Search - Giacomo Puccini :: Puccini: Turandot

The BEST Ping-Pang-Pong!

Lawrence Rapchak | Whiting, IN United States | 08/12/2007

(4 out of 5 stars)

"Anyone who claims to be bored by Act II, Scene I of this great opera



a.) is obviously not in touch with Puccini's ability to create exquisitely detailed, subtle and captivating interaction between his characters....



OR



b.) has never heard this particular performance of that scene.



(Or BOTH)....



Somehow, back in 1955, Decca was able to assemble 3 masterful character voices for the roles of Ping, Pang and Pong; this is the ONLY performance I have ever heard--recorded or live---where the 3 voices are each unique and distinguishable from one another, in terms of weight, tonal color,

and overall character.



Corena's PING is the hallmark by which any other performance of this overlooked role still must be measured---blustery, commanding, sardonic when needed--but also warm and tender in the great trio "Ho una casa"---gently floating a lovely mezza-voce which immediately reveals the depth and humanity of the character.



And the always delightful Mario Carlin (check out his fabulous Goro in the Moffo/Leinsdorf "Butterfly" from 1957)turns in another finely

nuanced and detailed performance. His light but piquant tenor contrasts

beautifully with Renato Ercolani's raw, earthier sound---once again, the ONLY instance I can recall when the 2 tenors sound like totally different

characters---and Carlin is just as likely as not to shade a phrase in a sly and seductive way that enhances Puccini's brilliant writing.



I must also point out that the BALANCE between the 3 voices, particularly in passages of 3-part harmony, has never been captured as well. Add to this the clean and vivid sound (Decca's mid-50's stereo best), which reveals numerous details which often are buried (low xylophone, chimes in the "Addio", Pang and Pong's brief humming accompaniment, etc) and you have an ACT II Scene I performance that transcends its Intermezzo/"filler" role in the plot and becomes, in this performance at least, THE highlight of the score!



Unfortunately (as might be expected) the three traditional cuts were taken in the scene; it's a pity that the magnificent work of these 3 artists could not have been preserved in its entirety. But then again, their work in ACT 1 is just as good; every WORD, every NOTE

is projected with the utmost in intelligence, humor, and humanity, resulting in as finely shaped and vivid a "Trio of the Masks" as could be imagined. Check it out!

"

Not A First Choice, But a Great Second

T. Dissinger | Jacksonville, AL USA | 11/25/2006

(4 out of 5 stars)

"This recording seems to have fallen through the cracks over the years but is still surprisingly strong compared to what has come after it. Del Monaco sings the Calaf with his usual manly flair, Borkh is a strong princess without the brute power that Nilsson had at her command and Tebaldi is a good Liu who shows that she could tone down her powerful instrument when the music asked for it. I do find some of the tempos a little lathargic at times, but then again most recordings sound lathargic tempo-wise compared to the Mehta set.



As first choices I would say go with the Mehta on London or the Corelli/Nilsson set on EMI. For a second stringer, I would go with the Del Monaco/Borkh set or the Bjorling/Nilsson set on BMG/RCA."