Search - Verdi, Boito, Toscanini :: Rigoletto / Mefistofele (Boito)

Great Lombardi, Mefistofele, uneven Rigoletto

madamemusico | Cincinnati, Ohio USA | 10/14/2000

(3 out of 5 stars)

"One cannot say enough for Toscanini's performances of the "Lombardi" trio, which is elegant, sweet and moving, or of his "Mefistofele" Prologue, which is hair-raising, dynamic and chilling. These are interpretations that will live forever.But as to the Rigoletto Act 4...the conducting is fine, but I totally disagree with his decision to eliminate ALL the singers' high notes (except Peerce's written C in the reprise of "La donna e mobile"). I don't care if it is tradition, it makes musical sense. The only high note I feel is superfluous is the soprano's at the end of the Quartet. Also, Peerce does not sing as eloquently here as he does in the Lombardi excerpt, and Zinka Milanov is a (big) fish out of water. Except for the final duet, "Lassu in cielo," where she can float those heavenly high notes, her voice has an ugly metallic sound and overloud tone for this music. She was much better in the 1940 "Missa Solemnis" than she is here.Still, 3 stars for the Mefistofele and Lombardi excerpts. They ARE great."

Great Operatic Highlights

Robert E. Nylund | Ft. Wayne, Indiana United States | 03/09/2006

(5 out of 5 stars)

"Actor Tony Randall, who was a really great operatic buff, always said that his favorite singing actor was Leonard Warren, who sang for many years at the Metropolitan Opera in New York. Indeed, Warren died suddenly in 1960 during a performance at the old Met. Warren's abilities can be really appreciated in recorded performances such as the 1957 complete (stereo) RCA Victor recording of Puccini's "La Tosca" (ably conducted by Toscanini's protege Erich Leinsdorf) and in this final act from Verdi's "Rigoletto."



Even if we can't see Warren acting, we can sense his incredible involvement in the performance. This is very true in this live performance in New York City's Madison Square Garden, which actually used the combined forces of the NBC Symphony Orchestra and the New York Philharmonic Orchestra. Arturo Toscanini served as music director of both orchestras: the Philharmonic from 1926 to 1936 and the NBC from 1937 to 1954. Joining these two wonderful orchestras together for the special Red Cross benefit was quite an accomplishment.



Warren's singing as the tragic jester Rigoletto is very powerful in this performance; it is he who discovers that his daughter, Gilda, has not only been seduced and abandoned but accidentally, fatally stabbed. Typical of many operas, Gilda has to sing a farewell before she actually dies. In this case, Toscanini used Zinka Milanov, a very strong, dramatic soprano, who still managed to sing with great sensitivity and virtuosity.



For the villain, the Duke, Toscanini turned to his favorite American tenor, Jan Peerce. This writer had the privilege of meeting Peerce in 1977, when he was still singing quite well in his early seventies, and it was wonderful to learn that he thought so highly of Toscanini. He sings the familiar "La donna e mobile" with great beauty and emotion.



The chorus and combined orchestras really excel in the spectacular storm sequence, one of the most powerful sections of music that Verdi ever composed. In Toscanini's hands, this is a ferocious storm and provides more than ample background for the terrible stabbing of Gilda.



At the very end, Warren sings in great anguish as he recognizes that he and his daughter have been cursed and betrayed. The audience's incredible ovation at the end of the performance is ample testimony to the quality of what Toscanini was able to achieve.



Ten years later (on March 14, 1954, in Carnegie Hall), in his last great broadcast, Toscanini conducted bass Nicola Moscona, the Robert Shaw Chorale, a celebrated boys' choir, and the NBC Symphony in perhaps the greatest opening to an opera ever composed: Arrigo Boito's prologue to "Mefistofele," yet another telling of the Faust legend, with emphasis on Satan's point-of-view. Boito's devil is much in keeping with the account in the Book of Job, showing that Satan still has some respect for God, even if continues to rebel and challenge him.



The boys chorus portrays the cherubs, while the Robert Shaw Chorale portrays the other angels. They serve as God's spokesmen and messengers, lending great dignity to the musical drama. The awesome brass playing by the NBC musicians add spectacular color. The recording has very high fidelity for its time and only lacks the added dimension of stereo, which was finally employed in the next two broadcast concerts by Toscanini and the NBC Symphony Orchestra.



As another reviewer noted, this performance is so awesome that it has overshadowed veritually every other recording or live performance of the music. The music itself is so overwhelming, too, that it's hard to imagine that anything could follow it, but Boito succeeded admirably in presenting the great conflict that developed once Faust sold his soul to the devil in exchange for youth, success, and love. Toscanini, who knew Boito quite well, took this music very seriously and managed to give the final great performance of his life."

Emotionally and musically dynamic

Robert E. Nylund | 12/01/1998

(5 out of 5 stars)

"Toscanini and Moscona, along with the NBC Symphony, chorus and soloists, bring a rare understanding of the emotional depths and musical and artistic dimensions of these works, two of which are (to our great loss) all too seldom performed. If you love Verdi and are unacquainted with Boito (and especially if you are), buy this CD!"