This is the same performance I reviewed on Myto (type Q6666 in Search Reviews), and it sounds as good if not better now. There are three separate recordings of this opera available starring Pavarotti, and Rodolfo (like the other Rodolfo and Riccardo in Ballo) is a role that fits his voice handsomely. This performance finds him in gorgeous voice (it was recorded in 1974), paying attention to the text and singing with every requirement of pure bel canto: masterly breath control, smooth legato, utterly even range, beautiful sound. It’s a legendary reading of the part and can erase ghastly memories of his late-1990s catastrophic performances.
Mexican soprano Gilda Cruz-Romo was an impressive singer with a lovely, good-sized voice and a solid technique, who somehow in live performances never quite made it to greatness. Either she couldn’t sing softly, or there was an ordinariness in her phrasing that didn’t lift her into the top ranks. Nevertheless, her creativity was ignited at this performance and everything is in place: she is the most satisfying Luisa on disc. Like all the other recorded Luisas (except for Anna Moffo, who hasn’t quite the heft for the later moments) she’s not quite girlish enough in her opening scene, but for the remainder of the performance she’s simply luscious. The tone is round and clean and easily produced–up to the high D-flat that ends her third-act duet with Miller–and she’s thoroughly involved, varying her dynamics to all of Verdi’s markings.
Matteo Manuguerra’s Miller also is excellent; his voice may not be of the quality of either Cappuccilli or Milnes, but it’s fine nonetheless and he captures every nuance of this character. He partners Cruz-Romo sympathetically and genuinely makes us care. Raffaele Arié and Ferrucio Mazzoli sound as if they’ve learned the roles of Walter and Wurm just for this performance, and they’re bores, and Cristina Angelakova’s Federica makes little impression (but at least she’s not disgusting, as is the mezzo on the Opera d’Oro set). The RAI Turin orchestra and chorus are terrific, and Peter Maag clearly is the conductor for this opera. Although his Decca leadership leaves the others in the dust, here he’s even more in tune with Verdi’s changing moods and growing depth. Despite the two mediocre basses, this set is one to be treasured.
