Arturo Toscanini, Vol 12 - Verdi: Falstaff

Editorial Reviews
Amazon.com essential recording
According to Toscanini's biographer Harvey Sachs, the Maestro viewed Falstaff as the most successful marriage of words and music in the history of the lyric theater. The same can be said about his 1950 NBC broadcast performance of Verdi's final opera. Karajan's EMI traversal from the '50s has the advantage of stereo and stronger solo singers, yet Toscanini achieves a remarkable synergy among pit, stage, and text that honors the composer's ensemble values with heartfelt brilliance at every turn. The orchestra not only sings: it talks, weaving incisive yet never obtrusive commentary around the vocalists, while sailing effortlessly through a maze of mood and tempo changes. By all accounts, Toscanini coached his cast to the extreme, and it shows. The excellent mono recording is well-balanced and still vivid after all these years. If I had to choose but one recording to demonstrate Toscanini's unique artistry, it would be this. --Jed Distler

Tracks:

Falstaff: Act I, Scene 1: Falstaff!
Falstaff: Act I, Scene 1: Ssss. Sei polli: sei scellini
Falstaff: Act I, Scene 1: So che se andiam
Falstaff: Act I, Scene 1: V'e noto un tal
Falstaff: Act I, Scene 1: L'Onore! Ladri!
Falstaff: Act I, Scene 1: Ma, per tornare a voi
Falstaff: Act I, Scene 2: Alice - Meg
Falstaff: Act I, Scene 2: Fulgida Alice! Amor t'offro
Falstaff: Act I, Scene 2: Quell'otre! quel tino!
Falstaff: Act I, Scene 2: E un ribaldo, un furbo, un ladro
Falstaff: Act I, Scene 2: Pst, pst, Nannetta
Falstaff: Act I, Scene 2: Falstaff m'ha canzonetta
Falstaff: Act I, Scene 2: Torno all'assalto
Falstaff: Act I, Scene 2: Udrai quanta egli sfoggia
Falstaff: Act I, Scene 2: Del tuo barbaro diagnostico
Falstaff: Act I, Scene 2: Qui piu non si vagoli
Falstaff: Act II, Scene 1: Siam pentiti e contriti
Falstaff: Act II, Scene 1: Alice e mia!
Falstaff: Act II, Scene 1: Padron; si la c'e un certo Mastro Fontana
Falstaff: Act II, Scene 1: Signore, v'assista il cielo!
Falstaff: Act II, Scene 1: Io l'amo e lei non m'ama
Falstaff: Act II, Scene 1: Il diavolo se lo porti all'inferno
Falstaff: Act II, Scene 1: E sogno? o realta?
Falstaff: Act II, Scene 1: Eccomi qua

Tracks:

Falstaff: Act II, Scene 2: Presenteremo un bill, per una tassa
Falstaff: Act II, Scene 2: Giunta all'Albergo della Giarrettiera
Falstaff: Act II, Scene 2: Nannetta, e tu non ridi?
Falstaff: Act II, Scene 2: Gaie comari di Windsor!
Falstaff: Act II, Scene 2: Alfin t'ho colto
Falstaff: Act II, Scene 2: Quand'ero paggio
Falstaff: Act II, Scene 2: Mia signora!
Falstaff: Act II, Scene 2: Il diavolo cavalca
Falstaff: Act II, Scene 2: Vien qua
Falstaff: Act II, Scene 2: Al ladro!
Falstaff: Act II, Scene 2: Se t'agguanto!
Falstaff: Act II, Scene 2: Ned! Will! Tom! Isaac!
Falstaff: Act III, Scene 1: Ehi! Taverniere!
Falstaff: Act III, Scene 1: Reverenza
Falstaff: Act III, Scene 1: Legge
Falstaff: Act III, Scene 1: Quando il rintocco
Falstaff: Act III, Scene 1: Provvedi le lanterne
Falstaff: Act III, Scene 2: Dal labbro il canto
Falstaff: Act III, Scene 2: Nossignore!
Falstaff: Act III, Scene 2: Una, due, tre, quattro
Falstaff: Act III, Scene 2: Odo un soave passo!
Falstaff: Act III, Scene 2: Ninfe! Elfi! Silfi!
Falstaff: Act III, Scene 2: Sul fil d'un soffio etesio
Falstaff: Act III, Scene 2: Alto la! - Ci va la?
Falstaff: Act III, Scene 2: Ruzzola, ruzzola
Falstaff: Act III, Scene 2: Naso vermiglio!
Falstaff: Act III, Scene 2: Cavaliero - Reverenza
Falstaff: Act III, Scene 2: Ogni sorta di gente dozzinale
Falstaff: Act III, Scene 2: Ah! Ah! Ah! Ah!
Falstaff: Act III, Scene 2: Tutto nel mondo e burla

