Turandot
This reissue of a 1959 recording captures four glorious voices at their peak, triumphantly conquering one of the most brutally difficult operas in the literature. Puccini taxed his singers almost beyond human endurance with his prolonged stratospheric writing (he also loved the musical depiction of physical torture). Nilsson'sTurandotis thrilling; every inch the Ice Princess, her voice cuts through and soars over orchestra and chorus with the intense, brilliant radiance of a snowfield reflecting the sun, especially in the uppermost range. Required to sing at full volume until near the end, her stamina is incredible, as is her ability to suddenly modulate her voice from vengeful defiance to human warmth. Tebaldi's voice is achingly beautiful, lustrous and creamy; she makes Liu's submissiveness and fortitude deeply moving. Bjoerling combines the power and brightness of a "Heldentenor" with melting lyricism; his top has a radiant, clarion ring. Tozzi's sonorous bass gives Timur both majesty and desperation, De Paolis' Emperor quavers with age, the three Councilors are a pathetically antic comedy act. Puccini intended the last duet and orchestral finale to be an apotheosis, showing Turandot's transformation to humanity through love. Tragically, he died before they were finished - and before he could undertake his customary revisions - and Franco Alfani completed the opera, using some earlier material. A competent composer could hardly be expected to realize the vision of a genius, however, so Turandot feels both unfinished and incomplete. Still, despite its blood-thirsty plot and unbelievable characters, it is a fascinating masterpiece. The recording's only lack is a libretto; it is available on a website, but downloading is not every opera lover's forte.--Edith Eisler