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Subject: Re: LUISA MILLER recordings
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Sat, 22 Jul 2017 12:14:44 +0000
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One of the true disappointments of my operatic experience was the year the Met orchestra was on strike for the first month or two, so they had to cancel Luisa Miller with Caballe and Bergonzi. When I first saw Luisa Miller the year before with Caballe and Tucker, I knew nothing about that opera but fell in love with it the first night I saw it. Luisa is a role I doubt Moffo would ever have performed live. I love the RCA recording primarily as I am partial to Bergonzi, however, the Caballe-Pavarotti recording is outstanding as well. I doubt that any soprano ever sang the role of Luisa better than Caballe.  Scotto is very good on the Met DVD, but I prefer Caballe's voice to Renata's. Domingo and the rest of the cast on that DVD are excellent as well.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of G. Paul Padillo <[log in to unmask]>
Sent: Saturday, July 22, 2017 7:08 AM
To: [log in to unmask]
Subject: Re: [OPERA-L] LUISA MILLER recordings

William Fiorelli asked:

"I would appreciate input regarding recordings of LUISA MILLER ?  Which one is your
favorite?   Thanks.BILL"

Hands down, the first recording that springs to mind is the first one I heard . . . but not
merely because it served as introduction to "Luisa," but because over the years none has, in
my estimation, surpassed it.  It's the classic RCA Victor recording with Anna Moffo, Carlo
Bergonzi, Shirley Verrett, Cornell MacNeil, Giorgio Tozzi and Ezio Flagello under Fausto
Cleva.  Every singer is close to perfection in his or her role, with Ms. Moffo giving a
completely touching, often heart melting performance that identifies with the title role,
while at the top of her game vocally.  Mr. Bergonzi gives an exemplary lesson in early Verdi
tenor singing, creating a character that springs to life.

While "Luisa" is often dismissed . . . or forgotten altogether when talked about among
Verdi's masterpieces, this recording shows us the composer thriving as master in the post
bel canto form that would soon develop into his own recognizable style.

While some may prefer the recording with Caballe and Pavarotti, if I had to pick up a back
up, mine would be the one with Ricciarelli and Domingo, who (for my money) sound more
believable in their roles, even though Maazel does not provide the most authentic of Verdian
stamp to the proceedings.

I'll be interested to read what other recordings listers may suggest, and why.

p.

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