Notes and Editorial Reviews
...And now there is the Philips set, carefully cast, impeccably recorded and produced, and conducted with a care and expertise which may surprise some of Sinopoli's more extreme detractors.
...The merit of [Sinopoli's] reading is its clarity, power and poise. The orchestral playing is generally of a high order and the Philips recording is cleaner...than the perfectly tolerable DG/Giulini... Bruson has more variety and humanity in his singing of the great soliloquy than either Milnes (Bonynge) or Cappuccilli (Giulini). He also makes much of the long and complex postlude to "Cortgiani". The "Piangi, fanciulla" in the reconciliation with Gi Ida is sung (and conducted) with remarkable breadth and grandeur of
utterance, and the vengeance cabaletta is strong without being hectic: an interesting piece of self-discipline on Sinopoli's part...
...[A]s Gilda...Gruberova, cool but not chilly, sympathetic, technically flawless, is very fine. There is nothing pert or soubrettish about her reading: the girl's inner resolve—an inner strength which puts her in a line of young heroines which can be traced back to Shakespeare's Juliet and Desdemona—is never in doubt... The comprimario roles are strongly cast... This new set offers an intelligent appraisal of the great work. It is a joy to listen to from the technical point of view and has in Bruson a singer who in the mature flowering of his art more than once allows us to glimpse Rigoletto's majesty and his awful capacity for compassion.
-- Gramophone [11/1985]
Works on This Recording
Rigoletto by Giuseppe Verdi
Renato Bruson (Baritone),
Neil Shicoff (Tenor),
Edita Gruberova (Soprano),
Robert Lloyd (Bass),
Kurt Rydl (Bass),
Geoffrey Moses (Bass),
Armando Gabba (Baritone),
William Matteuzzi (Tenor),
Brigitte Fassbaender (Mezzo Soprano),
Jean Rigby (Mezzo Soprano),
Maria Grazia Pittavini (Soprano)
Santa Cecilia Academy Rome Chorus,
Santa Cecilia Academy Rome Orchestra
Written: 1851; Italy
Be the first to review this title