From: chrisi@lloyd.Camex.COM (Chris Ischay)
Subject: Re: Live recordings (was Re: Immortal opera recordings)
Organization: Camex Inc., Boston MA
Date: Fri, 14 Aug 1992 17:24:40 EDT

In article <1992Aug13.182157.14706@husc3.harvard.edu>
vnguyen@husc8.harvard.edu (Vinh Nguyen) writes:

>I suppose that there is a thrill in anticipation of "hurdles" ...
>There must be the vicarious thrill in partaking in the mortal
>vulnerability of the singers before such hurdles, and the sense of
>satisfaction in see that such hurdles overcome by the singers.  
>I suppose that this
>sense of identification with the challenges facing the singers is
>the bond between the artist-audience rapport that has been dubbedd
>"electricity" in the house during a live performance.

In my case I am usually more interested in an overall sense that
the drama is being served by the musicianship.  If by hurdles you
mean passages difficult to sing or optional high notes, I would say
that those are less interesting.  It's the continuity of the drama
on stage that sometimes works better for me in a live recording.

>I don't have much experience with live recordings but I have stumbled 
>on a few gems here and there which I'd like to share.

>Verdi. Un Ballo in Maschera. Callas, Di Stefano, Bastianini,
>Simionato, Ratti, cond. Gavazzeni. Milan 12/7/57.  This is
>a thrilling performance, with an ecstatic Act II love duet
>that is truly electrifying, shining through the rather opaque
>but otherwise listenable sound.

I agree the love duet is very passionate.  Di Stefano is
taking years off his vocal career with every note.  Even
better than the duet, in my opinion, is the second half of
the same act.  The little twist on "Ve se di notte" and
the mockery it implies is as nicely done as I've ever heard.

>Verdi.  La Traviata.  Callas, Valetti, Zanasi, cond. Rescigno.
>London 6/20/58.

Given the lack of a clear winner in the studio recording marketplace, I
sometimes think about recommending this as a first choice, although
advisedly.  The chorus is very sloppy, but Callas's interpretation is very
inspiring.  I've never heard another singer with the nerve to sound
downright sick throughout the whole last act.

I'll throw in another one I've just heard for the first time -- Toscanini's
La Boheme.  Although not staged, it still counts as a live performance in
my book.  Wow.  I've never heard La Boheme like this.  He does it as a
biting verismo drama instead of the mushy pretty drippy music that some
(but not I) criticize Puccini for.  His orchestra can glow and shine when
the time comes, but they don't pussyfoot around.  I happen to love the
Bergonzi/Tebaldi recording conducted by Serafin, and the two are about as
opposite as can be.  

Does the fact that this was a live performance have anything to do with it?
Probably not.  I would expect this to have come out the same either way.
Maybe they might have excised some of Toscanini's singing.  %^) I'm just
enthusing about a beautiful and revealing recording.

Does the fact that I know Toscanini knew Puccini and conducted before him
and premiered some of his works make a difference?  You bet.  Will I defend
this sloppy thinking?  Naaah.

Chris Ischay
chrisi@camex.com
Newsgroups: rec.music.phish