Recorded live in 1967, this begins poorly with a pokey, old-fashioned reading of the overture, but it quickly picks up steam as the trio of men interact with real verve and real-time recitatives. They also handle their tricky vocal lines well and the blend of voices is excellent. Later, Werner Krenn turns in a simply gorgeous “Un aura amoroso”, and throughout he sings with beautiful tone and a fine sense of drama. Victor Braun, as Guglielmo, is similarly involved and uses his dark sound well. His rage, then sadness in Act 2 seem genuine; his feelings are easily discerned. Carlos Feller’s Alfonso is snide from the start–only a couple of dopes would trust him–and he oozes fake charm all over the opera.
As his partner in crime, Adriana Martino makes a convincing Despina; like many others, she affects a nasal, weird tone when she’s disguised, but to her credit she sings absolutely on key, even then. It’s a very good reading of the part. Janis Martin, more a soprano than a mezzo, is pretty bland as Dorabella, though she sings well. The always interesting Teresa Stich-Randall, caught here a few years after her best (the ’50s and very early ’60s were her “best”) makes some odd noises as Fiordiligi, her silvery sound having taken on a distinct hoot–but her musicality is still remarkable and she was a unique artist. Peter Maag leads the pretty good RAI Rome forces well (after the overture), with tempos well judged and no flagging in the action. A couple of arias and some recitative are cut. There’s something alive and alluring about this performance, and fans of the artists will want it–but it certainly can’t compare with the glorious René Jacobs rendition on Harmonia Mundi.
