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Subject: Re: Rigoletto - among my favorite operas
From: Stephen Lord <[log in to unmask]>
Reply-To:Stephen Lord <[log in to unmask]>
Date:Mon, 6 Feb 2017 08:42:50 -0500
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I have to say that the Callas one has some treasures but Maestro Serafin has cut it to almost unrecognizable proportions. She is extraordinary as is Gobbi. Poor GDS does what he can but……. yet the phrasing is without equal.

> On Feb 6, 2017, at 8:40 AM, Les Mitnick <[log in to unmask]> wrote:
> 
> To me, the greatest recording of this opera remains the 1950 Warren/Berger/Peerce recording, followed closely by Gobbi/Callas/diStefano. I also have a great Met broadcast with Richard Tucker, Roberta Peters, and of course, Warren. I don't think it gets better than that. 
> That old vintage 1950 RCA recording seems like a whirlwind. The drama is put forth in a "thrown in your face" fashion, and the tempi are rather fast, but it seems to pull the whole drama together. The singing is top notch, and the new remastering is superb. 
> I love this opera. 
> Les 
> 
> ----- Original Message -----
> 
> From: "Isaac Alan" <[log in to unmask]> 
> To: "OPERA-L" <[log in to unmask]> 
> Sent: Monday, February 6, 2017 7:21:16 AM 
> Subject: Re: Rigoletto - among my favorite operas 
> 
> Hello Dear List, 
> 
> 
> I love the opera, it rates within my three favourite operas. Peerce/ Warren /Berger is a sensational example, Peerce is absolutely on fire in that production and Warren is in every way exceptional. I also love Tagliavini/ Taddei/Pagliughi, but my first ever was Merrill/ Peters/ Bjoerling, and that one has always a special place in my heart and soul. I also hold very dear the magnificent performance of Australian Robert Allman, whose Rigoletto I saw on tour in New Zealand, the company was a mixed bag, but his characterisation and his singing were magnificent. 
> 
> 
> The Opera is a masterpiece in my opinion, representing a great turning point in the works of Verdi, a kind of coming of age. 
> 
> The overture invariably succeeds in casting a spell, and the curtain opens on a brilliant theatrical upbeat, which drives the story forward with great power. The numbers come like a string of pearls and the drama builds upon itself almost perfectly, via the awful, the cynical and the tragic, right through to the final duet, and Rigoletto's mournful 
> 
> Gilda! mia Gilda!...È morta! ...... Ah, la maledizione! 
> 
> Regards, 
> Isaac Alan 
> 
> 
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