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Verdi: Macbeth / Abbado, Verrett, Cappuccilli, Domingo Et Al


Release Date: 01/28/1997 
Label:  Dg The Originals Catalog #: 449732   Spars Code: ADD 
Composer:  Giuseppe Verdi
Performer:  Giovanni FoianiShirley VerrettStefania MalagúPlacido Domingo,   ... 
Conductor:  Claudio Abbado
Orchestra/Ensemble:  Milan Teatro alla Scala OrchestraMilan Teatro alla Scala Chorus
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 34 Mins. 

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Notes and Editorial Reviews

Four years ago, when the EMI version appeared on two CDs at mid price, I suggested that, to be competitive, the DG/Abbado would have to follow suit. At last it has done so, as part of the Originals series. On comparing the two sets, made at roughly the same time, I was on this occasion struck by one startling contrast in approach. On the Muti recording we are presented with a sound-picture suggesting a theatrical ambience and a performance to accompany it that depends on grand, opera house gestures. By contrast DG and Abbado opt for a more confined acoustic and a much more intimate performance. In their crucial Act 1 duet, Cappuccilli and Verrett seem to be communing Read more with themselves and with us in the privacy of our home; Milnes and Cossotto on EMI are more extrovert, directing their interpretations to the mid-stalls. As between these principals I do not budge from my previous verdicts that Cappuccilli has a better focused tone than Milnes and that the Italian baritone gives us a more haunted, subtle portrayal of the Thane. Verrett matches him in nuance, but vocally she is no match for Cossotto’s Italianate tone and brio for Muti. As for the rest, Ghiaurov is to be preferred, as Banquo, to Raimondi (EMI); honours are equal between the two starry Macduffs.

This time I felt that Abbado just had the edge over Muti because of the slight superiority of his La Scala forces over their British counterparts, while the DG recording offers us marginally more detail. Don’t entirely rule out of the equation the RCA set where Rysanek’s superior singing and acting and Warren’s compelling Macbeth remain in the frame; so even more do Nilsson and Taddei (best of all Macbeths) on the Decca/Schippers set, if you can find it in the shops, an arresting performance despite minor excisions. But a newcomer won’t find much fault with this Abbado set, scrupulously prepared, executed and recorded.

-- Alan Blyth, GRAMOPHONE (3/1997)

Abbado’s recording followed a widely acclaimed 1975 La Scala production by Giorgio Strehler. With the La Scala theatre not available, DG used the part completed Centro Telicinematografico Culturale in Milan in January 1976 to produce a warm yet detailed acoustic. Abbado’s conducting is idiomatic and vibrant and sets a theatrical benchmark for his soloists. As the queen, Shirley Verrett is smoky-toned and musically correct, perhaps lacking a little of the vocal wildness that Verdi had in mind and specified for the role. Cappuccilli as Macbeth is characterful and expressive, just the odd moment of dry tone intruding. Ghiaurov’s bass is a rock-solid tower of strength whilst Domingo as Macduff sings an eloquent lament for his lost family in a vocally commanding performance (DG Originals 449 732-2).

-- Robert J. Farr, MusicWeb International
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Works on This Recording

1.
Macbeth by Giuseppe Verdi
Performer:  Giovanni Foiani (Bass), Shirley Verrett (Soprano), Stefania Malagú (Mezzo Soprano),
Placido Domingo (Tenor), Nicolai Ghiaurov (Bass), Carlo Zardo (Bass),
Antonio Savastano (Baritone), Alfredo Mariotti (Bass), Sergio Fontana (Baritone),
Piero Cappuccilli (Baritone)
Conductor:  Claudio Abbado
Orchestra/Ensemble:  Milan Teatro alla Scala Orchestra,  Milan Teatro alla Scala Chorus
Period: Romantic 
Written: 1847/1865; Italy 
Language: Italian 

Sound Samples

Macbeth: Overture (Preludio)
Macbeth / Act 1: Coro di Streghe: "Che faceste? dite su!"
Macbeth / Act 1: Due vaticini compiuti or sono
Macbeth / Act 1: Coro di Streghe: "S'allontanarono!"
Macbeth / Act 1: Vieni t'affretta...Or tutti sorgete
Macbeth / Act 1: Scena e Marcia: "Oh donna mia"
Macbeth / Act 1: Gran Scena e Duetto: "Sappia la sposa mia"
Macbeth / Act 1: Scena e Sestetto - Finale I: "Di destarlo per tempo il re m'impose"
Macbeth / Act 2: Scena: "Perché mi sfuggi"
Macbeth / Act 2: Aria: "La luce langue"
Macbeth / Act 2: Coro di Sicari: "Chi oso mandarvi a noi?"
Macbeth / Act 2: Gran Scena: "Studia il passo, o mio figlio!"
Macbeth / Act 2: Finale II: "Salve o re"
Macbeth / Act 2: Si colmi il calice
Macbeth / Act 2: Va', spirto d'abisso!
Macbeth / Act 3: Coro d'Introduzione - Incantesimo: "Tre volte miagola la gatta in fregola"
Macbeth / Act 3: Ballo: Allegro vivicissimo - Un poco ritenuto - Allegro - Andante - Allegro - Valzer. Allegro vivacissimo - Poco piu mosso -
Macbeth / Act 3: Finché appeli
Macbeth / Act 3: Fuggi, regal fantasima
Macbeth / Act 3: Coro e Ballabile: "Ondine e Silfidi"
Macbeth / Act 3: Scena e Duetto - Finale III: "Ove son io?"
Macbeth / Act 4: Coro di Profughi Scozzesi: "Patria oppressa"
Macbeth / Act 4: "O figli, O figli miei...Ah, la paterna mano"
Macbeth / Act 4: Scena: "Dove siam?"
Macbeth / Act 4: Gran Scena del Sonnambulismo: "Vegliammo invan due notti"
Macbeth / Act 4: Una macchia è qui tuttora
Macbeth / Act 4: Perfidi! All'anglo contro me v'unite!
Macbeth / Act 4: Pietà, rispetto, amore (Macbeth)
Macbeth / Act 4: Ella è morta!
Macbeth / Act 4: Mal per me m'affidai ne' presagi dell'inferno!
Macbeth / Act 4: Inno di Vittoria - Finale: "Vittoria!"

Customer Reviews

Average Customer Review:  1 Customer Review )
 Still one of the best  December 21, 2011 By Brian Lowery (Kearneysville, WV) See All My Reviews "Love this recording. Every role is done well and it includes the "death aria" from the 1847 version." Report Abuse
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