Il Duca di Mantova ▫ Luciano PavarottiRigoletto, suo buffone di corte ▫ Peter GlossopGilda, figlia di lui ▫ Patricia BrooksSparafucile, bravo ▫ Harry DworchakMaddalena, sorella di lui ▫ Susanne MarseeGiovanna, custode di Gilda ▫ Fredda RakusinIl Conte di Monterone ▫ Robert PattersonIl Cavaliere Marullo ▫ Richard ShappMatteo Borsa, cortigiano ▫ William AustinIl Conte di Ceprano ▫ William GoegleinLa Contessa, sposa di lui ▫ Diana HeitnerUn paggio della Duchessa ▫ Mildred TyreeThe Philadelphia Lyric Opera Chorus & OrchestraChorus Master ▫ Carlo SuppaANTON GUADAGNOProduction ▫ Renzo Frusca Academy of Music ▫ Philadelphia ▫ February 13, 1973Philadelphia Lyric Opera Company

A GREAT LIVE RECORDING! HIGHLY RECOMMENDED! A MUST!

No location is given for this performance, but I'd bet its from Philadelphia Lyric Opera, a company that gave one-off performances of mostly standard reper

...but I'd bet it's from Philadelphia Lyric Opera, a company that gave one-off performances of mostly standard repertoire, usually with a few stars or a supporting cast from the Met or NYCO. This one features an up-and-coming Italian tenor, a very well-respected baritone and soprano, and a NYCO mezzo and bass under a very reliable conductor.Pavarotti had flown in just for this performance and was in excellent voice. He belts out a good D-flat with Brooks at the end of their Addio cabaletta (a note he muffed on more than one occasion), sings the Duke's music with vibrancy and elan, and gives the audience an endless top B at the end of "La donna e mobile". They are enchanted with him. Glossop acts his role very effectively, his singing as always good, if not ideally suited to these big Italian roles. Brooks sings a vulnerable, melting Gilda, taking every traditional high note she can (no high E at the end of "Caro nome" though; she sings the written trill exquisitely). One can certainly understand the reason for her many admirers. Marsee brings Maddalena to life and Dworchak is a menacing Sparafucile. The rest of the cast are very good, probably winging it like everyone else. Guadagno makes far fewer cuts than usual, giving us the full statement of "Ah veglia, o donna" in the first Rigoletto/Gilda duet and an uncut last act. Except for some minor, brief file corruption in Act Two, the sound is very listenable although occasionally someone is off-mic.

Performance is good if a little workaday - Pavarotti makes it as he is in superb voice. Glossop sings well but can be hammy and lazy in approach although we would be more than happy to hear this Rigoletto so well vocalised today. Brooks, a name new to me is adept and rises to the occasion with some good characterisation and singing. I enjoyed this although probably won’t be returning to it often apart from the Pavarotti moments.

Opera Depot has released a 1973, performance of “Rigoletto” from the Philadelphia Lyric Opera Company. Featured are Peter Glossop, Luciano Pavarotti, and Patricia Brooks, as well as Susanne Marsee as Maddalena. Anton Guadagno conducts a brisk, exciting account.Glossop was a true singing-actor, and while he is vocally taxed by the difficult assignment, he is expressive throughout. Pavarotti is in resplendent voice, and the role of the Duke of Mantua was arguably his finest.The under-recorded Brooks is an exquisite Gilda, even if a few interpolated high-notes go awry. Marsee’s definitive Maddalena was preserved at least four times, all of which have their decided merits.First was the present “Rigoletto.” Miss Marsee amusingly recalls her only production opposite the famous tenor: “I remember it very well. Luciano flew in at the last moment and wasn’t happy with his voice that night, so he hid behind me whenever he could. He was fabulous and I wasn’t large enough to shield him.”Later that year, Marsee sang the masterpiece at the New York City Opera, opposite Louis Quilico, José Carreras, and Patricia Wise, which was recorded, though never released on CD. In 1977, the mezzo-soprano sang the role for the only stage appearances of the great Beverly Sills as Gilda, for the Opera Company of Boston, conducted by Sarah Caldwell. That performance is gripping. In 1988, Miss Marsee was televised in this opera from the City Opera.