante. Regarding the young Pavarotti, my only quibble concerns the fact that he tends to approach things in a rather nonchalant manner... but then again he is Pavarotti and his prodigious vocal resources speak for much.
As for the version of the score employed, this edition is virtually complete save for the omission of the quiet flute solo that concludes the first section of the Mad Scene where a more traditional ending is employed after the cadenza. Furthermore, the duet that opens the second act is performed a tone higher as in Donizetti's autograph score. For the record, Lucia's opening aria and the Mad Scene are performed in the traditional keys rather than the higher keys of the original. In addition, the flute is used in the Mad Scene as opposed to the current trend of substituting the glass harmonica that Donizetti initially intended to use, but ultimately rejected. Also, as if one needed to mention it, Sutherland performs her own extended flute accompanied cadenza in this scene... again a tradition that is slowly falling by the wayside. One more comment regarding Sutherland's overall approach and choice of embellishments, while she remained more or less consistent, it is interesting to see some minor tweaking among the various versions and especially regarding her use of staccati and trills... and no one ever trilled more impressively than Sutherland!
A word about the sound, as the 96/24 remastering is a significant improvement over the initial CD release. All the voices, not to mention the orchestral contributions, sound much smoother and more natural as opposed to the artificially bright and strident sound of the initial CD incarnation. Actually the sound is in line with my recollection of the original LP's and during that era Decca was noted for the sonic primacy of its operatic recordings.
In summation, in purely vocal terms the Sutherland/Bonynge Lucia is probably the best overall recording of Donizetti's masterpiece and while not absolutely perfect it comes tantalizingly close. With the addition of the earlier material as a bonus this is the most sensible way to enhance your collection with a sampling of earlier Sutherland. I would supplement it with one of the versions by the other supreme Lucia of the last century... Maria Callas. I have a preference for Callas' 1959 stereo recording because of her many vocal nuances, her theatrical insights, and in spite of the fact that it was recorded a bit past her prime. However, all Callas' recordings are severely cut, which precludes them from being an absolute first choice regardless of her prodigious vocal and dramatic abilities. As a further supplement I would also consider the urtex based recording by Charles Mackerras simply for the fact that it presents Donizetti's score performed as originally conceived using period instruments, with all the numbers in their original keys, and embellishments that supposedly derive from Donizetti's time. Of course that means no extended cadenza in the Mad Scene, but again that was an addition from another era. Furthermore the cast is reasonably competent, the conducting is more classically oriented, and one will hear certain details of orchestration that differ from the traditional score as well as plus some interesting vocal modifications.
In conclusion, I feel compelled to mention one caveat and a problem. This is a deluxe book edition. However, the end result of the admittedly impressive looking packaging can be detrimental to the lifespan of the CD's. The CD's are packaged in paper sleeves and are not only extremely difficult to remove, but the act of removing them could result in damage from friction. Additionally, the possibility exists for long-term harm from direct contact with the elements in the cardboard casing. Once carefully removed I would suggest placing them in a more traditional jewel box as you will want to listen to them often and without any further hassle or worry. (A slim-line triple jewel box works quite nicely.) Now I am not sure if this is related to the packaging, but my third bonus CD as initially received was quite scratched up and had to be replaced. It was done so promptly and courteously. However, the replacement disc was also scuffed up a bit even though I was ultra careful in its removal, but at least it played properly. In retrospect, I think the abrasions were at least in part due to the packaging. This was the first and will probably be the last "so-called deluxe edition" that I will purchase.
"
Decca gives you everything
Ductor Chestra Coron | 08/07/2009
(5 out of 5 stars)
"The complete opera recorded with the best cast ever, everyone in their best moments, with better sound. Plus the early studio Lucia records of Sutherland's young voice without the weak cast of that years.
I'll just tell what you can expect from this Deluxe Edition.
Will it be of any help? I guess so.
Why is the 1971 record the best one?
- Dame improved her cabaletas making then impossible to copy/imitate. There are no best end for "Quando rapito in estasi" The staccato is legendary. ***
- Her platinum voice shines a lot because it isn't so girlish as 1959 nor so mature as her 1983 DVDs.
