Open Web Player
After reading all the many reviews submitted for this recording, I am faced with the dilemma of repeating what so many have already said. Inasmuch as I know this opera extremely well and this recording in particular, I will attempt to write from a different perspective.
In 1988 I was commissioned by the Albuquerque Guild of the Santa Fe Opera to create an illustrated libretto to interest the younger audiences who were scheduled to attend SFO's production that year. The result was 365 finished paintings recently published in book form, available exclusively at the Metropolitan Opera Gift Shop and here on Amazon
The Fully Illustrated Libretto of Puccini's Madama Butterfly
. Butterfly was followed by Ravel's L'Enfant
The Fully Illustrated Libretto of Ravel's L'Enfant et Les Sortileges (Librettos)
and recently, Menotti's The Medium
The Fully Illustrated Libretto of Gian Carlo Menotti's the Medium
I used this Karajan/Freni recording as my point of reference to do Butterfly and have heard it almost 100 times. Granted, I've not heard every single recording of Butterfly, but I have heard many, including Leinsdorf/Moffo, Leinsdorf/Price, Barbirolli/Scotto for which I have written reviews to be read here on Amazon. For me, this Karajan/Freni recording is definitive.
Many other reviewers of this recording stated that Karajan's tempos are too slow and his orchestra is so loud and bombastic it often drowns out the singers. I disagree. Nowhere do I have to strain to hear the singers. As for the tempos, Act I is bright, sparkling, youthful and energetic. True, the tempos slow down for Acts 2 and 3, but I find that to be highly appropriate as the atmosphere has changed from the bright, sunny, youthful and optimistic outdoors to poverty stricken, tired, gray, and closed in. The tempo appropriately slows even more as Butterfly notices how she's aged before her time, and starts to wait the night for Pinkerton's arrival. In short, I believe Karajan's genius is in full bloom with Puccini. His Price/Tosca is unsurpassed, in my mind, the best recording of Tosca ever made and this Butterfly if not the absolute best, ranks right up there with the very finest.
Mirella Freni sings a flawless Butterfly. Convincingly young and innocent for Act I; sad, tortured, old before her time and tenaciously faithful for Acts 2 and 3. Amazing how she conveys all of that in a voice without the aid of visuals! As far as I'm concerned, neither Callas nor Tebaldi recordings can hold a candle to her. Albeit dyed in the wool Callas fans are now likely to be forming a lynching party, I stand by my opinion.
Robert Kerns sings a warm, appealing and thoroughly compassionate Sharpless. He delivers beautifully on all fronts.
Michel Senechal's Goro is likewise wonderful from a vocal standpoint. His voice portrays both pimp and sleaze while at the same time being a thoroughly likable chap.
As for Christa Ludwig's Suzuki, the reviewer who said her name alone says it all is right on target. Those delicious, buttery, creamy tones of hers can melt the hardest of hearts.
Now for Pinkerton: I was surprised to read how many reviewers said they never cared all that much for Pavarotti and I thank heaven to learn I am not the only one who feels that way. Indeed, Pavarotti's delivery is, as usual, technically flawless but due to his unique, one and only sound, combined with his super star status, I find I am unable separate the sound of his voice from the morbidly obese body that produces it. No matter how hard I try, I just can't picture a young, delicate Cio Cio San falling so hard for someone so old and fat!
That said, Pinkerton is an impossible role no matter who sings it. I struggled like a bear to illustrate this character convincingly and to this day question how well I succeeded (any and all feedback from those who view this libretto is appreciated)
The Fully Illustrated Libretto of Puccini's Madama Butterfly (Madam Butterfly or Madame Butterfly) (Graphic Novel) (Illustrated Opera Librettos and Graphic Novels, Volume 1)
The problem with Pinkerton lies in the fact most operatic characters are entirely two dimensional (the music supplies the missing 3rd dimension which makes the unbelievable, believable) and this is ESPECIALLY true for Puccini characters... except Pinkerton. Pinkerton is highly complex. He isn't really an evil person,he is in no way like the 2 dimensional Scarpia. He does, after all, care enough to come back for his child and does feel some remorse. He is over privileged, through no fault of his own, and as such, self centered. Although a fully grown adult, he still has the mind of a sixteen year old. While capable of passion and love (he really does love Butterfly), his adolescent brain is unable to process the fact that actions have consequences. He cares only about the moment, oblivious to what tomorrow may bring. If Pinkerton's age were close to Butterfly's, we might be able to rationalize his behavior and make some kind of sense out of it. But this is not the case. He is an officer in the US navy and considerably older than she. This fact makes his actions deplorable and we want to hate him but how is it possible to hate someone who sings all those lush Puccini melodies? In short, Puccini's music, gorgeous as it may be, simply does not fit.
All in all, Butterfly lovers need look no further. For great conducting, flawless singing and vocal acting this recording fits the bill par excellence.
Enjoy fast, free delivery, exclusive deals, and award-winning movies & TV shows with Prime
Try Prime
and start saving today with fast, free delivery
Frequently bought together
$32.48
Get it as soon as Monday, May 13
Only 1 left in stock - order soon.
+
Total price:
To see our price, add these items to your cart.
Choose items to buy together.
Similar items that may deliver to you quickly
Page 1 of 1 Start overPage 1 of 1
Top reviews from other countries
MR PETER J CULLEN
The best Butterfly?
Reviewed in the United Kingdom on March 28, 2024Mario Saavedra García
Es una versión de referencia.
Reviewed in Mexico on September 2, 2020