Verdi - La Traviata / Sutherland, Pavarotti, Manuguerra, NPO, Bonynge

Editorial Reviews
Amazon.com
It's hard to resist such a starry cast, and Sutherland-Pavarotti fans will want this no matter what. Luciano's legions will find more to crow about, though, for he's in fine voice, creating an Alfredo to remember with his distinctive lyric tenor endowing the arias and even the recitatives with a bright sound and excellent diction that lets you understand every word. But Sutherland was a better Violetta in her first traversal of the role. By 1979, when this set was made, her impressive high notes remained intact, but the rest of the voice was showing wear, her diction was muffled, and dramatic values were underplayed. Manuguerra's a fine Germont and Bonynge's conducting is unsteady, tending to drag in the latter acts. This set will give pleasure to many, but do investigate those of Callas and de los Angeles on EMI and Cotrubas with Kleiber on DG, among others. --Dan Davis

Verdi - La Traviata / Sutherland, Pavarotti, Manuguerra, NPO, Bonynge, Music, Giuseppe Verdi, Richard Bonynge, Joan Sutherland, Luciano Pavarotti, National Philharmonic Orchestra, London Opera Chorus, Della Jones, Matteo Manuguerra, William Elvin, Marjon Lambriks, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Verdi - La Traviata / Sutherland, Pavarotti, Manuguerra, NPO, Bonynge
Average customer rating: 4 out of 5 stars
  • A bel canto showcase for Sutherland and Pavarotti
  • Solid version
  • So what?
  • Unsatisfactory and lacking in drama
  • Fine Recording
 Verdi - La Traviata / Sutherland, Pavarotti, Manuguerra, NPO, Bonynge
Giuseppe Verdi , Richard Bonynge , Joan Sutherland , Luciano Pavarotti , National Philharmonic Orchestra , London Opera Chorus , Della Jones , Matteo Manuguerra , William Elvin , and Marjon Lambriks
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Sutherland, JoanSutherland, Joan | Divas | Opera & Vocal | Styles | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
Similar Items:
  1. Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
  2. Donizetti - Lucia di Lammermoor / Sutherland · Pavarotti · Milnes · Ghiaurov · ROH Covent Garden · Bonynge
  3. Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
  4. Mozart: Don Giovanni / Maazel (1979 soundtrack) [RMST]
  5. Tchaikovsky - Eugen Onegin / T. Allen, Freni, von Otter, Shicoff, Burchuladze; Levine

ASIN: B0000041Y9
Release Date: 1991-10-11

Tracks:

  1. Preludio
  2. La Traviata: Atto I - Dell'invito trascorsa
  3. La Traviata: Atto I - Brindisi: Libiamo, ne' lieti calici
  4. La Traviata: Atto I - Che e cio?
  5. La Traviata: Atto I - Un di felice, eterea
  6. La Traviata: Atto I - E strano! e strano! ... Ah! fors'e lui
  7. La Traviata: Atto I - Follie! ... Sempre libera
  8. La Traviata: Atto II - Scena I - Lunge da lei...
  9. La Traviata: Atto II - Scena I - De' miei bollenti spiriti
  10. La Traviata: Atto II - Scena I - O mio rimorso!
  11. La Traviata: Atto II - Scena I - Pura siccome un angelo
  12. La Traviata: Atto II - Scena I - Dite alla giovine...Morro! La mia memoria
  13. La Traviata: Atto II - Scena I - Dammi tu forza, o cielo!...Amami, Alfredo
  14. La Traviata: Atto II - Scena I - Di Provenza il mar, il suol...
  15. La Traviata: Atto II - Scena I - No, non udrai rimproveri

Tracks:

  1. La Traviata: Atto II - Scena II - Avrem lieta di maschere la notte...Noi siamo zingarelle
  2. La Traviata: Atto II - Scena II - Alfredo! Voi! ... Or tutti a me ... Ogni suo aver
  3. La Traviata: Atto II - Scena II - Di sprezzo degno
  4. La Traviata: Atto III - Annina? - Comandate?
  5. La Traviata: Atto III - 'Teneste la promessa... ' E tardi... Addio del passato...
  6. La Traviata: Atto III - Baccanale: Largo al quadrupede
  7. La Traviata: Atto III - Signora -- Che t'accade?
  8. La Traviata: Atto III - Parigi, o cara...Ah! Gran Dio! Morir si giovine
  9. La Traviata: Atto III - Ah Violetta! ... Se una pudica vergine

