Classical music reviews

It's hard not to lean heavily on the adjectives when trying to convey just how fine "Traveller's Prayer" sounds. John Renbourn, as venerable and talented as any acoustic guitarist, has crafted a collection of traditional material drawn from English and Celtic traditions, but arranged and interpreted in a fresh, at time delicate manner.

Many critics have rightly praised this collection, perhaps without pausing to listen to the nuances and subtleties that shimmer and shine. The interplay of guitar, flute, fiddle (not too much fiddle), percussion, recorder, whistles, and voice creates an elemental essence, as though the music is transformed into a sweet smoke. Mr. Renbourn shines thoughout, a fleet-fingered elf plucking notes of grace.

A wealth of skilled guests accompany Mr. Renbourn, who in his unassuming way even includes all-vocal tracks.

The excellent liner notes explain how these sessions came to be, what Mr. Renbourn set out to, and did, accomplish, and what history accompanies each selection.

Part balm, part joy, "Traveller's Prayer" will ease the road before you or brighten your hearth. Share this CD with your quieter friends.

John Renbourn has been working in early music for over thirty years, and it's clearly territory with which he's familiar. The music on this recording displays a profound understanding of early music arranging and performance. The work is not overorchestrated; for such complex music, it's very easy to listen to. "Wexford Carol," sung by Mairead Ni Domhnaill, is a wonderful slow melody that stays with the listener. "Traveller's Prayer," a choral piece, revisits the closing cut on Renbourn's "Ship of Fools" recording, and added voices and a key-change make this already-impressive arrangement shine still more. As usual, Renbourn's guitar playing is impeccable; he sets a very high standard for playing this music.

The English aren't known for for their cooking, exquisite lodging or other comforts. However the thousands of years of blending medevil, and other classic types make their traditional music unique. Especially when done by an interpreter like Renbourn. Very nice.

I was introduced to this recording by one of my piano teachers. The marriage of music and story on this recording works perfectly!! This recording is not just for kids, it's for grownups too! Highly recommended!!

"Once there was a velveteen rabbit, and in the beginning he was really splendid," says Meryl Streep with George Winston playing piano in the background. This recording delicately combines George Winston's incredible talent with the lovely tale of a toy rabbit who "longs to become real." This story is simple enough for children to understand but refined enough for adults to enjoy. I recommend it to anyone who wants to prolong the magic of imagination long enough to raise their children, grandchildren, or others' children. It's a great gift for any child or child-at-heart who is ill, going through a rough time, or having troubles calming down to rest at night. It's also ideal for the parent with a rush-hour life who needs a moment in George Winston's piano-magic world while their children get entertained by a story. My grandparents bought the cassette for me when I was just 6 years old, and I can still quote most of the first side from memory. Now, in adulthood, I continue to enjoy the comfort of a soothing piano and a good story. I love this recording, and I know it will warm its way into your heart too.

The Velveteen Rabbit was introduced to me at a wedding -- the emphasis being on love that makes you "real" in a way that can never be changed despite the twists and turns of life. I read it to my grandchildren -- one who wanted it every single night of his week or two-week visit -- and I looked up on more than one occasion to find my husband sitting quietly in a chair, his ears, and obviously, his heart, tuned in to the increasingly familiar words. I began giving the book as shower gifts, wedding presents, anniversaries and the like. And then the CD came out. I grabbed it.

The grandchildren are grown now and off making their way in the world. But, I reclaim the closeness and joy of their presence all the more by sitting down with a cup of tea and being "lullaby-ed" by Meryl Streep and George Winston. It is a reminder of how I became "real" to them in a way that never dulls. This CD causes my heart to "spill over" anew every time I listen to it.

The selection from La Rondine alone is worth the price of the CD. Her entrance raises the hair on the back of my arms every time. How can any voice have such beauty, power and control? This is perhaps her best album, and thus one of the greatest recordings ever made by a soprano.

