Search - Riccardo Zandonai, Antonio Guarnieri, Maria Caniglia :: Zandonai: Francesca da Rimini

The Only Commercial Recording

Paul A. Dunphy | Bogota, New Jersey USA | 11/25/2003

(4 out of 5 stars)

"Although not one of the most popular operas, "Francesca da Rimini" has been a worthy vehicle of Italy's dramatic sopranos. Here we have Maria Caniglia who owned the role in the 1940s and 50s. He voice is a bit worn and she is not convincing as a young woman involved in an adulterous affair but she can give dramatic punch when needed - her "lo bacio` in bocca" at the end of the Third Act is such a moment.
Giacinto Prandelli does not have the heroic squillo that subsequent Paolos have but he is incomparable in the more tender moments. Carlo Tagliabue gives himself heart and soul into the role of Gianciotto.
The remastering of this recording has brought out the beauty of the orchestra under Antonio Guarneri. Details which are lost on live recordings of this role are in strong evidence here despite occasional balance problems.
The opening of the final scene is cut (as it usually is in Italian performances) and the libretto is only in Italian but these are small deficiencies in the only commercial recording ever made of this opera."

Enchanting Music.......Vile Plot

Impostazione | New York City Area | 01/15/2005

(3 out of 5 stars)

"I will say first that the murder scene in Francesca da Rimini makes Otello look like child's play. Two are murdered out of jealousy!



Yet the most distinctive aspect of this set is that all the voices are as enchanted as the music itself. Caniglia is in calm and reflective voice for a change, rich of tone. She acquires, in this set, a Tebaldi-like finesse, very unusual for this emotional prima donna. I must say, a famous book made the case that "high notes were not her glory", perhaps because they are wildly produced, yet she is NOT short on top at all, though many would repeat that phrase just because they read it. Prandelli is a tenor I really enjoy for his ardent singing and ability to modulate his tone. He is perfect for the young love atmosphere of this opera.



Yet the interest is in the sonorities of Zandonai's exotic, Asian like music with its pentatonic and whole tone scales. It is a relaxing piece.



I don't find the conducting memorable at this point, neither is the mastering superb (as in the Caniglia/Prandelli Fedora), Caniglia may be a tad too powerful for the ideal lover (she was a Taurus), and the music itself is more impressionist while the text implies realism and gut wrenching romanticism.



The whole experience of Francesca da Rimini is an enigma, especially to those less poetic than the Italians, but I found the experience, shall we say.....transcending!



See for yourself!"