Luciano Pavarotti very rarely sang the role of Arturo in I puritani. Next to Elvino in Sonnambula and Arnold in William Tell, it probably is the highest-lying role in the tenor repertoire–and by the late 1970s the very highest notes were somewhat beyond him. Conductor Riccardo Muti cuts about 20 minutes of the almost three-hour score–not very much for 1969 when this was recorded live in Rome, when cuts of almost an hour were the usual course in order to spare both tenor and soprano. And, indeed, Muti’s two stars are almost up to their roles’ demands. Mirella Freni was not a born Elvira–she’s a lyric soprano with some coloratura ability rather than the true coloratura with all the needed very high notes (her top Ds are tentative)–but she’s at her vocally most impeccable and emotionally most communicative and her Elvira is a lovely creation. Pavarotti sings with grace, ease, and when needed, great power. The highest he goes is a C-sharp: the final act duet is transposed down so that both singers can avoid the Ds, and Pavarotti totally skips the high F (!) in his final aria. Muti allows the tenor to bend the vocal line in a somewhat verismo manner, but it’s still a fine, gleaming performance. Sesto Bruscantini and Bonaldo Giaiotti are splendid in their rousing Act II duet; elsewhere they’re a bit woolly. Muti’s leadership is lacking energy at times–perhaps he’s being considerate of the singers–but aside from these criticisms, this is a satisfying and recommendable set, especially for Freni fans since the soprano never recorded the role commercially.
