Puccini: Suor Angelica / Bonynge, Sutherland

Editorial Reviews
Amazon.com
Though Puccini's trilogy of one-act operas, Il Trittico, is hard to love in its totality, Suor Angelica shows the composer retreating from melodramatic verismo into a more lyrical expression, as befits this story of a nun driven to suicide when told her child is dead. Though this cast isn't ideal, it more than does the job, with Joan Sutherland in unusually articulate, dramatically alert form. As her evil, unyielding aunt, Christa Ludwig avoids obvious melodramatics and is plenty chilling as a result. Lots of good singers turn up in minor roles, such as Marie McLaughlin and Della Jones. --David Patrick Stearns

Tracks:

Suor Angelica: Ave Maria, piena di grazia
Suor Angelica: Sorelle in umilta
Suor Angelica: O sorelle in pio lavoro
Suor Angelica: Ho un desiderio anch'io!
Suor Angelica: Laudata Maria! - E sempre sia!
Suor Angelica: Suor Angelica! - Madre, Madre, parlate!
Suor Angelica: Il Principe Gualtiero vostro padre
Suor Angelica: Nel silenzio di quei raccoglimenti
Suor Angelica: Tutto ho offerto alla Vergine
Suor Angelica: Senza mamma, o bimbo, tu sei morto
Suor Angelica: Sorella, o buona sorella
Suor Angelica: La grazia e discesa dal cielo
Suor Angelica: Ah, son dannata!
Tosca: Libretto di Giacosa, Illica: Vissi d'arte

Amazon.com

Though Puccini's trilogy of one-act operas, Il Trittico, is hard to love in its totality, Suor Angelica shows the composer retreating from melodramatic verismo into a more lyrical expression, as befits this story of a nun driven to suicide when told her child is dead. Though this cast isn't ideal, it more than does the job, with Joan Sutherland in unusually articulate, dramatically alert form. As her evil, unyielding aunt, Christa Ludwig avoids obvious melodramatics and is plenty chilling as a result. Lots of good singers turn up in minor roles, such as Marie McLaughlin and Della Jones. --David Patrick Stearns

Customer Reviews:

Second-rate to Gallardo-Domas and Pappano.......2005-08-26

This review compares three of the recordings of Suor Angelica, with the finding that the recording of this miniature gem in the boxed set of Puccini's Il Trittico conducted by Antonio Pappano far exceeds the others in various qualities.

The best first. The vocal performances of both the title role (Cristina Gallardo-Domas) and la Zia Principessa (Bernadette Manca di Nissa) offer a great breadth of interpretation and an honest and true attention to pure vocal production. I have the very slightest of quibbles with one specific response from Gallardo-Domas' Angelica to her aunt, "La Vergine ci ascolta e Lei vi giudica!" is offered much too anglrily, where the score is marked "coldly." The wonderful choral work that supports the action and provides so much of the exposition is a well-modulated performance of Puccini's best writing for women's voices in non-starring roles. Indeed, the balance between the soloists, chorus, and orchestra is keenly maintained througout, ever allowing the orchestra and chorus to be equals to the soloists. Lastly, Pappano's pacing seems the most accomplished of all the recordings.

The worst second. The performance of the Rome Opera Orchestra & Chorus with Fedora Barbieri and Victoria de Los Angeles is frightful. The balance is muddy, and the soloists are miked so closely that they become strident. Worse yet is that the editing was inattentive, and several badly pitched tones made their way to the final recording. --And the pitch problems continue throughout, sometimes sharp, sometimes flat. The chorus members' diction is almost slurred, and a sloppy ensemble results in many nice melodies being unintelligible.

The most surprising recording is conducted by Richard Bonynge and stars Joan Sutherland and Christ Ludwig. As another reviewer noted, Dame Sutherland is past her prime, recording the role at age 52. If only we had a recording of Angelica from her at 30! As it is, I believe Richard Bonynge is the one driving a stake through the heart of this work. His readings alternate between a rush through lyric passages and tearing through the recitativo segments at a full tilt. But it seems so strange because the balance favors the women's voices, making the orchestra extraordinarily subservient. Finally, the performances in general seem less than committed. For example, Sutherland lacks both the fire and the meek submissiveness that should complicate the character.