This wonderful recital presents the majestic artistry and magnificent voice of one of the twentieth century's most beloved sopranos. Leontyne Price demonstrates on this disc why she dominated Verdi spinto singing during her prime and also demonstrates her excellence in Puccini roles. Ms. Price has a dark, rich voice with an amazing upper register. Her high notes are among the most secure and beautiful on records. Her version of "Ritorna vincitor!" is fabulous and ranks with the best out there. Her "O patria mia" is truly in a class by itself. The high notes at the end, including a gorgeous, sustained dolce high C, are spectacular and very beautiful. The first aria from "Il Trovatore" is done wonderfully and soprano Laura Londi contributes nicely. Price handles the coloratura of the cabaletta competently and ends it with a secure high note. The second aria, "D'amor sull'ali rosee", to my ears, sounds a bit strained, but Price does show off a respectable trill. I have heard the piano singing of the phrases done better by both Caball� and Eileen Farrell. This is just a minor complaint. "Un bel d�" is sung beautifully, but I feel that the orchestra really drowns Price out in some places. Butterfly's Death Scene is very dramatic and effective. The best-sung aria on this recital is "Chi il bel sogno di Doretta". Price gives a marvelous interpretation of it and her high notes are rock-solid and hauntingly beautiful. Her "Vissi d'arte, vissi d'amore" is well-sung, but I felt that the diminuendos at the end should have been re-recorded to better show off her singing skills. The two arias from "Turandot" are nicely done and quite moving. The two conductors provide Price with good support. The sound is not as optimal as it could have been. Price sounds distantly recorded, while the orchestra sounds like it was recorded very near the microphones. Because of this, Price often sounds drowned out by the bombastic-sounding orchestra.

I had this album in college but wore it out. Leontyne Price is among my favorite opera singers, and I was fortunate to hear her live on several occasions. The most memorable was an outdoor concert she gave one summer at City College. The audience gave her so many standing ovations that she did encore after encore in appreciation. This CD captures the beauty and depth of her voice. It is a delight to listen to her interpretations of so many great arias.

There are some excellent voices on this recording of Rigoletto. Jan Peerce was one of my favorite singers (and also of Arturo Toscanini) with his clarion voice and dashing stage presentation. Leonard Warren was another artist who could always give pleasure with his mellow baritone. This CD gives an extra bonus in the form of recordings from La Forza del Destino, La Traviata, Simon Boccanegra and Otello. I was not taken so much by Erna Berger. She failed to give the impression of a naive young girl. I see that I have not said a whole lot about this particular recording.

Why are some record companies--RCA comes particularly to mind--so determined not to sell their products?

As has been pointed out by previous reviewers, this set and the fine set issued by Naxos here in Canada and in the UK are both based on vinyl pressings. As it so happens, this was my very first opera recording. I borrowed it in a wonderfully funky and battered carrying case from the San Francisco Public Library nearly fifty years ago. Let me assure you, the sound provided by Naxos and, I am sure, this set is infinitely better than that of the Lps that held me enthralled all those years back.

This is another recording from the post-WWII operatic golden age in New York. Erna Berger was a new arrival from the wreckage of Europe. She may have been just past her vocal peak, but she had wowed the audiences at the Metropolitan Opera by daring to sing Verdi as written. Memories of Jan Peerce are fading. He was always reliable, workmanlike and worth listening to. Sometimes, though, when he was on, he was extraordinary. He is on in this recording. There have been tenors with better sounding voices, undoubtedly, but no one has ever characterized the Duke so acutely. Peerce's Duke is a full-fledged, red-blooded, casually treacherous Sforza in full command of himself and his city. And he is out on a tear, never doubt it. Then there is Leonard Warren. He simply owned the part of Rigoletto. Maybe, just maybe, Tito Gobbi at his best was in the same league with Warren, but nobody else.

