Herbert von Karajan conducted Mascagni as if he were as great as Mozart or Verdi, and he almost convinces us. His approach is typical of his 1960s outlook–grandly symphonic with slowish tempos (the only slower version is the one led by Mascagni himself, I believe) and a great sense of architecture. The central Santuzza-Turiddu duet is epic in its cruelty and inevitability. Fiorenza Cossotto is a huge-voiced Santuzza, singing with less subtlety than conviction and fire; the same can be said about Giangiacomo Guelfi’s gargantuan Alfio. Carlo Bergonzi has the fire power to keep up, but he’s a greater artist than either of his partners, and he colors his phrases and obeys dynamic markings handsomely while still making us feel for Turiddu’s caddishness. Orchestral playing is ravishing and the sound has always been Deutsche Grammophon’s best. If this were your only Cav, you wouldn’t miss any other. I prefer James Levine’s more energetic approach on RCA, however, with Renata Scotto’s dynamite, multi-faceted Santuzza. [3/11/2000]
