This live performance, from February, 1962, has been circulating on “private” labels for years; the mono sound was always murky but has been cleaned up considerably for this commercial release (particularly after the first few minutes of the opera and with the exception of some overload-distortion that pops up every so often). It’s a terrific performance, filled with excitement and great singing, clearly of the “grand”, appoggiatura-free (rather than “sleek”) embellished school of Mozart opera leadership.
The wonderful, under-recorded (except on pirates) Leyla Gencer, whose career as a bel cantist was overshadowed by Callas and whose reputation as a Verdian suffered in comparison with both Callas and Tebaldi, here proves that she also was a great Mozartean, singing Anna with fire, fluency, and gorgeous pianissimos. Sena Jurinac may not be quite as crazy as I prefer my Elviras, but she’s dramatically and musically superb and cuts a tragic, honest figure. Mirella Freni is everyone’s ideal as Zerlina.
Cesare Siepi was the world’s favorite Don in the ’50s and ’60s and it’s easy to tell why: the voice is alluring, its dark, velvety sound always seductive, and he enunciates the text–and the character–with grace, ease, and just the right hint of menace. Geraint Evans’ Leporello is very much his own man and always musical; he never mugs, but his portrayal is tangy. Robert Savoie’s Masetto is actually vibrant and David Ward’s Commendatore authoritative. Richard Lewis’ Ottavio is strong and elegant, although Solti’s slow tempo for “Il mio tesoro” almost maims him.
There are times when the pit and the stage are at odds, but for the most part this set has everything a great “Don” needs. The very end of the third CD offers a spoken tribute to Bruno Walter, who had recently died, along with a performance of the “March of the Priests” from The Magic Flute in his honor. Highly recommended!