Consider this, too, the performance is more than the three top singers. There are impressive touches throughout. Rigoletto's first dark-of-night meeting with the assassin is unmatched on disk. (I am reminded that the murderous Sparafucil speaks of owning a "spada". In the libretto issued by RCA with its original 45 rpm and Lp versions, the dumb-as-a-sack-of-hammers translator rendered his words as "I am a man with a spade," instead of "I am a man with a sword." Hm, perhaps that's why RCA doesn't re-issue this "Rigoletto." They're still embarrassed.)

Five stars!

I first bought this recording as a set of 45's as a kid in the 1950's. It's been with me ever since and will always be one of my favorite recordings of this opera. With that in mind, I was very excited to see it was finally issued on CD. Having heard BMG was licensing recordings they weren't planning on issuing themselved to other labels, I assumed this set would be from the original master tapes, which at the time was a big deal as it represented RCA's first venture in recording a complete opera on tape (in 1950). Being familiar with the 45 set, the lp set and a commercially availble 1/2 track mono reel of the excerpts, I was disappointed to hear the Preiser set (as well as the Naxos set) as they sadly, are from lp transfers. The original recordings were done on tape, at 30 ips and the sound is amazing. The sound on the present set of CD's is pinched and distorted in spots with a heavy amount of compression, as was the case with the original vinyl release. Even though these CD's are clean and well transferred, they do not represent the true quality of the original sessions. I would recommend this set as a stop-gap because, in the final analysis, it's the performance that counts. However, knowing a much better recording of this exists makes it frustrating and one can only hope the people at RCA/BMG consider an "offical" release of this treasure soon.

I prefer this to the much vaunted alternative live recording from the following year featuring Bastianini rather than Gobbi; I do not think the added electricity of that live performsance outweighs the pleasure derived from hearing the opera in the clear sound of the studio version. Dramatically there really isn't that much difference. All three principals, although impassioned and vivid in their acting, evince their usual vocal flaws: Callas mixes velvety tone and trenchant lower register with some strident top notes, Gobbi also strains on top, Di Stefano often sounds sharp and he yelps a bit. The best all round performance is the Leinsdorf with Price, Bergonzi and Merrill, the latter bringing a subtley to his performance which he did not always strive to apply - and he simply has the better Verdi voice, for all Gobbi's artistry. Price is often as magnificent as Callas with her smoky, soaring spinto and Bergonzi is much more at ease with Riccardo's yearning phrases. - and the lighter, more humorous sections of the score.
I still want to own the Votto for Callas' unique plangency and psychological insight but the Leinsdorf remains the best choice for the collector - especially as Verrett, too, is more characterful and has a more integrated voice than the stentorian Barbieri as Ulrica.

There are two recordings of Ballo with Callas, one is live (Also available on Amazon) and the other is this studio-recording. The cast is almost the same, only on the live-recording Bastianini sang the part of Renato. Both are amazing, I slightly prefer the live-recording though because Callas&di Stefano were at their very best then.

The reviewer from Sandiego shouldn't be taken seriously. Just read how unmusical his reviews are. Just insults and no substance whatsoever. Forget about him and enjoy this amazing recording of "Un ballo in maschera". Musically there is only one Leonora who can be compared to Callas and that is not Price but Milanov. (The stunning Amelia on the live-recording with Bj�rling) Di Stefano and Gobbi are both in brilliant form and Votto conducts superbly. I doubt that this San Diego person ever heard this Ballo. If he had he'd know how sublime it is or he might be able to give musical examples. Callas sounds aristocratic and noble as Amelia, just listen to her "Morro ma prima in grazia" or her touching singing in the finale. Two thumbs up!!

After five tenor-plus-rhythm recordings on ECM, Charles Lloyd decided to shift gears and look back to his musical roots. One of his first major gigs was the musical directorship of Chico Hamilton's innovative post-bop group, playing side by side with Hungarian guitarist Gabor Szabo. That group (represented on albums like A Different Journey and The Man from Two Worlds) debuted several of the pieces which appear on this album -- "Voice in the Night", various shorter pieces in the "Pocket Full of Blues" medley, and the perennial "Forest Flower".