Amazon.com

It's hard to resist such a starry cast, and Sutherland-Pavarotti fans will want this no matter what. Luciano's legions will find more to crow about, though, for he's in fine voice, creating an Alfredo to remember with his distinctive lyric tenor endowing the arias and even the recitatives with a bright sound and excellent diction that lets you understand every word. But Sutherland was a better Violetta in her first traversal of the role. By 1979, when this set was made, her impressive high notes remained intact, but the rest of the voice was showing wear, her diction was muffled, and dramatic values were underplayed. Manuguerra's a fine Germont and Bonynge's conducting is unsteady, tending to drag in the latter acts. This set will give pleasure to many, but do investigate those of Callas and de los Angeles on EMI and Cotrubas with Kleiber on DG, among others. --Dan Davis

Customer Reviews:

4 out of 5 stars A bel canto showcase for Sutherland and Pavarotti.......2007-07-11

One in search of the unparalleled Italian maestro Giuseppe Verdi's orchestral brilliance should not necessarily turn to La Traviata, often heralded as one of his finest achievements. That is not to say that it is a poorly composed opera, for it lacks nothing in charming lyricism and it boasts roles which define sectors of the operatic repertoire. However, it, like the equally famed and beloved tragedy of the cursed jester, Rigoletto, is not an orchestral showcase in the same capacity as his more mature works, such as sweepingly pastoral Simon Boccanegra, gloomy and morose Don Carlo, tumultuously passionate and exotic Aida, and intense, psychological, nearly Wagnerian Otello.

What La Traviata does possess is the potential to spark career-defining performances through roles beloved by countless bel canto singers; thus, one has quite a few options in terms of which recording to own. This relatively recent recording with Dame Joan Sutherland and Luciano Pavarotti as the ill-fated lovers Violetta Valéry and Alfredo Germont lacks considerably the orchestral verve of competing renditions, and the supporting cast is far from superior; however, the grandeur of the legendary stars surpasses any others available and would have, most likely, impressed Verdi himself beyond measure.

Sutherland proves that a soprano is never too old to play the wanton woman, the "woman who strayed," the "lady of the camellias." Vocally, she is ravishing; one can envision her Violetta, indescribably elegant and ingratiating, draped in her unblemished white gown, dotted with verdant, blossoming camellias. Sutherland's dramatic presence has always been, nonetheless, somewhat vapid, and more energetic and exciting performances exist. If one is concerned, however, solely with vocal pulchritude, than one cannot find a more dazzling Violetta than Sutherland's. During her first Act I aria ("È strano! È strano!...Ah, fors'è lui che l'anima"), she is enticing, endlessly beguiling and charming; her ethereal voice floats upon a feathery raft of contemplative woodwinds. Her trilling, oscillating, invigorating cadenza is absolutely marvelous. During her second aria ("Follie! Follie! Delirio vano è questo!...Sempre libera"), and one of Verdi's most renowned, Sutherland tirelessly tosses herself into its turbulent jollity, tackling the paramount tiers of her soprano register with seemingly vernacular ease. One who cannot proclaim the Australian diva as an operatic miracle-worker should reevaluate his or her ridiculous standards. She could lacerate the coldest of hearts during Violetta's Act II confession ("Alfredo, Alfredo, di questo core") as she gracefully assures Alfredo that, though he could never possibly understand what she has done, she shall adore him even after her demise. She is at her most melodramatic in the letter aria ("`Teneste la promessa'"..."Addio, del passato bei sogno ridenti"), though her coloratura vocalism and chastity is in no way restrained or lessened.

Sutherland's succulent Violetta is matched with Luciano Pavarotti's Alfredo Germont, and it remains one of his greatest recorded triumphs. His piercing, immaculate tenor register has forever been the quintessential partner for Sutherland, and their achievement in this recording is comparable only to their breathtaking chemistry as Turandot and Calaf in the historic Zubin Mehta recording of Puccini's final musical testament. They are superb with their rousing votre santé, their Brindisi ("Libiamo ne' lieti calici"), to profligacy and hedonism. They are rapturous in their Act I duet ("Un dì, felice, eterea"); Pavarotti is sensually tender, while Sutherland twitters throughout her velvety coloratura arena, never screeching, like a precious songbird in a proverbial gilded cage. Pavarotti also displays his characteristic élan during his Act II tirade ("O mio rimorso! O infamia!"); he sings with almost frightening fury and his final high note puts any other Alfredo to shame, including Nicolai Gedda and Plácido Domingo. He hisses with searing contempt and derision during "Ogni suo aver tal femmina."

