Verdi: I Lombardi alla prima crociata

Label: Foyer
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 1

UPC: 723721604127
EAN: 0723721604127
ASIN: B000003W42

Release Date: 1993-09-02

Related Categories:

All Works by Verdi

General

| Classical | Styles | Music

General

| Opera & Vocal | Styles | Music

Romantic (c.1820-1910)

| Historical Periods | Opera & Vocal | Styles | Music

Italian

| Languages | Opera & Vocal | Styles | Music

Tracks:

Oh Nobile Esempio
A Te Nell'ora Infausta
Sciagurata! hai Tu Creduto
Tutta Tremante Ancor... Salve, Maria
Vieni! Gia Posa Arvino
Oh Madre Mia... La Mia Letizia Infondere
E' Ancor Silenzio
Sei Tu L'uom Della Caverna?
La Bella Straniera
Oh Madre, Dal Cielo

Tracks:

Gerusalem... Gerusalem
Dove Sola M'inoltro?
Che Vid'io Mai?
Qui Posa Il Fianco
Qual Volutta Trascorrere
Componi O Cara Vergine
Qual Prodigio!
O Signore, Dal Tetto Natio
Questa E Mia Tenda
Te Lodiamo

Similar Items:

Verdi: Il Corsaro
Verdi: Don Carlos
Verdi: Attila

Customer Reviews:

Bland Performance of a Bland Opera.......2007-04-22

Giuseppe Verdi's I Lombardi was a follow-up to the immense success of Nabucco; it explores similar themes, and musical forms, with a particular penchant for choral numbers. Though some are keen on finding the innovative qualities in all of Verdi's works, to this listener Lombardi remains mediocre, though it does offer more than one enjoyable number.

To date two studio recordings tower above the relatively few other "live performances" available. The more recent Decca set under the baton of James Levine, is substantially better than the earlier Philips set led by Lamberto Gardelli.

An opera like this one, which is lacking the musical brilliance of later Verdian works, depends on a crisp reading of the score bent on articulating all its indulgent elements which appealed to 19th century audiences and those of us who enjoy 19th century opera. Devoid of much subtlety, the music must be bombastic, and should milked for every operatic drop of bathos to be found. Gardelli's conducting often lacks clarity, allowing the music to drag, and failing to elicit rigorous playing from the orchestra. On the contrary, Levine tightens up tempos, speeds up the action, and creates a lush, full sound, without disturbing balances between the orchestra and the performers (as Gardelli does from time to time). A special note should be made of the truly fine playing of concert master Raymond Gniewek on the Decca set during the Act III Prelude.

As far as the Giseldas are concerned, while Cristina Deutekom's voice on the Philips set is agile, and pleasant, on the whole it is a bit small small and ultimately unremarkable. June Anderson offers a fine, focused, and vocally superior performance, though in exploring the beauty of her voice, she comes off as a bit cold. Moreover, there is a shrill quality to the timbre that some (not me) might find unpleasant.

As Pagano, Ruggero Raimondi on the Philip's set seems surprisingly ill at ease. Though I generally enjoy his performances, here his voice sounds seems to be over-taxed and thin. His dramatic interpretation of this character--typical villain turned zealous repentant-- is generally understated. Samuel Ramey on the Decca set has also seen better days, and his voice sounds worn. Still, he manages to sing like a pro, and offers a very believable performance filled with evil-villain gnarl, and more than a fair share of a self-righteous preacher's histrionics.

In the secondary tenor role of Arvino Richard Leech on the Decca set offers a very strong performance, with a clearer tone, and more virile sound that his counterpart on the Philips set, Jerome Lo Monaco. (Though the latter offers a competent performance).

The role of Oronte was assumed in these sets, by the pre-eminent tenors of their era, Placido Domingo (Philips) and Luciano Pavarotti (Decca). Domingo was still in his thirties, and in the early part of his career; Pavarotti was at the end, and indeed this was his last studio operatic recording. Still, to this listener Pavarotti's performance is both dramatically more believable, and simply more enjoyable to the ear. Neither particularly excels in their two arias, though I found Domingo's interpretation at times plain ugly-- the diction sluggish, the tempo unbearably slow, the tone too heavy, and the top register quite strained. Pavarotti too shows some strain, though the honey-toned quality of the voice remains. He still sings transcending the tempo, and with deliciously crisp diction. Pavarotti's most important contributions occur during his duet with Anderson, and the wonderful trio with Anderson and Ramey. Here we are treated to truly spectacular singing (for a tenor of any age), garnished with a care for the text which prove that he was very capable of being an engaged performer. Domingo fares better in these pieces than in his arias, but he lacks the beauty of tone, and even the dramatic engagement one expects from him. He offers a very monochromatic, overbearing reading of the score. Though there were many other occasions on which Domingo was capable of winning points over his rival,this role goes to Pavarotti.