- The cast could not be better. You can let it play without skipping tracks. Raimondo's duet rocks.
- The sound is clean and powerful.
- The opera is totally complete.
This is a 2009 Limited Edition of the June-July 1971 complete opera studio record. What remains? What changes?
1. The case is made of paper. In fact, it's just a hard cover book with some photos, one short message from Bonynge, the libretto (english, german, french, italian) and a schedule with all the dates and places La Stupenda sung the entire opera Lucia during her career.
2. While in the previous one in 1971 there were 3 discs to make possible record the very complete opera as wrote its composer, here the masterpiece was remaster so it stills complete but it does fit only 2 cds. The remaster also improved the sound to 96khz-24bit.
3. All the 3 cds come in thin paper envelopes inside the hard cover book.
4. The picture cover is excactly the same as its size.
5. The 3rd cd is just for rare bonus material, it includes:
Tracks 1 to 7 - Recital, April 1959, Studio record:
1) Ancor non giunse!
2) Regnava nel silenzio
3) Quando rapito in estasi
4) O giusto cielo! Il dolce suono
5) Ohime! sorge il tremendo fantasma
6) Ardon gli incensi
7) Spargi d'amaro pianto
Tracks 1 to 14 - Highlights from July-August 1961 opera Studio Record:
(you can get this hole opera with little usual cuts of that decade, seaching for "Sutherland, conductor Pritchard, DECCA legends")
8) Ancor non giunse!
9) Regnava nel silenzio
10) Quando rapito in estasi
11) O giusto cielo! Il dolce suono
12) Ohime! sorge il tremendo fantasma
13) S'avanza Enrico!
14) Spargi d'amaro pianto
Further information:
All cds here have just studio stuff.
If you whant to listen do Dame live version of this bel canto opera, you can search for: "Sutherland, conductor Serafin, BBC heritage series". It is the record made in February, 26, 1959. Her triumphant decisive debut was at February, 17, 1959.
If you want to se how perfectly La Stupenda beautifully sung live in the days right before her retirement, go for "Sutherland , DVD, Deutsche Grammophon".
If you find this page, I imagine that's because you know somethings, like:
- Some tabloid critics said that Dame Joan Sutherland used to have diction problems. It's not true. What happened was that beeing such a bell canto specialist she decided to do the next step in the high art of singing: make her voice sounds sometimes like a flute, others like a violin. It was a gift a lot of people were not used to and didn't understand. People are afraid of what they don't know or don'd understand. BEFORE critizising, try to SING BETTER!
- Either Dame or Bonynge believe that as you can not modernize historic Louvre paintings, you should respect the opera the way the composer wanted it.
- Dame is the best soprano to show drama, because her acting, her feelings are shown by her voice, not by making faces. Do you know what is bel canto? It's to sing the notes correct, with volume, beauty and make people think that is easy, what means that there are much more than we can know. Now-a-days singers who don't have good teachers or time to study hard choose improve their acting and beauty to compense their lack of vocal habilities.
- She used to have a very rare tipe of voice that allowed her sing huge Wagner roles, Handel, Mozart, Bel Canto, verismo, Strauss...
- One can be fan of Sills, Callas, Netrebko, Dessay.. but have to be aware of their serious limitations, changes, eletronic help, lack of voice, lack of respect to public... Dame didn't cancel her Beatrice di Tenda even with the death of her mother. Its because she care about the people who had traveled from Europe to America just do see her on stage doing a rare performed role.
*** As a fan of bel canto works, i have some legendary Lucias:
Callas, 1953 studio record, hightly recommended because Callas early voice was pure and because of the stellar cast.
Sills, 1971 studio record, recommended for the ones that have just began to like operas. She sings it almost like a pop musical movie singers. It's price is ok. Ther are glass harmonica (Warning: the sound of the glass armonica is very weak and in just one track, try track 16 of Naxos "Glass Harmonica, mad scene" to really feel this sound that one's believe it could make a person go mad.
Sutherland, 1959 live, recommended only if you want to have historic material.
Sutherland, 1962 studio, recommended to see her under other conductor with metalic voice.
Sutherland, 1971 studio (in 2009 remaster), HUGE AS HE SUN. The best one can get."