The personnel is also quite different than the earlier ECM albums, which usually included European rhythm section members and drummer Billy Hart. Lloyd drafts his old LA buddy Billy Higgins on drums, then completes the piano-less rhythm section with guitarist John Abercrombie and bassist Dave Holland. There's little of the chamber-music flavor, world music exoticism or Coltrane-ish moodyness that pervades the earlier albums.

Instead, we get a surprisingly straight-ahead album by ECM standards. You can hear reflections of the Hamilton-Szabo group matured by age and experience. Lloyd's tenor is as robust and powerful as on Canto or All My Relations, with a greater nod to his Memphis roots. His ballad performances are beautiful and often profound (especially the title track and Strayhorn's "A Flower Is a Lovesome Thing") but without the occasional meditative stillness that crept in a few years before. On the more up-tempo tracks his cheeky wit frequently pops up; check out how he plays with the rhythm section on the blues medley. And the take on "Forest Flower" is one of the best of his career, light and loosely swinging.

This is one of the best Lloyd albums on ECM, second only to Canto and maybe All My Relations. Like All My Relations, it contains a greater variety of tempos than much of his ECM work, and an excellent collection of compositions to boot. If you want to hear what Lloyd's been up to since emerging from retirement in the 80s, this is one of the places to start.

Lloyd seems to have found his Ultimate Band. Each player perfectly complements his fellows. Features some of John Abercrombe's finest playing on disc. Ditto, Dave Holland. Higgins, as usual, is a master of taste and coloration. With his recent passing, he will be greatly missed.

Comprising mostly mid-tempo balladic compositions, the songs here have a haunting, wistful quality that is very attractive. Especially check out "Dorotea's Studio," to my ears one Lloyd's most satisfying performances ever. But it's all good. Definately a high-point in a long and distinguished career. Proves my theory that when the ECM thing works, it sometimes works wonders.

This is a sweet sounding CD with some great haunting qualities too. The musicianship and subtle interplay is top-notch from Lloyd, Holland, Abercrombie and Higgins. Highly recommended.

I have never heard such beautiful music until I learned of Andre Rieu and the Johann Strauss Orcherstra! It is absolutely wonderful! I was thrilled beyond belief when I finally had the opportunity to go and see them in concert (May 2000) in Toronto. I ended up going by myself. Altogether, the trip, stay and concert ticket were a small fortune for me. The result however was unimagineable and astounding! In fact I had never been to a concert before in my life. I was saving it for the best. This was the night of all nights, for me! Not to mention that I had a terrific seat. Andre is not exactly hard to look at either! The way in which he handles his members and himself is very unique as well! His music is so uplifting and peaceful. I could listen to it all day! My wish is to see him again, soon. My dream is to go back to Europe and see him there.

I have always loved the music of Strauss. There's something magical about it that appeals to just about every age. Who can resist the pull of the waltz? And Andre Rieu has made a terrific album. It never fails to lift the spirits no matter what. This album though is not strictly dedicated to the waltz. There are a few other pieces by Strauss that are just as wonderful. Some I hadn't heard before, but they soon became etched in my soul with the ones I was familiar with. Andre makes classical music very accessible to all people with his television specials and charismatic style. Oh, and did I forget to mention that he is also cute? And on top of all that he's one hell of a violinist..WOW!

I first watched him perform on PBS in March, and fell in love with his music. This was the first CD I obtained of his, and I play it everyday. His music is so moving, and makes me "feel" so good. I now own 5 other CD's of his and will continue to get them, as they are available. The best music I have ever listened to.

