Much reason for celebration
here. Recorded in 1967 (Rossini and
Verdi) and 1969 (Donizetti), these recordings
now released under the title of ‘Rarities’,
are classics of their time. They reveal
Caballé for what she was then
– one of the greatest bel canto sopranos
(if not the greatest). Further popping
of corks for the repertoire, a selection
of well-chosen arias from the ‘fringes’
of the accepted canon and beyond, all
given extreme care. It sounds like all
concerned were on a mission, and it
is a privilege to report that the mission
succeeded.
Caballé begins
her voyage of discovery with Rossini’s
La donna del lago (‘The lady
of the lake’), a beautifully shaded
account replete with scales to make
the listener melt into a lakeside puddle.
In all respects the perfect introduction
to Caballé’s art, it leads to
‘the other’ Otello - and by extension,
the ‘other’ Willow Song, magnificently
and touchingly delivered. This is a
beautiful, harp-decorated and accompanied
song (it begins at ‘Assisa a’ piè
d’un salice’). Luckily Caballé’s
Emilia here, Corinne Vozza, is a good
choice, her diction just as good as
Caballé’s.
Interesting that we
have some of the Stabat Mater,
the dramatic ‘Inflammatus’. Caballé’s
sense of the longer line is called upon
here, and how she soars over chorus
and orchestra!. Stunning - a word that
just kept on recurring in my listening
notes.
Time and time again
one is reminded of Rossini’s unstoppable
invention, something that is manifest
in all its glory in the Armida
excerpt. It is a superbly crafted aria
that just happens to be unbelievably
difficult. Not that that is going to
stand in the way of la Caballé,
of course.
If it is pure delight
you are after, try the closing sections
of the Tancredi section of the
first disc. L’assedio di Corinto,
which follows, offers examples of Caballé’s
magnificent pianissimi. The use of chorus
on Rossini’s part is masterly.
So to Donizetti. And
what a way to begin! Caballé
announces her presence with a simply
huge ‘Plauso!’ (‘Praise!’). Ermanno
Mauro is the tenor who here is Eutropio
to her Antonina. Mauro is not a great
vocal actor; perhaps it is just that
he’s put next to Caballé? Despite
the subject matter (‘Even his tomb is
denied to me, even my son’s ashes!’
etc), some parts tend towards the jolly
(as can be this composer’s way), but
the end is simply lovely. The Parisina
excerpt is perhaps even finer, with
Caballé entirely in the dramatic
situation, an extended exchange with
Margareta Elkins’ Imelda. The death-predictive
aria, ‘Ciel, sei tu che in tal momento
mi sgomenti’ is astonishingly touching
here.
Donizetti straddles
the two discs. It is Torquato Tasso
that initiates the second - Eleonora
d’Este’s aria ‘Fatal Goffredo!’ onwards.
There is a wonderful clarinet solo to
set the scene as Eleonora admits her
love for Torquato; Caballé responds
with more of her liquid legato. The
Gemma di Vergy excerpt includes
no fewer than three co-singers plus
chorus, culminating in an explosion
of happiness as Gemma realizes her husband
the Count is returning.
Maybe it is the Verdi
items that show Caballé at her
greatest. She characterises and shades
every line of the Un giorno di regno
excerpt; her trills are as accurate
as on any played instrument, by the
way. She raises the roof with the brief
Lombardi segment ... or would,
if there were an audience there ...
contrasting it immediately with the
proud eight minutes of Foscari,
where she shows her character to be
a woman of real strength.
Mezzo Maya Sunara is
an excellent partner in Alzira,
yet it is Alzira’s aria (which tells
her dramatic story) that really focuses
the attention. The Attila contains
an extended orchestral introduction,
sighing and desolate that is well worth
experiencing. The guitar-imitating accompaniment
to the Corsaro aria is most appealing
but it is with Aroldo that Caballé
closes. This is ultra-touching, the
dark, soft orchestral introduction fully
setting the scene. It is in fact ironic
that the only fly in the whole set’s
ointment should come at this point –
the tenor Lajos Kozma, who takes the
part of Godvino, is rather weak.
No real matter. This set explains why
Caballé is a legend in no uncertain
terms. Hell will, I believe, freeze
over before I am parted from this set.
Colin Clarke
Montserrat
Caballé, eMargareta Elkins
(sopranos); bCorinne Vozza, jMaja
Sunara (mezzos); dgErmanno Mauro,
kLajos Kozma (tenors); gLeslie
Fyson (baritone); egTom McDonnell
(bass); Ambrosian Opera Chorus; RCA Italiana
Opera aijChorus and abchijkOrchestra/abcCarlo
Felice Cillario, hijkAnton Guadagno;
defgLondon Symphony Orchestra/Carlo
Felice. 