A Sutherland treat.......2003-06-11

What a treat! Hearing Sutherland doing non-Bel Canto is always kinda exciting. She's thrilled to be doing something outside of her safety-net. Though this was recorded past Joan's prime (she was 52) she still gives her best efforts and ultimately, an honest and compelling portrayl. As Joan got older, the voice lost gleam and power -- which made her more committed to the dramatic aspect of her performances. Sutherland makes you want to cry as she performs this delicate role. Joan does a great job at portraying the frail Suor Angelica, sent to live in a Convent because of her child born in wedlock. Angelica is weak with sadness, and Joan does a great job at getting that through. Christa Ludwig, La zia Principessa, does an expert job at not portraying the cold hurtful heartless powerful woman, but a character with real depth and back story. Ludwig's strong hand is at her truthful acting,how she creates and encompasses real and honest characters and brings life to her roles. At 52, this mezzo still has a lot of voice left in her.

An exciting moment is when La zia Principessa/Ludwig snears, "...you have stained our white crest" and Angelica unexpectedly spits in her face, "Sorella di mia madre, voi siete inesorable (My mother's siter, you are unrelenting!" Now THAT'S was exciting! You don't expect that, and Sutherland does it amazingly well! And that classic Puccini moment of climax is when La zia Principessa tells Angelica that Angelica's child died. Angelica says "É morto? (He's dead?)" and Angelica lets out this Tosca howling scream! Pretty chilling and cool.

"Senza mamma, o bimbo, tu sei morto" is touching. Renata Scotto's is my favorite, and I hear Mirella Freni, Ilona Tokody, and Leontyne Price also do excellent renditions).

Now from the point where Angelica utters, "Ah, son dannata! (Oh, I am damned!)" The rest of the opera is heart-breaking! Angelica/Sutherland flies off into vocal feights as she pleads to the Madonna to not let her die in damnation after she commits the mortal sin of concocting a poison potion that she drinks to kill herself. She asks the Madonna to give her a sign of grace and save her, "Madonna! Madonna! Salvami! Salvami!" Bonynge does a wonderful job of evoking from this point the full power and heights of what Puccini wanted! You are totally imagining the room fillng with light and the Madonna comes toward her with her child and the child takes his first steps. There is bliss and forgiveness and WONDERFULNESS!!

A bonus on this CD is "Vissi d'arte" from Tosca. Frankly, I wasn't expecting the best. However, contrary to what I was anticipating, she sings with surprisingly convincing honesty. You really feel the torment Tosca is going through. Who knew Joan could pull it off?? Also, this was recorded 6 years before Suor Angelica (she was 46), so the voice is in fairer condition.

If you're someone who doesn't like Sutherland, again, this does not represent her in her prime -- her high notes aren't wonderful (including the ending Bb in "Senza mamma..." which is ever so slightly under pitch) and the voice in general has lost some sparkle. And if you're a fan of the opera then you're going to compare her voice to other singers who recorded this in their prime and you're going find fault. I recommend this recording only for fans of good drama. And if you've grown to appreciate Sutherland, than you'll enjoy this. I know I did!

A beautiful and dreamlike recording.......2001-09-07

With so many great recordings of 'Suor Angelica', the Puccini fan can hardly choose just one version. Each notable recording and its star (including Tebaldi, Scotto, Ricciarelli, and Popp) has made an individual stamp on the role, and consequently, on the opera. This recording is no exception, and gives the listener a regal Angelica, and at times a rather dreamlike atmosphere. The character of Angelica was of royal birth, a princess forced into life as a nun because of her illegitimate child - and Joan Sutherland's bearing and large voice gives us the most royal heroine of any recording. Recorded in the early 1970s, Sutherland is in remarkable voice, and she has dramatic involvement in the character greater than many of other recorded performances. Also, in this interpretation of score, Sutherland's trademark vague diction is somehow less annoying than it usually is. Christa Ludwig sings with her typical lush tone, and she makes for a cold, ominous, and almost oracular Princepesa. Richard Bonynge is not a conductor one associates with Puccini, and he leads a rather gentle and occasionally eerie interpretation, but also ably brings out the everyday conversational tone of the first half of the opera. The conflicts and climaxes, though alive with tension, are not what one thinks of as verismo style. Yet this approach suits his principle singers, as well as the predominantly British supporting cast. It all adds up to a highly individualized but successful version of the opera. There is no definitive Angelica out there, at least not for me. I have collected many, and Sutherland makes a great addition. I listen to the other recordings frequently; the Puccini lover should not miss the neurotic fragility of Lucia Popp (BMG; available at Amazon UK) or the tragic impact of Renata Scotto (Sony). But as often as I listen to these others I will return to this recording for its distinct individual merits. I purchased this with skepticism, but was pleasantly surprised by what I heard.