On the Vox 2-CD collections - vols. 1&2:
Alfred Brendel is the one.
He can illuminate even the Hammerklavier Sonata of Beethoven. That one being so difficult, with so many runs, trills, and effects I can't even name. But A.B. plays with such light, agile fluidity that the piece makes sense. He communicates it by - somehow - taking his time; being in control, being on top of the situation. The complication of LVB now makes sense - I imagine it's become easy for A.B. (after the years of practice, his gift is to render LVB's music as just "a snap.") He reanimates it with such clarity of mind and lightspeed of finger that we can hear our way into it. A resonant sound - all brought within hearing distance by a player who knows how to pause and how to get soft at the right moments in any complex piece.
Some of the most exciting and beautiful music available. Highly recommended.
---

Beethoven the Titan (as described by radio commentator Karl Haas) is played by Brendel with many, many good characteristics. There is something very transcendant and seminal about Brendel and this composer. You can tell that Brendel is very, very attentive when he practices. Every note (just about) is cared for very lovingly. I think Brendel tries to play every note true to the overall scheme of the piece, as well as the individual phrase in which it lies. For example, it's exhilarating to hear Brendel go at "full steam" during the last movement of the "Appassionata" combining an awe-inspiring technique, clarity, tempo, expressivity, dynamism, and intelligence.

I dont know how Brendel's later recordings sound compared to this youthful one, but this one is simply terrific.

These Brendel recordings of Beethoven are powerful, sensitive, poignant, subtle, clear, clean, and transparent. The phrasing, tempo, volume, peddling, and legato are perfect. The sound quality leaves nothing to be desired. I find myself comparing all other performances of Beethoven sonatas to the Brendel recordings, and have heard none better. In my mind, this is the standard. I'm buying the entire set.

Unlike some "New Age" titles, American Acoustic is melodic, serene, and sometimes fun. The selections complement each other. I thoroughly enjoyed it.

Trying to describe Tingstad and Rumbel's music with mere words is like trying to render a Frank Lloyd Wright building with Lego blocks. Eric uses the phrase "liquid architecture" to describe music and its ability to create a space within which we can be.

Eric and Nancy's music takes us out of time and into quiet, cancelling out the noise that surrounds us, and allowing us to hear and feel the world's heartbeat - and our own. They take us to a rich variety of beautiful places all over the world - from pastoral sunlit meadows to stormy mountaintops; from wooden sailing ships to country chapels; from lush forests to scalding desert.

The musical means are deceptively economical, often a single guitar and oboe (or English horn, or ocarina). The clean musical lines, free of any excess weight, soar freely and carve out surprisingly large open spaces. Eric and Nancy's wide range of stylistic interests results in a mix which can satisfy listeners of varying tastes.

This music isn't just for the "new age" crowd. Anyone who likes good music should check out Tingstad and Rumbel. This collection, featuring new recordings from seven T&R and solo albums, as well as several new songs, is ideal to begin with.

I first heard Tingstad & Rumbel when they did a concert in my hometown, and I fell in love instantly, buying every recording I could find. American Acoustic is a great anthology, offering an overview of their repetoire including several pieces not on any of their previous recordings. I heartily recommend this 2-disc set for anyone who likes acoustic new age, folk, instrumental, even light jazz. Or if you just like listening to oboe or guitar, for that matter - this is just lovely, intriguing, relaxing music. It's great both for introducing listeners to this fabulous duo, and for adding to the collection of people who are already fans.

If you wonder what you get when you take a lecherous petty noble, an insulting court jester, an angry father who is not afraid to use curses at the drop of a hat, a group of kidnappers and assassins, and add an innocent young girl who is taken advantage of by the powers that be, the result is the opera RIGOLETTO. This musical story of a curse that causes the death of a young woman and shows what comes around goes around has been a favorite since its premiere. The addicting music combined with recordings that include some of the greatest singers in history assure that it will be a favorite for years to come

