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2 internautes sur 2 ont trouvé ce commentaire utile :
4.0étoiles sur 5
A BUTTERFLY OF VOCAL GOLD, Mars 9 1999
Par Un client
This famous recording dates back to the beginning of the stereo era, and in many respects still commands great attention. There have been numerous recorded performances of this opera that have proven more compelling and poignant than this one (most notably those of Callas, Scotto, and Freni), to be sure. This is an opera, of course, which stands or falls by it's prima donna. Tebaldi was never a great tragedienne, and her occasional attempts at real drama never really worked. What she had to offer, however, was a voice that was arguably the most resplendent and beautiful of the post World War II period. It was a voice, that for Butterfly, anyway, was probably a little too large and mature for the fiteen year old giesha she was portraying, especially at the beginning of the opera. Once past this, however, a towering experience awaits the listener as Tebaldi delivers singing which is awesome in its beauty and all-enveloping power. Unfortunately for us, voices like this just aren't around any longer. Carlo Bergonzi's singing is also vocally very beautiful, far more beautiful than the character deserves, louse that Pinkerton is. Fiorenza Cossotto, in the thankless role of the maid Suzuki, contrasts well with Tebaldi in the Flower Duet. The conducting of Tullio Serafin is leisurely, stately, and very much in the old time Italian tradition of Puccini. While not a profound or innovative performance, it remains a wonderful one because it exemplifies a style of Italian opera performance that no longer exists. And lastly, and most importantly, it deserves to be heard and cherished for the sheer beauty of the singing of Renata Tebaldi
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4.0étoiles sur 5
Maravillosa pero..., Aoû 29 2002
Par Un client
Esta es una gran Butterfly en muchos sentidos, con un Elenco de los que ya no existen. Bergonzi canta su Pinkerton con su seducuctora elegancia característica, lo que lo pone en los primeros lugares para este papel. Cossotto, lo mejor que se puede pedir para Suzuki. Y Tebaldi, bueeno, si bien canta con esa voz que hace que cualquiera se derrita por ella, tenemos otra vez uno de sus grandes problemas para estos papeles... Su voz es demaciado madura, olvida que Butterfly tiene 15 y después 18 años, no se la puede cantar como a Desdemona. Mi Butterfly favorita es aquella que a priori parece la más inadecuada para el papel de todas: Maria Callas, si bien la dureza de su timbre hace que uno sienta cierto rechazo, no hay intérprete como Callas, simplemente. Y Serafin, bueno, es Serafin, no se puede desear algo mejor.
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5.0étoiles sur 5
SOMPTUOUS BUTTERFLY, Aoû 14 2002
Par Un client
One can argue that Renata Tebaldi's voice and manner are too
grand for Cio-Cio San - and it is a valid point - however the
sheer beauty and radiance of the voice, the refined musician-
ship and exquisite phrasing make for a beautiful performance
sometimes breathtakingly so, what a truly great singer she was.
As Pinkerton Carlo Bergonzi is in the same class as Tebaldi -
vocal beauty, musical refinement, perfect diction - the only
little criticism is that he sounds more like a gentleman than
a rake but that's hardly his fault! Fiorenza Cossotto and Enzo
Sordello offer excellent support and Tulio Serafin paces the
opera very well. There is much to enjoy and admire in this
somptuous recording!
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