This performance, taken from the Metropolitan Opera broadcast of Jan. 5, l935, has always been somewhat notorious, due mostly to Rosa Ponselle’s almost too-vivid portrayal of Violetta. This great artist proves herself an outstanding interpreter; singing with handsome tone, great attention to the text, and an ability to alter the basic color of her voice to suit Violetta’s changing circumstances. She’s outgoing and lyrical in Act I, and manages the fiendishly difficult coloratura of her cabaletta well, despite some obvious and jarring downward transpositions to avoid out-of-range top notes. Her “Amami, Alfredo” is devastating, well in Callas’s class, and her final act is moving and gorgeously sung. It’s only in the gambling scene, while Alfredo is denouncing her, that she steps wildly out of line – she screams and rants and interrupts the tenor – and spoils the effect. Jagel’s Alfredo is pedestrian, except in the aforementioned gambling scene, where his passion and tone are well balanced. Tibbett is at his best as Germont père, singing with great sensitivity; indeed, his 2nd act duet with Ponselle is glorious. Panizza leads a wonderful show, giving in too often to Ponselle’s whims-of-tempo, but nonetheless creating a “Traviata” to remember. It’s worth fighting through the poor sound for this one. [Editor’s Note: This recording is not available for sale in the U.S.A.]
