Un Ballo in Maschera is not my favourite Verdi, I always did find the story implausible. However, as with all of Verdi's operas, which are all worth hearing or seeing at least once regardless of the plot-line, the music is glorious with the highlight for me being Renato's Eri Tu. This is a truly fantastic performance, and while I loved the 2001 Licitra and Guleghina, 1980 Pavarotti, Ricciarelli and Quillico, 1975 Domingo, Ricciarelli and Cappuccilli and 1991 Pavarotti, Millo and Nucci productions just as much it's this that I regard as the best Ballo I've seen. It is so brilliantly performed that you do forget the implausibilities of the story and get swept away by the music and how it's performed.
I will admit production-values-wise there are more striking versions elsewhere like the 1980, 1991 and 1975 productions, though they are not bad really. The lighting is atmospheric enough and the costumes are suitably sumptuous. The picture quality maybe could've been sharper but more than acceptable, and while in mono the sound is at least clear. Musically, the production is wonderful, with very dramatic yet nuanced orchestral playing, a well-balanced chorus and elegantly phrased and never too broad or ponderous conducting. As for the staging, I couldn't fault that either, Eri Tu is especially anguished and the beginning of Amelia's Ma Dall'Arido Stelo Divulsa is very exciting stuff indeed.
The performances are simply superb. I have said before that I didn't consider Carlo Bergonzi much of an actor, but loved his voice and artistry. However, this is one of three times where I've felt I maybe underestimated Bergonzi's acting(the others being his Edgardo for Tokyo and Nemorino for Florence) for he is very refined and thoughtful, giving me goosebumps during Ma Se M'e Forza Perderti and his laughing in E Schrerzo Od E Follia sounding the most natural of any tenor singing Riccardo(and yes I am including Domingo, who I have always loved). Vocally he is on top form, maybe there are tenors with bigger voices but as far as I'm concerned it's whether their tone is beautiful or thrilling that makes for a great voice, and Bergonzi's with impeccable attention to musicianship, phrasing, diction and tuning is both.
Antonietta Stella I regard as a fine Maddalena De Coigny(Andrea Chenier) and the finest Minnie(La Fanciulla Del West) I've ever encountered, and her Amelia is no exception. I love the dramatic intensity and poignancy of her acting, especially in the act 3 duet between her and Bergonzi, and her singing is appropriately soft-grained yet warm with very steady tone and a free, soaring top. As much as I do like Ricciarelli and Millo on DVD and Tebaldi and Milanov on record, not even they have given so much to this role in the way Stella has, yet for some reason she isn't held as high in regard for reasons I personally cannot explain.
Mario Zanassi is another singer who should've made it bigger and didn't. I always did find him a powerful presence and his voice is rich and quite handsome I feel. That is especially true of his truly wicked Enrico in the Tokyo Lucia Di Lammermoor. Everything I loved about that particular performance is here, his acting is both intense and expressive and judging by his big, lovely-in-colour voice I do consider him one of the finer(but sadly one of the more underrated ones by today's standards) baritones of the 60s. His Eri Tu is not quite as smooth as Merrill's or Cappuccilli's vocally, but is beautifully sung and is very heartfelt. The ovation was more than well deserved.
Lucia Danieli is not a singer I am familiar with, and I thought she did a good job with a role that is not the easiest to play. Her lower register is powerful without being too forced, and she is a formidable presence even with some gestures one may find on the broad side. Margarita Guglielmi is a lyrical and sweet-toned Oscar with a pretty and quite athletic presence. Plinnio Clabassi and Antonio Zerbini make much of Samuel and Tom, not exactly interesting roles but the resonant singing and strong acting of both Clabassi and Zerbini make them so.
In a nutshell, really fantastic and really an essential to your opera collection. 10/10 Bethany Cox
I will admit production-values-wise there are more striking versions elsewhere like the 1980, 1991 and 1975 productions, though they are not bad really. The lighting is atmospheric enough and the costumes are suitably sumptuous. The picture quality maybe could've been sharper but more than acceptable, and while in mono the sound is at least clear. Musically, the production is wonderful, with very dramatic yet nuanced orchestral playing, a well-balanced chorus and elegantly phrased and never too broad or ponderous conducting. As for the staging, I couldn't fault that either, Eri Tu is especially anguished and the beginning of Amelia's Ma Dall'Arido Stelo Divulsa is very exciting stuff indeed.
The performances are simply superb. I have said before that I didn't consider Carlo Bergonzi much of an actor, but loved his voice and artistry. However, this is one of three times where I've felt I maybe underestimated Bergonzi's acting(the others being his Edgardo for Tokyo and Nemorino for Florence) for he is very refined and thoughtful, giving me goosebumps during Ma Se M'e Forza Perderti and his laughing in E Schrerzo Od E Follia sounding the most natural of any tenor singing Riccardo(and yes I am including Domingo, who I have always loved). Vocally he is on top form, maybe there are tenors with bigger voices but as far as I'm concerned it's whether their tone is beautiful or thrilling that makes for a great voice, and Bergonzi's with impeccable attention to musicianship, phrasing, diction and tuning is both.
Antonietta Stella I regard as a fine Maddalena De Coigny(Andrea Chenier) and the finest Minnie(La Fanciulla Del West) I've ever encountered, and her Amelia is no exception. I love the dramatic intensity and poignancy of her acting, especially in the act 3 duet between her and Bergonzi, and her singing is appropriately soft-grained yet warm with very steady tone and a free, soaring top. As much as I do like Ricciarelli and Millo on DVD and Tebaldi and Milanov on record, not even they have given so much to this role in the way Stella has, yet for some reason she isn't held as high in regard for reasons I personally cannot explain.
Mario Zanassi is another singer who should've made it bigger and didn't. I always did find him a powerful presence and his voice is rich and quite handsome I feel. That is especially true of his truly wicked Enrico in the Tokyo Lucia Di Lammermoor. Everything I loved about that particular performance is here, his acting is both intense and expressive and judging by his big, lovely-in-colour voice I do consider him one of the finer(but sadly one of the more underrated ones by today's standards) baritones of the 60s. His Eri Tu is not quite as smooth as Merrill's or Cappuccilli's vocally, but is beautifully sung and is very heartfelt. The ovation was more than well deserved.
Lucia Danieli is not a singer I am familiar with, and I thought she did a good job with a role that is not the easiest to play. Her lower register is powerful without being too forced, and she is a formidable presence even with some gestures one may find on the broad side. Margarita Guglielmi is a lyrical and sweet-toned Oscar with a pretty and quite athletic presence. Plinnio Clabassi and Antonio Zerbini make much of Samuel and Tom, not exactly interesting roles but the resonant singing and strong acting of both Clabassi and Zerbini make them so.
In a nutshell, really fantastic and really an essential to your opera collection. 10/10 Bethany Cox
