This CD is reissued by ArkivMusic.
Notes and Editorial Reviews
One of the best places to test a conductor's fitness for Rigoletto is the Duke's solo "E il sol dell'anima", and Kubelik passes with flying colours. Anybody can set the fire going and make the big noises; but to accompany the vocal line with orchestral parts that look on paper to be so utterly devoid of interest a conductor has to have a true feeling for the traditions of Italian opera. Kubelik and Bergonzi here are at one, fine exponents of the tradition and a pleasure to hear. So too in "Parmi veder" with its eloquently rounded cadenza... In other places there's too much gravims, too little bounce and joy. In the 30-year-old Renata Scotto they had a Gilda who no longer sounds young: her best singing is done after her
crisis off-stage, with an unusually affecting "Tutte le feste" and, in the final duet, "V'ho ingannato". Rigoletto, on the other hand, sounds young enough to be almost anything but her father. Fischer-Dieskau jests pointedly, broods with bitter loathing, and runs the full range of emotions in his scene with the courtiers. "Miei signori" finds him lacking richness, but "Ah, veglia o donna" which brings so many to grief is beautifully done. In short, a recording of mixed merit, the best of it distinctly too good to miss.
-- Gramophone [10/1984]
Booklet includes synopsis and detailed track list. NO LIBRETTO.
Works on This Recording
Rigoletto by Giuseppe Verdi
Renata Scotto (Soprano),
Ivo Vinco (Bass),
Dietrich Fischer-Dieskau (Baritone),
Carlo Bergonzi (Tenor),
Fiorenza Cossotto (Mezzo Soprano),
Mirella Fiorentini (Soprano),
Virgilio Carbonari (Bass Baritone),
Lorenzo Testi (Bass),
Alfredo Giacomotti (Bass),
Caterina Alda (Mezzo Soprano),
Piero de Palma (Tenor),
Giuseppe Morresi (Bass Baritone)
Milan Teatro alla Scala Orchestra,
Milan Teatro alla Scala Chorus
Written: 1851; Italy
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