One now comes to the recordings substantial weaknesses. Matteo Manuguerra's voice is ghastly; it is soggy, reedy, whiny, and irksome, without an ounce of dramatic vitality or elegance. Why could Bonynge not have cast Sherrill Milnes (a superb Germont on the Carlos Kleiber recording with the Romanian diva Ileana Cotrubas), Robert Merrill (who excelled with Sutherland and Carlo Bergonzi under Sir John Pritchard), Rolando Panerai (who was magnanimous under Aldo Ceccato with Beverly Sills and Nicolai Gedda), Piero Cappuccilli, Samuel Ramey, Sir Thomas Allen, Renato Bruson, or, at the worst, even Sir Geraint Evans, whose execrable Beckmesser is more endearing than this travesty of the Verdian role? For further evidence of this horrid baritone's highly unsavory performance, merely observe how he gasps, mumbles, and sputters his way through "Di provenza, il mar, il suol," Verdi's most sublime aria for the baritone voice. Nonetheless, in spite of his grotesque presence, Sutherland manages to produce a heartbreaking portrait of the languishing Violetta, who has now accepted the fact that she shall soon be forever parted from her only unadulterated love, Alfredo, during their Act II duet ("Ah! Dite alla giovane, sì bella è pura").

The supporting cast is rather a heterogeneous batch. Alexander Oliver's Viscount Gastone is insipid and occasionally off-key. Mezzo-soprano Della Jones is adequate as Flora Bervoix, though the role is hardly trying. Jonathan Summers and John Tomlinson are indulgences as, respectively, Baron Douphol and the Marquis d'Obigny. Giorgio Tadeo is a rather unrefined Doctor Grenvil.

Richard Bonynge makes some interesting decisions while interpreting score. The National Philharmonic Orchestra plays with sweeping, almost grandiose abandon during the Prelude to Act I. However, some other instances suffer from erratic alterations in tempi, and one often finds with conductor exemplifying his wife's vocal talent more than efficiently presenting the orchestral music. The London Opera Chorus has been better in other recordings, but the numerous choral passages (including "Si ridesta in ciel l'aurora," the chorus of the departing dinner guests; "Noi siamo zingarelle," the perfumed chorus of the gypsy palm-readers; "Di Madride noi siam mattadori," the anecdotal chorus of the matadors and picadors; and "Largo al quadrupede," the chorus of the Parisian merry-makers and revelers) are presented adequately.

On the whole, this recording is a showpiece for Sutherland and Pavarotti and little else. The aforementioned Kleiber (Cotrubas, Domingo, Milnes) and Ceccato (Sills, Gedda, Panerai) recordings lack this rendition's ragged edges and boast instances of vocal and orchestral superiority. However, for one who simply applauds these two accolade-laden operatic superstars, then this is an indispensable article of excellence for one to own.

4 out of 5 stars Solid version.......2007-03-12

This is an intriguing version of "La Traviata." Joan Sutherland takes on the role of Violetta, something that does not appear to be a natural fit, near the end of her career. Other sopranos, such as Renata Scotto or Anna Moffo, appear more natural in this role. Luciano Pavarotti, at an earlier stage in his career, is fresh voiced in comparison. The rest of the cast is serviceable in their various roles. Richard Bonynge conducts. The overture illustrates the pathos of this opera. It is an affecting version.

Some illustrative examples from the 2 CD work. . . .

"Libiamo, ne'lieti calici" is splendid. Pavarotti takes this at an appropriately quick pace. His fresh voice suits this work well. This is a lively aria sung in a lively manner by Pavarotti. Sutherland, upon entering into a duet, fits well with Pavarotti's voice. While her voice is not nearly as fresh as Pavarotti's, the two sing effectively together.

"Un di felice" is a poignant aria. Alfredo's pledge of love (as rendered by Pavarotti) to the doomed Violetta is well sung. Violetta's response: "I don't know how to love." This is an affecting duet. Sutherland shows that she has considerable agility left in her voice, but there is no longer a fresh tone.

"E strano. . .Sempre libera" is a romp for sopranos--if done well. Sutherland does a decent job (better than some reviewers suggest, from my perspective). "E strano" is sung with some pathos, but characterization was never one of Dame Joan's strengths. There is a very nice trill at the end of "Ah! Fors'e lui." "Sempre libera" features a somewhat harsh note early on. However, this is a decent version. In the repeat, Sutherland shows vocal agility, including some nice runs. She still had decent coloratura technique at this point in her career. At the end, there is a nice high note.


"De miei bollenti spiriti" is well sung by Pavarotti. His singing catches the spirit of this piece well. "Di provenzo il mar" is a duet between father (Germont, sung by Matteo Manuguerra) and son (Alfredo). This is a fine version of this work. Robert Merrill's Germont seems to me to be one of the better versions, and this is not at that level--nonetheless, the duet works nicely.

While this is certainly not the best version available, it is an interesting "La Traviata." Sutherland, even toward the end of her career, still shows good vocal technique. Pavarotti, still fresh voiced, does a nice turn as Alfredo. Thus, in the end, this is a good version.

