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La Traviata
Although Mirella Freni sang Violetta on more than one occasion, the role never became a fixture of her repertoire. Perhaps it was the looming specter of Maria Callas who had had such a success in the role a decade earlier, or perhaps it was the fact that Sempre libera, although wisely paced, did prove a bit of a stretch for her. It is a shame because in the rest of the role she is perfect, bringing the pathos and Italianate sensibility that made her so moving as Mimì. In this production from 1967, staged by Luchino Visconti, she is joined by Renato Cioni as Alfredo and Piero Cappuccilli as Germont. Cioni's voice, although sturdy, lacks grace and does little to overcome the callow nature of the character and imbue him with any kind of sympathy. Piero Cappuccilli, here in his prime, sings like a god. Carlo Maria Giulini eschews the frenetic tempos which were all too popular with many of his colleagues for a pacing that gives a chance for the singers to actually sing and for the words to come out.
Track List
Act I
1. Preludio
2. Dell'invito trascorsa è già l'ora
3. Libiam ne' lieti calici
4. Che è ciò?
5. Un dì felice
6. Si ridesta in ciel l'aurora
7. È strano… Ah, fors'è lui
8. Sempre libera
2. Dell'invito trascorsa è già l'ora
3. Libiam ne' lieti calici
4. Che è ciò?
5. Un dì felice
6. Si ridesta in ciel l'aurora
7. È strano… Ah, fors'è lui
8. Sempre libera
Act II, scene ii
9. Lunge da lei… De' miei bollenti
10. Alfredo?.. Per Parigi or or par:va
11. Madamigella Valèry?
12. Pura siccome un angelo
13. Ah dite alla giovine
14. Morrò! Morrò! la mia memoria
15. Che fai?... Nulla!
16. Ah, vive sol quel core all'amor mio!
17. Di Provenza il mar
18. Nè rispondi d'un padre all'affetto?
10. Alfredo?.. Per Parigi or or par:va
11. Madamigella Valèry?
12. Pura siccome un angelo
13. Ah dite alla giovine
14. Morrò! Morrò! la mia memoria
15. Che fai?... Nulla!
16. Ah, vive sol quel core all'amor mio!
17. Di Provenza il mar
18. Nè rispondi d'un padre all'affetto?
Act II, scene ii (cont.)
19. Avrem lieta di maschere la notte
20. Noi siamo zingarelle
21. Di Madride noi siam matadori
22. Alfredo! Voi!…
23. Invitato a qui seguirmi
24. Ogni suo aver tal femina
25. Di sprezzo degno se stesso rende
20. Noi siamo zingarelle
21. Di Madride noi siam matadori
22. Alfredo! Voi!…
23. Invitato a qui seguirmi
24. Ogni suo aver tal femina
25. Di sprezzo degno se stesso rende
Act III
26. Preludio
27. Annina… Commandate
28. Teneste la promessa… Addio del passato
29. Signora!... Che t'accade?
30. Parigi, o cara
31. Ah! gran dio morir sì giovine
32. Ah, Violetta!… Voi, signor!
33. Prendi: quest'è l'imagine
27. Annina… Commandate
28. Teneste la promessa… Addio del passato
29. Signora!... Che t'accade?
30. Parigi, o cara
31. Ah! gran dio morir sì giovine
32. Ah, Violetta!… Voi, signor!
33. Prendi: quest'è l'imagine
BONUS
34. Tu che le vanità
Don Carlo — Elisabetta
Salzburg, 1976
Don Carlo — Elisabetta
Salzburg, 1976
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5.0
Based on 1 review
✓ Top Reviewer
United States
Freni is a Beautiful Violetta Captured in Excellent Sound!
Many are familiar with Mirella Freni's Violetta from the TV production she made about 1973 for German television. This performance captures her six years earlier under a conductor (Carlo Maria Giulini) who is much more in sync with his Violetta than Karajan was earlier in the decade. She is in terrific voice and sings like an angel throughout the opera. Other singers have brought more panache and higher notes to "Sempre libera", but Freni certainly doesn't disgrace herself - nor does she transpose it down (a friend of mine insists that she did after the 1964 La Scala debacle, but she sings it in key here). The last act finds her heart-breaking in the "Addio del passato", making one wish that someone would hurry up and bring the penicillin in time. Alas, that doesn't happen and we are in tears at her death.Cioni is a very good Alfredo though I find his voice less wiry in the La Scala performance. He and Freni work well together. Cappuccilli sings a beautiful "Di provenza" (earning a distinct 'Bravo!" from the reserved audience) and makes the duet with Violetta the turning point of the opera it's supposed to be. The supporting singers are excellent as well. Giulini is always at one with his cast. I wish he had opened up some of the standard cuts; that would come later.The sound is excellent, probably from a broadcast tape. Andy gives us Freni singing Elisabetta's "Tu che le vanita" from Don Carlo as a filler in even better sound.
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