I normally would not review something like this: a 1941 studio recording, originally issued on 35 78 rpm discs, that has been available on-and-off from a dozen labels for more than 70 years. However, despite a cut in Act 3 (the wonderful “Sleale!” duet for tenor and baritone that was customarily excised until the past 30 years), this old set, in acceptable-if-boxy mono, remains the best reading of this opera available.
The full-blooded Italianate conducting of Gino Marinuzzi, who left only this as a complete opera recording, is big-boned in the Camp Scenes and the violent moments and wonderfully intimate during the characters’ more introspective moments. He is thrillingly matched by the soloists. Maria Caniglia, who within a year or three of this recording could be vocally highly unreliable, is here quite superb as Leonora, singing with an abandon that we rarely hear anymore; and she inhabits the poor, victimized character. The same might be said for Galliano Masini’s Alvaro , but he is even more secure and full of energy. He sobs occasionally, but stylistically he’s terrific.
Carlo Tagliabue’s Carlo can be a bit understated compared to Milnes (RCA) or Bastianini (Decca), but the voice is smooth and appealing and he gathers steam as he goes on. His last-act duet with Masini is fiery in the extreme. Tancredi Pasero’s Guardiano is noble and grave. Ebe Stignani, sounding young (a rarity for her at any age), is a terrific Preziosilla; the otherwise unknown Saturno Meletti is the best Melitone on disc—he gets the goofiness of the role without resorting to bad-buffo histrionics. The chorus and orchestra are splendid. Of course, if you want a modern-sounding recording of this opera, you’ll have to go elsewhere: I recommend the Price/Domingo/Levine set on RCA, the Arroyo/Bergonzi/Gardelli on EMI, or the 1950s-vintage Tebaldi/del Monaco/Molinari-Pradelli on Decca. But this one is a real gem.
