Search - Stabile; Tebaldi; Canali; De Sabata :: Verdi: Falstaff--2 Historic Performances

Two Great Recordings (One with mediocre sound)

Philip S. Griffey | Bainbridge I. WA USA | 06/01/2009

(5 out of 5 stars)

"There are several great recordings of this wonderful opera. In order to be a great recording, I think the following criteria must be met - more or less in the order shown: (1), above average audio; (2), a great conductor and a great actor/singer for the eponymous lead; (3), excellent actor/singers for (Master) Ford and Quickly; (4) elegant and youthful sounding singers for Fenton and Nannetta; (5), an above average orchestra. The remaining singers should not be sub-par, but can be variable without having too serious an impact - if the first five criteria are met.



I believe that there are at least three recordings that meet these requirements: Serafin, de Sabata Verdi: Falstaff and v. Karajan Verdi: Falstaff. Each of these recordings has one or two irritating flaws; but their many virtues still allow for great pleasure, and, considered together, they offer a wonderful complementary vision of the ideal. It is hard not to include either of the two recordings conducted by Toscanini, whose conducting of Verdi normally establishes the standard for greatness; however, the sound of the 1937 Salzburg performance is just too dismal to allow enjoyment, and the casting of the routiniers, Valdengo and Guarerra, as Falstaff and Ford, along with dry sounding audio, and a relatively stiff and humorless approach by the Maestro in the 1950 broadcast, significantly reduce the impact of the work. If you are a fan of Toscanini, allow me to make amends by bringing to your attention a two disc set of Toscanini's rehearsals for the broadcast Verdi: Falstaff (rehearsals 1950)- which offers the only recorded version (that I know of) of one of the volcanic Maestro's eruptions (occasioned by Guarerra addressing him as "Signore" rather than the more usual honorific "Maestro" during a discussion they were having).



The Serafin performance appears to be a studio recording of a broadcast made on April 28, 1941 (perhaps in Berlin) by the German Radio network. This boxed set of 4 C/D's also includes the de Sabata performance - but in mediocre sound (get the de Sabata on Urania for much better sound). Fortunately, the sound of the Serafin is excellent - on a par with or better than, v. Karajan's much later recording for EMI. Excellent, performance-specific notes by Alan Blythe are included.



The star of this performance is Mariano Stabile (April 12, 1888 - Jan. 11,1968), who had just turned 53 when this performance was recorded. Stabile (who no doubt was helped significantly by being coached for the role by both Toscanini and Giuseppe De Luca for the reopening of La Scala in 1921) made it one of his signature roles - singing it nearly 1,200 times in his long career. As Alan Blythe archly suggests: If "la donna e mobile" then "Falstaff e Stabile". His voice was neither large in volume nor rich in texture. His first serious teacher (Antonio Cotogni) advised him to sing mainly lyrical roles, straying into the more dramatic roles only when interpretation was more important than vocalizing. To hear Stabile in this recording, in good sound, and in good voice, near his prime, is revelatory. His subtle inflections and intonations add an entire new depth of understanding of not only the fat knight's fatuous vanity, but also the melancholy fragility of a proud man who once was the boon companion of Prince Hal and is now an old and impecunious bar-fly (or its Tudor equivalent). Harold Rosenthal stated that "To have heard Stabile simply speak the text would have been enough..." I heartily concur!



Stabile is very ably partnered by Serafin. The vigor and precision of the orchestra of the Rome Opera (if that is indeed who they are) are almost Teutonic in their execution, but with a lyrical quality which Serafin was able to elicit in his prime.



A young, 27 year old Tito Gobbi gives the role of Master Ford a very intense reading. Cotogni's advice to Stabile would also apply perfectly to Gobbi in that his light, not very generous, voice was very similar to Stabile's, and he was also a fine, subtle vocal actor. In listening to Gobbi's interpretation of Falstaff for v. Karajan I think it is evident that he learned much from paying close attention to Stabile. Cloe Elmo (April 10, 1912 - May 24, 1962) turns in her usual fine performance as Quickly - to be repeated on the later Toscanini and de Sabata recordings, and performances with Reiner at the Met (1949).



Some people are very fond of the artistry of Ferruccio Tagliavini (August 14, 1913 - January 29, 1995) - I find his vocal production to be unattractive. His Fenton seems feckless and mouthy rather than charmingly ardent. I don't think there will be much disagreement about Augusta Oltrabella as Nannetta - she runs the gamut from not good to bad! (especially in Act III)



The Cajus of Adelia Zagenara and the Bardolfo of Cesare Masini-Sperti, along with the un-named Pistol (whom I believe is Giulio Neri, May 21, 1909 - April 21, 1958) are all very good. Neri had one of the darkest, blackest bass voices on record. In later years, it was not very agile, but here it is fine. There used to be a marvelous Cetra recording of Don Carlos with a young Siepi as King Philip and Neri as the Grand Inquisitor; it is well worth listening to their duet if you ever come across it.



While waxing enthusiastic, I almost forgot to mention the irritating flaw in this recording. It has two important arias mostly missing (Presumably damaged in the war.): (1) the last 75% of Falstaff's monologue on honor and the buffoonery with the broom to end the scene, and (2) the first 95% of Fenton's aria "Dal labbro il canto" (Act III, Sc. 2). A good contemporary recording of the latter can be found without trouble; unfortunately the contemporary recordings of the former are either in mediocre sound or less inspired. Also missing are a few lines preceding and the beginning lines of the final fugue. Ah well, it's best to be grateful for discovered treasures which are almost complete.



If you love this opera, you need this recording

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