Verdi! (Random Reviews from the Overflow Room)

So much Verdi has been boxed up recently that I could save lots of space by removing the individual sets to the Overflow Room. So here they are. I suppose I should have gotten rid of them entirely, but I wanted to keep the booklets and librettos, which the boxes mostly don't have, and I'm just too obsessive-compulsive to do it. There, I said it.

[gavingriffiths]

For your important recording project series, you might think of the Philips early Verdi operas...certainly I found these a revelation as they came

[stangibell]

Another winner Dave! As you scooted through the Anna Moffo version of "La Traviata, " it reminded me of your 'How I Discovered' series: this is the recording that did it for me. The aria and chorus of "Libiamo!" is how I discovered the Master and never looked back. There were very few times I could attend the Metropolitan Opera when I lived in NYC, . One of the few was my first in-person opera, "Otello". In the early 1970s, the Met gave discounts on tickets to students which I was at that time. We were given seats in a box. While we could not see much of stage left, it was a glorious experience. I am sure I still have the program. I went with my next door neighbor. We lived in Brooklyn Heights then. She was the daughter of Joseph La Sala who was Frank Rizzo's Chief of Staff in the last Rizzo administration. He, Mr. La Sala was a big opera fan and guided my purchase of other Verdi operas, specifically "Don Carlo, " which for a struggling student was very expensive (on vinyl, no less). It took some time for me to be able to acquire it. But, I did and still have it.

[petterw]

I love the Solti Don Carlo for the Inquisitor scene between Ghiaurov and Talvela. Two ENORMOUS bass voices.

[sanfordpress]

I finally discovered the beauty of Eileen Farrell's voice. Breathtaking

[murraylow]

A composer of terrific abundance. I don’t have a lot of versions, even of my favourite operas, because I really have to be in the mood for it (and, like you, Dave, I’m not really an opera guy). I did buy the Decca/ universal complete Verdi box some years ago. The second incarnation, better than the first. That mostly does me! In fact looking at my single issue opera shelves here I think I only have Giulini’s Don Carlo.
So, thankfully, no overflow situation…

[ERCwC]

Regarding the Bernstein Verdi Requiem, my understanding is that Franco Corelli was initially contracted to do it, but that Bernstein offered it to Domingo anyways. Domingo was concerned that he was getting a reputation of being Corelli’s stand-in, and also raised the fact that Corelli was already under contract. Bernstein responded that Domingo should just say yes because Corelli always cancelled and that the existing contract was effectively pro forma.

[piano]

fans of Otello/Del Monaco/Karajan should note that the ballet music was CUT in the (first?) CD transfer. And it IS there in the original LP edition.

[oakdaddy]

Congrats on knowing Christa Ludwig. She never made a bad record.

[stevesincock]

Great survey. Thank you. Some personal favourites there. Thanks.

[tom]

You're always surprising me, Dave--and today it's the surprise of learning that your OCD has real limits. I'd have bet my pension on the fact that within your Verdi section, you would have started with all the Aidas and run right through alphabetically to a Verdi Miscellany at the end. Who knew you'd just line 'em up in no particular order and make it harder for yourself to find that Arroyo Forza when you want it.

[sanfordpress]

Whow. You knew She was amazing. Just perfection

[bbailey]

I definitely prefer Ormandy's Verdi Requiem to Bernstein's erratically paced one.
I can't say I prefer Arroyo to Leontyne but she'd be a godsend today. So much of her recording career depended on Caballe canceling recording sessions. Vespri, Forza, a Ballo, Don Giovanni.
That Solti Ballo was the one that was supposed to have Bjoerling but he was afraid that he'd have to sing the last act aria he refused to sing on some weird principle. So he had a few too many at a local watering hole instead.
I agree, that Leinsdorf Ballo is THE reference recording. I'd also take that RCA Aida with Milanov, Barbieri, Bjoerling, Warren, and Christoff as my reference version. Made when giants walked the earth. And Perlea knows what he's doing.

[MarauderOSU]

Great collection of stuff there, Dave. Coincidentally, I just ordered the Gardelli Nabucco last night to go with my Muti and Sinopoli recordings.

[mauricegiacche]

What’s the deal with Aroyo? Her Amelia in Verdi’s “Ballo” (Muti) is beautifully sung and utterly thrilling. I have always had difficulties in getting my mitts on her recordings.I would kill to hear her Aida. Her voice had this quality about it that made her perfect for “Ballo”. And yes, Amelia is a true Verdian dramatic soprano role. Perhaps labels /publicity machine didn’t get behind her in the way they did with Price.

[stevemcclue]

The difference between your colletion and mine is that my CDs often have stickers on them announcing "Cut Price!" "On Sale!" "Two for one!" and so on. Some of my CDs are even second-hand! Don't tell me you always buy new and full price?