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La Traviata
Carlos Kleiber was well-known for the speed of his baton, but he conducts this La Traviata as if he were trying to catch a train. It works quite well as a general approach, actually: the party scenes zip by in a frenzy and he doesn't let the stiller moments feel rushed. Adriana Maliponte is definitely what one refers to as an “Act III” Violetta, and she is clearly holding back her resources for the big death scene, ducking the high E-flat in ”Sempre libera” (to be fair, this may have been Kleiber's choice) but letting loose with a highly involved reading of Germont's letter. Her Alfredo, Benito Maresca, has a fine voice but sings as if he is waiting for the train Kleiber is racing to catch. Wolfgang Brendel is luckily on hand to give the evening some real A-list singing.
Track List
Act I
1. Preludio
2. Dell'invito trascorsa è già l'ora.
3. Libiamo, ne' lieti calici
4. Un dì felice, eterea
5. Si ridesta in ciel l'aurora
6. È strano! È strano!
7. Sempre libera
2. Dell'invito trascorsa è già l'ora.
3. Libiamo, ne' lieti calici
4. Un dì felice, eterea
5. Si ridesta in ciel l'aurora
6. È strano! È strano!
7. Sempre libera
Act II
8. Lunge da lei per me non v'ha diletto!
9. O mio rimorso
10. Alfredo? Per Parigi or partiva
11. Pura siccome un angelo
12. È grave il sacrifizio
13. Ah! dite alla giovine
14. Imponete... Non amarlo ditegli.
9. O mio rimorso
10. Alfredo? Per Parigi or partiva
11. Pura siccome un angelo
12. È grave il sacrifizio
13. Ah! dite alla giovine
14. Imponete... Non amarlo ditegli.
15. Dammi tu forza, o cielo!
16. Di Provenza il mar, il suol
17. Né rispondi d'un padre all'affetto?
18. Avrem lieta di maschere la notte
19. Di Madride noi siam mattadori
20. Alfredo! Voi!
21. Invitato a qui seguirmi
22. Ogni suo aver tal femmina
16. Di Provenza il mar, il suol
17. Né rispondi d'un padre all'affetto?
18. Avrem lieta di maschere la notte
19. Di Madride noi siam mattadori
20. Alfredo! Voi!
21. Invitato a qui seguirmi
22. Ogni suo aver tal femmina
Act III
23. Preludio
24. Annina? Comandate?
25. Addio, del passato
26. Largo al quadrupede sir della festa
27. Parigi, o cara, noi lasceremo
28. Ah! gran Dio! Morir sì giovine
29. Prendi, quest'è l'immagine
24. Annina? Comandate?
25. Addio, del passato
26. Largo al quadrupede sir della festa
27. Parigi, o cara, noi lasceremo
28. Ah! gran Dio! Morir sì giovine
29. Prendi, quest'è l'immagine
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5.0
Based on 1 review
✓ Top Reviewer
United States
Excellent Performance from an Underappreciated Prima Donna!
Adriana Maliponte certainly had her followers, but by and large didn't receive the acclaim she should've had. She is in excellent form here, singing with beauty and flexibility. The coloratura of "Sempre libera" doesn't faze her at all. Her top is full and accurate; the highest she usually sang on stage was D so if you're looking for a penultimate E-flat at the end of Act 1, look elsewhere. She knows the routine of the role intimately and is especially effective in the last act. There was a Met broadcast in 1984, but this performance finds her in even more assured form.Maresca was a Brazilian tenor with a solid voice, but not as much musicality as one might like. He tends to oversing and seems unsure of himself, making a number of late entrances. Brendel sings very well and is warmly applauded for his "Di Provenza" (strangely, there's no applause at the end of the big Violetta/Germint duet). The other roles are all taken by Bavarian State Opera regulars and they're all exceptional. Kleiber leads swiftly, but is sensitive to his singers' needs. This was probably derived from a very good house tape; the voices are clearly heard though occasionally they wander slightly off mic.If you're a Maliponte fan, this definitely is for you. I'd also recommend her Puritani with Alfredo Kraus, also available from Opera Depot.
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