Tones like a crystal bell.......2000-07-12

In Suor Angelica Puccini ranges from childlike playfulness to deepest despair in a short opera easily enjoyed in one sitting. And the voices on this CD are all clear and harmonious. However I feel Bonynge's interpretation focuses on voice rather than mood. Rather than spritely as in other versions, here the tempo feels held back, dampening some of the excitement, so the listener feels as if nostalgically looking back at a distant event rather than being alive in the moment's laughter, excitement, and agony. However Dame Sutherland, of course, is incomparable, with a voice like clear light.

Leoni: L'oracolo; Puccini: Suor Angelica [Australia]

Average customer rating:

Leoni: L'oracolo; Puccini: Suor Angelica [Australia]
Sutherland , Ludwig , Collins , Connell , Bonynge , and National Philharminic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B00076YNHI
Release Date: 2005-02-02

Tracks:

Suor Angelica - Ave Maria, Piena Di Gratia
Suor Angelica - Sorelle In Umilt Mancaste Alla Quindena
Suor Angelica - O Sorelle In Pio Lavoro
Suor Angelica - Ho Un Desiderio Anch'io!
Suor Angelica - Laudata Maria! E Sempre Sia!
Suor Angelica - Suor Angelica! Madre, Madre, Parlate!
Suor Angelica - Il Principe Gualtiero Vostro Padre
Suor Angelica - Nel Silenzio Di Quei Raccoglimenti
Suor Angelica - Tutto Ho Offerto All Vergine, S Tutto
Suor Angelica - Senza Mamma, O Bimbo, Tu Sei Morto
Suor Angelica - Sorella, O Buona Sorella
Suor Angelica - La Grazie Dicesa Dal Cielo
Suor Angelica - Ah, Son Dannata!
Tosca - Act 2 - "Vissi D'arte, Vissi D'amore"
L'oracolo - Wufet: Tanhae Fulu: Samciau
L'oracolo - Sappiente Dottore, Presto Vai Oggi Al Tempio!
L'oracolo - Pensa Prima All'uomo Lussorioso
L'oracolo - Ah! .. Ah! ... Ah! ... Bianca Luce Silente
L'oracolo - Tartarughe! Rane Dell'hong Kong!
L'oracolo - Ecco Il Piccolo Dio D'amore!
L'oracolo - S'invochi Amitha Con Il Canto!
L'oracolo - Il Drago! Il Drago!
L'oracolo - Donna! Non Vedo Il Bambino!
L'oracolo - Ah-Joe, Uno Sgomento
L'oracolo - Si! Scendo Gi
L'oracolo - Ferito! L'hanno Ferito!
L'oracolo - Un Assassino! Dei Di Piet
L'oracolo - Il Bimbo, Il Bombo Mio Ritornato!
L'oracolo - Senti Il Rombo Del Sangue Vertiginoso?

Album Details

Joan Sutherland is Not Usually Associated with the Verismo Repertory and her Excursions Into that Area were Limited to a Few Performances of Suor Angelica in Sydney in 1977 (A Year Before this Recording was Made) and her Participation in the Legendary 1972 Decca Recording of Turandot, in which She Sang the Title-role. In Addition She Recorded this Absolute Rarity in 1975, Leoni's L'oracolo. Set in San Francisco's Chinatown and Ending with Death by Pigtail Strangulation, the Opera Had Its World Premiere on 28 June 1905 at Covent Garden.