This recording is a technically perfect RIGOLETTO. The conductor Carlo Maria Giulini brings Verdi's score to life exactly as it's written, but somehow this literal reading is missing something. There are no flourishes here. Gilda's "Caro Nome" sung beautifully by Ileana Cotrubas does not have the vocal acrobatics that have become the signature of other sopranos. Rigoletto does not go into convulsions when his daughter is kidnapped. There are no high notes at the end of the quartet "Bella figla dell'amore." My guess is that they are not written in the score, so Guilini excludes them. The only problem, we are so used to them something is missing, and I would argue that since Verdi had such a great instinct for what worked on stage, he'd want whatever worked in the theatre. It's not surprising that this is the case in some of Guilini's recordings of opera. While he loved opera, he hated opera houses and in later years refused to conduct live productions of opera. This probably gave him a greater appreciation of the music, but not the greatest understanding of the listener.

While this recording may be somewhat lackluster at times, it still has many merits. Giulini keeps the pace moving in this recording (which is not the case in IL TROVATORE) and the orchestra and chorus are excellent. The overall singing is good, and Domingo's interpretation of the Duke which is not buffoonish, makes him believable to the listener. Since it is now released in the mid-price category, it's a bargain as well.

Enjoy!!!

Verdi based this opera on a play, "Le roi s'amuse" by Victor Hugo. It is hard to understand today, but Hugo's play ran into trouble with the censor's because of the scandalous way it presented royalty and was shut down after a single performance. In fact, Hugo had based his characters on real historical figures: King Francois I (ruled 1515 - 1547) (the Duke of Mantua in the opera) and his jester, Triboulet (who becomes Rigoletto). In the play, the king is a letch and rapes his jester's fifteen-year-old daughter, Blanche. Hugo makes Triboulet a hunchback and this makes historical sense. Verdi retains this in the opera and Rigoletto is also a hunchback. In the days of Francois I, physical deformities were sources of public humor and ridicule.

In making cuts to the five-act play for the opera, Verdi and his librettist also changed some names, but they did use some dialogue directly from the play including the words to this opera's famous aria "La donna � mobile". However, there are also real differences because operas are different things than plays.

The opera opens at the Duke's palace where he is holding a festive ball and bragging to one of his buddies about his latest amorous conquest. He has a long track record of seducing unmarried women as well as other men's wives and this creates many hard feelings. He declares that others may feel the need for fidelity, but it isn't for him. He tells Borsa about a young girl who lives in an alley that he has met at church. She does not know who he is. The Duke has also heard that she is visited every evening by an unknown man.

As the Duke makes a very public and humiliating advance on the Countess Ceprano in front of her husband, Rigoletto enters and mocks the husband. One of the courtiers tells the others that he has discovered that Rigoletto has a mistress he visits in the evenings. During all this Count Monterone enters and is furious with the Duke for having dishonored his daughter. Rigoletto mimics and insults the old man, who swears vengeance and curses the Duke and Rigoletto. The others turn on the old man for killing the fun of the party.

As Rigoletto returns to his home down an alley near Count Ceprano's house he is approached by Sparafucile who is an assassin and offers his services to Rigoletto. The murderer explains how he works his trade with the help of his sister, Maddalena. Rigoletto says he has no need of his services, but later begins thinking about it because of all the humiliations he has had to suffer because of his deformities and his status as a servant to a wealthy and powerful man. He enters his home lost in thought and is greeted by his daughter Gilda (pronounced jilda). She knows nothing of Rigoletto's life or even her own. Her father's love and attention, the housekeeper Giovanna, and attending Church are the scope of her world.

The Duke as already entered the house unnoticed through a bribe he has paid Giovanna. Gilda believes her love, the Duke, is just a student without money. After Rigoletto leaves, the Duke surprises Gilda and they exchange declarations of passion and love. They here Ceprano and others coming down the alley so the Duke leaves.

Ceprano and the others are there to kidnap Rigoletto's mistress. Rigoletto enters and believes that they are kidnapping Countess Ceprano and even holds the ladder for them. This delights those who want their revenge on Rigoletto. As they drag Gilda away, it dawns on Rigoletto what has actually happened and he remembers the curse.

