Verdi

Simon Boccanegra

MacNeil, Ligabue, Cossutta, Wildermann, Mastromei; Previtali
Buenos Aires, 1967

Regular price $17.95
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Simon Boccanegra

Cornell MacNeil was a regular presence in Buenos Aires during the 1960s, captivating audiences with his performances in the great Verdi roles. As Simon Boccanegra in this recording, he demonstrates why he was a master of Verdi's operas. His voice possesses a rich, dark hue, complemented by a thrilling, ringing top.

Ilva Ligabue, a soprano who, despite performing in prestigious venues, never fully reached international stardom, holds her own admirably alongside MacNeil. Her performance is both solid and compelling.

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5.0 Based on 3 reviews
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Timothy C.✓ Verified Buyer

United States

Overall rating

A worthy performance to add to your collection.

McNeil is a very good Boccanegra, if not quite in the same class as Gobbi or Taddei. The men are all good, but the revelation for me was Cossutta: in this performance he sounds a bit like Bergonzi, but with easier high notes. I bought this for Ligabue and I find her the weakest of the performers here. Her voice is right for this Verdi role and her basic sound is big and round, but it tends to spread on high notes if she doesn't prepare for them. I was, frankly, disappointed, but Previtali's conducting, a superb performance by Carlo Cossutta, McNeil in a role he didn't record commercially and the excellent broadcast (?) sound make this a keeper.I commend Opera Depot for offering recordings by wonderful singers who were under-recorded. My favorites are: Labo, Olivero, Ligabue, Cerquetti, Viorica Cortez, Ilosfalvy, Prevedi, and the controversial James McCracken.
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Gilbert L.✓ Top Reviewer

Switzerland

Overall rating

Verdi: Simon Boccanegra - MacNeil, Ligabue, Cossutta, Wildermann, Mastromei; Previtali. Buenos Aires, 1967

Wonderful performance like we use to have !!!
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David R.✓ Top Reviewer

United States

Overall rating

Terrific Performance in Excellent Sound!

Cornell MacNeil had an imposing baritone that he wielded with great impact in both New York and Buenos Aires during the 60's. Unfortunately, perhaps from too much uncovered singing, his voice developed a wobble that one just had to endure for the sake of the thrilling top notes. That wobble is in evidence here and there aren't any huge high notes to compensate. His voice steadies out after the first scene and he provides many beautiful, thoughtful moments throughout the performance. It's good to hear Ligabue in a role other than Alice Ford and she is a lovely Amelia/Maria. Her trill is weak which detracts from the "Plebe, patrizi" ensemble, but her passion and exciting high notes add immeasurably to her performance. Cossutta is a very good Gabriele with his firm, intelligent singing. He is an Italianate tenor who doesn't sound like the typical Italian tenor - an underrated singer!Wildermann is an excellent Fiesco, another singer who worked a lot, but who was taken for granted because of his reliability.Previtali conducts capably, but makes the traditional cuts in an opera that's not very long. The cut in the second act trio is especially irritating.Excellent radio broadcast sound. Worthwhile performance!
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