Amazon.com essential recording

According to Toscanini's biographer Harvey Sachs, the Maestro viewed Falstaff as the most successful marriage of words and music in the history of the lyric theater. The same can be said about his 1950 NBC broadcast performance of Verdi's final opera. Karajan's EMI traversal from the '50s has the advantage of stereo and stronger solo singers, yet Toscanini achieves a remarkable synergy among pit, stage, and text that honors the composer's ensemble values with heartfelt brilliance at every turn. The orchestra not only sings: it talks, weaving incisive yet never obtrusive commentary around the vocalists, while sailing effortlessly through a maze of mood and tempo changes. By all accounts, Toscanini coached his cast to the extreme, and it shows. The excellent mono recording is well-balanced and still vivid after all these years. If I had to choose but one recording to demonstrate Toscanini's unique artistry, it would be this. --Jed Distler

Customer Reviews:

A bouquet to Valdengo.......2005-12-05

The other revieewers have already praised the revitalized sound of this 1950 Falstaff, which brings the performance into a soft, warm, human dimension. Toscanini conducts without a trace of the hardness and hectic tempos associated with his old age. He paces the opera with utmost flexibility, bending every phrase to Verdi's mercurial imagination. We find ourselves in a world as sparkling as that of Midsummer Night's Dream.

But above eall this opera needs a great vocal actor to protray Falstaff himself. From the first words he utters, Giuseppe Valdengo makes some things abundantly clear: Sir John is fat and gross, but still proud. He is sly and degraded, hot-headed and witty. Valdengo makes us believe that the higher morality is to flout convention and sail through the world a free spirit, but always with the melancholy awareness that flights come to earth with crashing shards of self-delusion. Jack Falstaff is a world unto himself, so both Shakespeare and Verdi intended, and both see him with worldly compassion. Valdengo manages to hold the center of gravity every moment, something that Tito Gobbi, for all his artistry, had to strain to achieve, and then only partially. Togeehter, Valdengo and Toscanini inspire everyone else. For two hours the magic spell holds, from a slovenly tavern hangover to a fairy night's enchantment. Bravo!

Brilliant performance by a true master........2005-08-28

This is a magnificent performance of one of the greatest of all operas.

Regarding the previous comments on sound quality, I weep for those whose ears are acute but whose souls are deaf.

Can't get past the sound quality..........2003-08-31

It's just terrible. The vocalists sound great - up front, clear, the works. But the orchestra! It's just one big lump of sound hiding behind the vocals. And tape hiss. Can't forget that.

If you're familiar with this work, and are looking to add another copy of it to your collection - then this may not be a bad idea at all. You know the music already - so you'll be able to appreciate stylistic differences, etc. in the performance. However if you're not familiar with Falstaff, you may find yourself putting this on the shelf due to the poor sound.

I found it very difficult to approach this opera for the first time listening to this recording. As I said, the vocals were great - lots of emotion and life. But every time the orchestra plays a note it just sounds like this big lump of dull sound in the background. It's impossible to pick up on the intracacies in the music, and I find that because of this I can't concentrate on the good aspects of the recording, I only focus on the bad.

Honestly, it just sounds dated - like you're listening to it on a stereo in the 30's or something to that effect. So I'd say if you're a fan of Falstaff you may be able to fill in enough of the blanks to really enjoy this. And of course if you like historical recordings, there's no reason to avoid this - I'm not complaining about the quality of the playing. But if this is your first time around you can surely find a recording that will help you gain a greater appreciation of the music. Don't start here.

Brings Back Memories.......2002-01-29

While not a knee-jerk Toscanini fan, I am a great fan of this recording. It reminds me of my childhood, hearing Met broadcasts on a good radio -- AM, yes; mono, yes; but with a firm tone and just enough warmth to invite one to stick around for the broadcast. This recording is my benchmark for Falstaff.

Toscanini triumphs.......2001-04-27

I inserted the first CD into my player and found myself transformed into the world Verdi's greatest masterpiece of lyrics and music. Certainly the glory must go to Toscanini for making this complex work such a joy to listen to. He produces some of the most beautiful tones from the orchestra that perfectly matches with the glorious singing of Valdengo, Nelli, Merriman, Elmo, Guarrera and the others. I can't think of a single negative thing about this recording.

Giuseppe Valdengo was in such firm tone and his acting is just right on the money. All the women of the piece are also excellent. And some recognition must also go to the chorus.

This recording is for all lovers of Verdi's supreme masterpiece and of Toscanini.

Track Listings: