Search - Puccini, Inge Borkh, Alberto Erede :: Puccini: Turandot

An overlooked beauty

Charlus | NYC | 01/13/2006

(5 out of 5 stars)

"Inge Borkh, a world-famous Elektra and Fidelio, was a typical Viennese-type Turandot. Her voice was not very Italianate (then again, neither is the rôle, and Italians have generally steered clear of it) but it was large and secure, and she was an expressive, highly musical artist. This is a fine performance of the kind Maria Jeritza might have given--closer perhaps to Strauss that to Puccini.



Mario Del Monaco had one of the hugest voices I have ever heard come out of a human throat, and to suggest that he was "overparted" (an ugly British Germanism to say that a rôle is too heavy for a given singer) by the rôle of Calaf, one of his most famous assumptions, as another reviewer has written, is a real howler. I heard him in this very rôle at the Roman amphitheatre in Verona, and he raised the rafters... (it's an open-air venue...) He sings with his usual macho fury, whirlwind high notes and total committment. One either loves him or one doesn't, but this is one of his most typical and successful recordings. (Because of his big, big voice, he was very hard to record.)



Renata Tebaldi, at age 33, is simply the most wonderful, most golden-throated, most silver-lined, most exquisite Liù ever. Her long, long phrasing and perfectly molded line is what Puccini singing is all about. Magic her every note. Listen to the finale of _Signore ascolta_ and MELT!



Alberto Erede was seldom given enough rehearsal time in his DECCA recordings--all money was spent on the singers--but this is one of his best accomplishments for them. He gets rich playing from the orchestra and the surprisingly slow, ecstatic tempi, again more Viennese that Italian, are very effective. The finale is something else.



I guess the Nilsson/Corelli recording on EMI is objectively the best TURANDOT, but I love this one. There is something other-wordly about it, something classic and non-routine; and Tebaldi's singing is simply supernatural! At this price, irresistible."

My first "Turandot".

B. Konowalski | Poland | 08/12/2004

(1 out of 5 stars)

"I learned "Turandot" on this recording, and this is probably why I like it so much.

The role of Princess is taken by German soprano, Inge Borkh, who didn't record much in studio (one can find her "Elektra", Boehm conducting, DG), so this is already a good reason to buy this CDs. Borkh was associated with German repertoire, but also she was one of the best Lady Macbeth, and of course Turandot. I found her "Turandot" here less icy and more human than Nilsson's, yet powerful enough to give appropriate authority to what she sings.

Mario Del Monaco is fine, strong Calaf. What is interesting, he doesn't take high note in the final of Act II ("No, no, Principessa altera, Ti voglio ardente d'amor!") - I like it this way, it's less 'showy'.

Renata Tebaldi was a definitive Puccinian singer, and her Liu is just angelic!

Niccola Zaccaria's Timur really sounds like abandoned king, but still proud and not 'lachrymosal' (what happens sometimes on other recordings, and is awful).

Supporting cast varies, but one can find Fernando Corena as Ping - marvellous!

Many people say that Alberto Erede's conducting is sloppy. This is of course not the best conducted "Turandot" on records (the best is Zubin Mehta's for Decca), but for me the slow tempo of the Act I final is thrillingly moving!

Recommended!!!

"

Overlooked but great

Burton Rhode | northport, al United States | 12/17/2000

(5 out of 5 stars)

"I warmly recommend this Turandot. The conductor and orchestra bring out wonderful details that I have missed in other recordings. Monaco is excellent, a virile, dramatic tenor with a more attractive voice than Corelli. Tebaldi is at her best here. Borkh is another Wagnerian/Straussian Turandot. She lacks Nilsson's poweer in this role, but is good. The supporting cast, including Corena, is great."