The second act returns to the Duke's palace. The Duke is in despair that Gilda has been kidnapped and is surprised at his genuine affection for her. As the men brag and present Rigoletto's mistress to the Duke, he and Gilda rush to each other. Rigoletto appears and is looking for his daughter, when he learns she is with the Duke he tries to break in and demands her, turned away, he begs. Gilda is brought to him and confesses that her love affair with the Duke has cost her her honor. As Malderone is led past he notices a portrait of the Duke admitting that his curse has done nothing. Rigoletto swears vengeance on the Duke even while Gilda pleads for Mercy.

As the third act opens, Rigoletto has hired Sparafucile to kill the Duke and what follows is a tragedy for all involved. This is the act with the famous melody "La donna � mobile". It is the Duke's signature drinking song and note how it is used at different times in this act. It ranges from a rather pleasant song with an appropriately banal accompaniment through a delusional horror song. Magically done!

This opera was first performed in 1851 and was soon followed by "La Traviatta" and "Il Trovatore". What a great couple of years for opera! This great opera has many wonderful features that add so much to the work. For example, when Rigoletto and Sparafucile first meet, they are accompanied without violins to give it a strange sound and a lower, more sinister register. Note, too, that the chorus in this opera is only men (and what great music Verdi gives them to sing!). Verdi also set out to do an opera with few arias. He wanted this to be an opera of duets and they are here in beautiful abundance as are some amazing ensemble singing.

Treat yourself to this magnificent opera with this very fine recording. It is full of beauty, drama, and the full range from merriment to tragedy.

Piero Cappuccilli portrays the title jester perfectly, capturing his two immense facets: the cruel, detestable clown and the vengeful, loving father. His voice contrasts between lyric beauty and dramatic ferocity. His rendition of "Cortigiani, vil razza dannata" begins with electrifying violence and soon melts into pathetic sorrow. His smooth bel canto also blends well with Cotrubas during their beautiful duet in Act I ("Gia da tre lune son qui venuta").
Placido Domingo is also perfect here as the Duke of Mantua and presents the unscrupulous noble's principle arias - "Questa o quella", "Parmi veder le lagrime", "La donne e mobile" - with ease, lust, and sensuous style and control.
Ileana Cotrubas gives an angelic performance as Gilda, both in the lyric beauty of her delicate voice and her dramatic sense of the character. Her interpretation of "Caro nome" - comparable only to that of Sutherland - contributes to making this recording the true gem it is. She is equally moving with the mournful "Tutte le feste al tempio" and during the tragic duet with Cappuccilli at the opera's finale ("V'ho ingannato...colpevole fui").
The supporting roles are handled with the same genius. Nicolai Ghiaurov is magnificent as Sparafucile; his cavernous voice suits the role of the vile assassin, one of Verdi's most malignant musical creations. Elena Obraztsova - whose deep voice I have always liked and found suitable for such roles as Maddalena, Amneris, and Dalila - excels here as the former. She is both licentious and tempting as the villainess Maddalena, especially during the trio with Ghiaurov and Cotrubas in Act III ("E amabile invero cotal giovinotto"). Hanna Schwarz shines here, too, as Gilda's maid Giovanna, a small but impressionable role, which the skilled mezzo-soprano presents the style.
Kurt Moll - in a masterful bit of casting - provides a fierce performance as the Count of Monterone. His thunderous entrance in Act I and equally wild exit during the finale of Act II ("Poiche fosti invano da me maledetto") are some of the most dazzling moments of this recording.
Carlo Maria Giulini and the Vienna Philharmonic shine here most of all in an equally gentle and thunderous recording of Rigoletto. Giulini handles the opera's tranquil moments with care and sensitivity and also excels during the thunderous moments. It is no exaggeration to consider this one of the greatest achievements of his illustrious career.