If only the recording studio gods had conspired to make Pavarotti the Oronte on the Philips disc, this listener would be a lot happier. Indeed, the various "live" recordings of Pavarotti in the role in 1969 (with Scotto) is very, very good. Although the sound tends to be mediocre, any tenor-maniac without an aversion to Pavarotti, and anyone interested Scotto's typically excellent performance should find this recording and relish in what good singers can do to so-so music.

Masterly production.......2005-02-06

I lombardi. being early Verdi, is (almost of course) rum-tum-tum Verdi and also big chorus Verdi. Gardelli succeeds in keeping the run-tum-tum to a minimum and the Ambrosian Singers come through with some magnificent singing. To complement these attributes, the soloists are in fine fettle. Cristina Deutekom is not your standard soprano, but she captures the role with a fierce intensity that makes it her own. I, for one, very much like the outcome. While Domingo may not have had the best voice for the role, as always his intelligent musicality, even this early in his career, shines through. Raimondi is more than adequate. I have enjoyed listening to this production on numerous occasions and recommend it highly.

Still excellent.......2004-12-05

This was my first introduction to this opera by Verdi, as was the Phillips recording of Attila (which more or less the same singers). It seemed that many early Verdi operas (excepting Nabucco, of course) were simply names in the history books. Then out came a number of fine recordings of these operas (my favorite is Il Corsaro with Caballe, Carrarras, and Norman). Some of the music in this opera would be used again in other Verdi operas (the introductory ensemble would become Manrico's vengeance lines in the last act of Trovatore when Leonora admits she was sacrificing herself for him), but in a far less florid format. As a whole, the opera has its good moments, and its dull moments. However, it is basically rather good, and like most of Verdi's operas of this time period, not all that long. I truly enjoyed the singing, even though Deutekom's voice was sort of unusual to me. A friend called it "cluckatura" for it reminded her of a hen clucking. It didn't really remind me of that, but it was sort of in and out of a bottle sound. It was just so different from what I was used to with Sills or Sutherland. However, I came to like it very much realizing what I was hearing was a true separation of the notes in a proper legato line needed for clear coloratura. When I bought her "Queen of the night" it seemed that quality, that "cluckatura" was not evident, even though the wonderful clean attack was still there. I guess what really surprised me was the drama she put into the music. I wasn't expecting someone with such a light bright sounding voice to put so much heft into the singing without ever forcing or pushing the voice. The fast vibrato didn't bother me at all, for Leontyne Price has a fast vibrato, and so do some other singers. Slow wobbles, on the other hand, really bug me. The score is sung exactly to the note, not high note endings, nothing like that at all. It was still very enjoyable. I rated it so highly because it was an excellent recording, and an excellent representation of the work. The singers did a fine job bringing the characters to life, and at times that is hard when the music seems so at odds with the drama (the "happy smugglers" chorus is an example; in reality it is a group of people out to kill someone, but Verdi convinced me only of a group of happy smugglers were on the stage).

Bel Canto Verdi?.......2003-09-17

Yes. It is sometimes easy to forget Verdi began in this era, and composed more opera in this style than any other. These operas are always beautiful, if not dramatically concise. But to the real reason to admire this performance: Cristina Deutekom. Evidently not to everyone's taste judging from feedback I received from an online forum, but, to my ears, one of the most beautiful and fluid voices I ever heard. Here, she is in top form, her tone and enunciation to be envied. It is also great to hear a young Domingo. If only Samuel Ramey had been an entity then. Able, if not distinctly personal, conducting.

Not perfect but still a safe choice.......2003-02-27

I Lombardi is not the best early Verdi opera but some moments are attractive and deserve our attention; For example Oronte's "la mia letizia infondere" or the "Qual voluta..." are memorable.

In this recording we have the young Domingo singing a role that, in my opinion, doesn't suit him. His dark voice is preferable in late Verdi roles like Don Carlos or Otello. Just listen to others who have sung Oronte. Carreras, Pavarotti and Bergonzi are ideal for the lyrical singing that the role demands. However, I can't say anything about the quality of Domingo's singing, which is very good.

Deutekom has all the high notes and coloratura ability the role of Giselda asks for, but her quick vibrato - anything BUT Italian - can become annoying. When I first listened to her, I was really impressed by her accurate and fierce singing but after a couple of times I disliked her voice because of the vibrato. A comparison with Sylvia Sass, Renata Scotto or even June Anderson is convincing enough to prove that Deutekom is not the best choice for Giselda. Ruggero Raimondi with his handsome voice certainly is a plus in this recording. He remains one of my favourite bass-baritones. Also notice the great conducting of Lamberto Gardelli.

Since the day I purchased the excellent live (1969) Gavazzeni recording with Pavarotti, Scotto and Raimondi at their best, I haven't listened much to this studio one. If you prefer studio recordings you might want to try the Levine (Decca) or later Gardelli (Hungaroton) sets.

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