Donizetti: La Favorita - Verrett, Kraus, Elvira, Morris, Hendricks; Queler. 1975
$16.95
Description:
Pros:
- If you are going to present a Donizetti rarity like La Favorita, you had better assemble a world-class cast that can make a worthy case for the opera. Eve Queler has done just that in this performance, imparting her keen sense of style all while giving the singers room to demonstrate their prodigious vocal abilities.
- The title role in this opera never seems to get a break. Fortunately once Shirley Verrett hits her stride there is no stopping her.
- Alfredo Kraus sings with sweetness and poise and, surprisingly, you never get the sense that he is outmatched vocally by Verrett. No doubt that was due in part to the fact that she was a conscientious colleague, but it also seems clear that despite the lyrical nature of his voice, he knew how to make some sound when he needed to.
- As Ines, Barbara Hendricks doesn't take long to assert that she is a world-class talent.
- James Morris as Baldassare and Pablo Elvira as Alfonso, also in the early stages of their careers, are both excellent.
Cons:
- There are occasional patches of static in Acts 2 & 3.
In Mono
OD 11930-2
Listen to a Sample:
Thrilling Performance in Good Sound!
This performance has been on the pirate circuit for a long time. The long out-of-print Gala label issued it over two decades ago. Opera Depot's copy is very listenable and is pitched correctly (as the one on YouTube is not), but there is a mysterious static that pervades long stretches of Acts Two and Three. It never obscures the music, but it is a little irritating. Nevertheless bel canto fans or fans of great singing in general must hear this performance. Shirley Verrett confirms (if there was any doubt) that she possessed one of the great voices of the last century; from an interpolated high C# down, the voice is even and beautiful with none of the holes that appeared in it after she began singing soprano roles. Kraus is her match all the way, easily sustaining a number of top Cs and C#s throughout the evening, and providing lesson after lesson in bel canto style. Pablo Elvira didn't lack for work, but rarely was he appreciated for his rich, masculine baritone and supreme musicianship. He sounds similar to the great Mattia Battistini here. The young Barbara Hendricks was just beginning her career and sings like an angel, interpolating many extra high notes. James Morris was already a distinguished singer. Eve Queler conducts efficiently and allows her singers time to shape their lines without getting in their way. The tapist is occasionally fidgety, but settles down quickly. I wish more of the tremendous applause had been left in. Great Performance!
Brilliant leads, and baritone surprise
Verrett's lush dark voice and technical brilliance make much of the title role. Kraus is predictably a "wow" as Fernando, and his voice is at its peak in this performance, absolutely solid from top to bottom and wielded with complete mastery. His "Spirto gentil" is stunning (though no one will ever match the lush beauty the young di Stefano brought to this aria in his "live" from Mexico City). The greatest surprise here is Elvira, whom I heard frequently back in the day, and I didn't recall his having such a really beautiful baritone voice and dramatic involvement. The young Hendricks is a plus; the young Morris sounds bottled-up, and had yet to find his rich, rolling voice.
Brilliant leads, and baritone surprise
Verrett's lush dark voice and technical brilliance make much of the title role. Kraus is predictably a "wow" as Fernando, and his voice is at its peak in this performance, absolutely solid from top to bottom and wielded with complete mastery. His "Spirto gentil" is stunning (though no one will ever match the lush beauty the young di Stefano brought to this aria in his "live" from Mexico City). The greatest surprise here is Elvira, whom I heard frequently back in the day, and I didn't recall his having such a really beautiful baritone voice and dramatic involvement. The young Hendricks is a plus, the young Morris sounds bottled-up, and had yet to find his rich, rolling voice.
Good. Good sound good performance.