2 out of 5 stars So what?.......2005-03-06

For the life of me, I could never figure out why Decca took the incentive of recording this opera during the latter years of Dame Joan Sutherland's career. Her voice could still produce high notes, but as usual we find her playing with high notes that don't make sense at all. Her singing is as usual, Dame Joan singing, and I could never find her singing as Violetta in this Traviata. Her duets with Germont are basically words declaimed by people who don't understand the story behind Doumas' Lady of the Camelias, and her Italian is again, very cloudy. Luciano Pavarotti sings Alfredo with high notes alright, but what does he want to convey. And Bonynge? He has to add the uncut parts of most Traviatas because it is essential for this recording simply because Dame Joan's last Traviata could never give Violetta life the way Callas' or Fleming's could. The last act ends unusually, somewhat different from the interpretations of the greater Traviatas, and I could sense that this was one of Bonynge's measures taken to add what he would call drama to a dramaless interpretation. It's just like saying "Oh, how nice and how beautiful. So many high notes and trills and this and that...but so what?" Did anyone feel the heartbreaking role of Violetta in this one? Not recommended. Get Dame Joan's earlier set if you like her. Sills could do a better job at this. But Fleming and Callas are supreme Violettas.

2 out of 5 stars Unsatisfactory and lacking in drama.......2005-01-06

It is odd that Joan Sutherland would have the initiative to record Traviata, an equally demanding role for any soprano, at such an age. It doesn't have the brilliance of her first Traviata, which even if is lacking in dramatic appeal, at least displays her vocal brilliance. She did add interpret the role quite differently in this recording, which can me seen most ostentatiously in her Sempre libera, where the full throated portion near the end of the aria is broken into short bursts by the Australian diva. Another problem of mine is that her high notes in this opera sound like the trills of a laser gun. Her Violetta doesn't have much appeal when it comes to the Germont duet. Just compare Callas' "Morro! La mia memoria..." with hers, and you will immediately see why Callas will always be the definitive Violetta. On the subject of Alfredo, Pavarotti seems to lack the ardent voice of a great Alfredo. A truly great Alfredo would be none other than the Spanish tenor, Alredo Kraus, and Giuseppe di Stefano. His voice was much too light at this stage, and it seemed as though that he was simply playing with the role. Bonynge as usual conducts with only a technical feel for the role. Manuguerra didn't convince me well enough for the role of Germont. I wouldn't reccommend this recording for lovers of Traviata.

5 out of 5 stars Fine Recording.......2004-06-10

I quite like this recording of Traviata, though it isn't my first pick. That would have to go to Sills and Freni (but you all know how much I adore them).
Sutherland is still in good voice at this time in her career. She can't quite pull of one of her ornaments in Sempre Libera as she did in her old recording. It should have been left out. However the rest is glorios and I am glad she made this set. Pavarotti was also in good voice for this role despite taking on heavier roles. I, personally, think it's harder for voices and orchestras to cover Domingo than Pavarotti. Domingo is rich voiced, Pavarotti is trumpet like.....almost oboe like....and the over is used to tune the orchestra. I've heard both Freni, Sills (in Il Tabarro) and Price drown him out. Domingo is my favorite but I still like early Pavarotti and think his decision to take on some heavier roles was a fine decision.
I can never spell this Baritone's name ....Mr. Man (you know who) is rather stolid and boring.........but I think that is a success. He's the reason Violetta and Alfredo broke up! A real stinker if you ask me!
One last note........is it me, or does everyone think that it looks like Sutherland has racoon on her head on the cd cover? :)
!!!
Ok, one more........on the new "Art of Beverly Sills" cd, don't her fingers look like claws......almost Freddie on Nightmare on Elmsteet???!!!!!

Music Review:

  1. Vivaldi and Piazzolla: Eight Seasons
  2. Widor: Complete Organ Works, Vol. 3
  3. 70, Girls, 70 (1971 Original Broadway Cast) [Cast Recording]
  4. A - Z of Opera (includes 762 page booklet)
  5. Aaron Rosand Plays Sarasate
  6. Abide With Me [Import]
  7. Allegri: Miserere
  8. Bach: French Overture, Italian Concerto, etc
  9. Bach: Sonatas and Partitas for Solo Violin
  10. Beethoven: Symphony No.9, Ouverture "Egmont" [Import]

Music Review

music review

Music Review

Soft Commands [Import]

Subotnick: Touch; Jacob's Room

Seasonal Aire (Brentwood Box Set) [Box set]

Past and Present

Tony Monaco Presents Partymania

The River

The New Crazy

The Very Best of Michael McDonald

Streetlife Serenade [Enhanced] [Original recording remastered]

Six [Import]

Temptation

Reina del Fado Canta Fados, Rancheras

Shopan

Mars Underground

Caribe