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another example of amazing early verdi operas, caballe & pavaroti always enhance whatever the sing, the soprano has 2 beautiful arias & the voice of pavaroti makes the opera really enjoyable. i never heard it before, it never called my attention, but lately in very interested on verdi's early work since i love doizetti & verdi's early works are higly influenced by the belcanto trend of the era lidered by donizetti. verdi has a personal touch in his orchestrations that makes his operas differ from donizetti, but the style is very similar. for XIX century belcanto lovers is perfect other versions, with bergonzi or ricciarelli, really dont even appeal me to try to hear them.
THE ARTISTS IN THIS DVD WERE THE VERY BEST OF THEIR TIME, ESPECIALLY WHEN YOU READ ABOUT THEIR HISTORY, PAVAROTTI WAS AN ELEMENTARY SCHOOL TEACHER, SHERRILL MILNES WAS A FARMER, AND NOW THEY ROSE TO THEIR PERSONAL BEST, AND THE BEST IN THE WORLD! GOD BLESS THEIR AMAZING SOULS!
I have owned the RCA recording of Luisa Miller with Moffo, Bergonzi, MacNeil and Verrett for years. I've never been happy with it, mostly because Anna Moffo's voice was just too fragile on most of the recording. On the day that she recorded the duet with Cornell MacNeil, she sang like a goddess, but that was the only day. So, I have now also auditioned two other Luisa's: this Decca recording and the Deutsche Grammophon featuring Katia Ricciarelli, Placido Domingo and Renato Bruson. I decided in favor of the Deutsche Grammophon recording mostly because Ricciarelli gives the performance of her life. Her voice is beautiful--young, fresh, supple and properly miked. Her singing easily exceeds that of both Caballe and Moffo. Domingo and Pavarotti both sing extremely well, of course, and both are superior to Carlo Bergonzi. The magnificent Cornell MacNeil is by far the best Miller, but you have to put up with Moffo, and it's not worth it. Sherrill Milnes sounds a little better than Renato Bruson, but Caballe is severely over-miked and she sounds a bit matronly. In addition, the Deutsche Grammophon recording also features the wonderful Elena Obraztsova as Federica. For my own personal use, I made a "combo" recording starring Ricciarelli as Luisa, Domingo as Rodolfo, and Cornell MacNeil as Miller. I used a combination of Windows Media Player and the volume altering app called Audacity. I lowered the volume of the Deutsche Grammophon tracks by three decibels.
One of the finer contemporary recordings. Pavarotti is in strong voice in one of his best roles and is more dramatically involved than he sometimes is on recordings. Caballe and Milnes are both very fine indeed, though Milnes sometimes seems content just to stand and deliver solid Verdi baritone sound rather than add shades and nuances to his portrayal. However, his voice is so well-suited to the role that it seems rather petty to complain. Caballe captures Luisa's pathos beautifully.
Van Allan and Giaiotti are in fine voice as Walter and Worm. Reynolds is the weak part in the cast as a colorless Frederica, especially compared to Shirley Verrett or Elena Obratsova on the Cleva or Maazel recordings.
Peter Maag's conducting is good but does not capture the tension of the piece the way that Maazel does.
Fans of any of the three leads will be delighted with this recording, but if I could have only one, I'd probably pick the Maazel or Cleva.
Going in I was thinking this is second tier Verdi, and not in the same league with Rigoletto and La Traviata. Not so. The music's action is fast and furious, typically Verdi, and the singing of Pavarotti and Caballe are without blemish. Indeed, both were captured at the pinacle of their powers. In the final scenes, Caballe lets go with high notes that soar, challenging Pavarotti to reply in kind. That is all to the benefit of the listener. Maag builds (and releases) tension well, with superb pacing. Don't hesitate to buy this cd.
This is one of my favourit Verdi operas. Have had it on cassette and vinyl. The sound is generally good. However, the start of each disc sound as if it captured all of the sounds of the start of a vinyl record (e.g. rumble). Interesting that the label resembles the original vinyl record.
Me ha entusiasmado esta ópera. Desde el principio es sublime, magnífica, con emoción enorme. Montserrat Caballé es una magnífica Luisa y Pavarotti está absolutamente esplendido al igual que la enorme fuerza de Milnes, Gioiotti y Van Allan. Es absolutamente magnífica. El "Fra mortali ancora...." , entre otros, hace imposible que puedas oirla sin levantarte y dirigir tanta fuerza. Magnífica.
Die Verdi Oper Luisa Miller hat es wirklich verdient viel bekannter zu sein und ebenfalls in den Opernhäusern aufgeführt zu werden. Diese Oper ist herrlich und hat eine wunderbare und eingängige Musik. Das Vorspiel bietet einen schwungvollen Einstieg in die Handlung. Am Anfang der Oper wirkt die Musik noch fröhlich, was gut in den Chorszenen erkennbar ist. Später ist die Musik tragisch und berührt den Zuhörer. Luisa Miller hat alles was eine Verdi-Oper ausmacht, schöne Chöre, schmissige Musik, herrliche Arien und Duette. Die hier vorliegende Einspielung ist die perfekte Aufnahme dieser Oper. Traumhaft besetzt und musiziert. Pavarotti, Milnes und Caballe... einmalig und sicher nicht zu übertreffen. Auch die kleinen Partien sind mit edlen Stimmen besetzt. M. Caballe überzeugt auch als Luisa Miller mit großen Attacken Tönen und ebenfalls mit ihren fantastischen herrlichen Piani. Höhepunkt der Oper und dieser Einspielung ist für mich das Finale, in dem sich die drei Stimmen von Caballe, Milnes und Pavarotti vereinen. Das ist ganz großer Verdi.
This opera means a great deal to me, the late Richard Van Allen was a close personal friend, our regular discussions on music and opera are sadly missed. In this performance his superb base baritone is heard at its best! To me it is a precious momento. The whole opera as one expects of Verdi is breathtaking and this performance especially so!
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