This week, I would like to discuss something that's really been irking me: Maria Callas. For those of you who don't know, once you enter the opera world, half of the ravings you'll hear are about Callas, Callas, Callas. Everybody loves her. They can't get enough of her. Well, I'm going to reiterate my honest opinion on Callas-- I find it painful to listen to her sing. This isn't just because I want to be rebellious and not like Callas just for the sake of being different. It's just that she ruined Amelia of "Un Ballo in Maschera" for me. I think the problem is that people seem to think that if a singer is good for one thing, he/she must be good for everything. Maria Callas had a terrific chest voice and a nice vibrato. Her Carmen was fabulous! But soprano roles like Norma and Amelia were not really good for her (at least, in my opinion). It literally sounds like every time she had to sing a high note, she went "Oh, crud" in her head, and the note is shrill and stressed and literally painful. As a singer, I often find myself shifting my vocal chords, etc. in anticipation of singing the notes I hear, and when I listen to Callas, I can feel the pain she must have had in her throat when she sang those notes. I cringe. My throat goes, "Don't do it! For sweet, Italian Vivaldi's sake, DON'T DO IT!!!" But she does it. It hurts. Why, Maria, why?? Why did you do it??
Which brings me to my review of this EMI Classics recording of Verdi's "Un Ballo in Macschera." Well, not really. That was a weird segue. But let's start on that anyway.
From the "How well was this object made" standpoint: The CDs and booklet and slip cover came beautifully intact. However, the back of the CD case has the singer and time duration information for a similarly cast recording of Verdi's "Aida." This isn't very helpful, considering I neither own nor have heard "Aida," and the contents of the CD case are "Un Ballo in Maschera." Someone in manufacturing made a boo-boo...
But anyway, that was just a small detail I thought I'd let you know of-- other EMI sets from the Maria Callas series might have similar problems. But let's get on with the opera, shall we?
I think "Maschera" is an incredible opera. It has a great prelude, very unique and distinguishable individual tunes, and the overall quality of the music is memorable, dramatic, and superb. Antonino Votto did a great job conducting and the chorus and orchestra of Milan were splendid. Tito Gobbi, who I enjoy very much, Fedora Barbieri, and Eugenia Ratti were excellent casting choices. Gobbi gave a warm, empathetic performance as Renato, Barbieri was a deliciously dark and mysterious Ulrica, and Ratti was delightfully charming as Oscar. She makes me want to sing Oscar someday. However, I'm afraid I can't say as much for Maria Callas and Giuseppe di Stefano, our Amelia and Riccardo. Aforesaid, Callas's performance makes my ears and my throat hurt, and Stefano's rendition of Riccardo is just too cold. Because of these two, my opinions of the characters are skewed. I think of Amelia as an overly dramatic, screechy woman who isn't really an important character and has kind of boring arias. I think of Riccardo as a cold, heartless, selfish, and haughty little man who can't see how other people feel past his own desires. Riccardo, to me, is the epitome of the tenor-whelp. He started the whole durn mess because he didn't have enough common sense to leave Amelia be, seeing as she was trying to save her marriage and actually be a good person. Stupid Count. Thinks he should just have everything he wants. It makes me mad every time I hear him go, "Ah, l'ho segnato il sacrifizio mio!" It's like, "Oh, I'm in love with this woman who's married to my best friend and I emotionally tortured her until she confessed she loved me too. I got her in a boatload of trouble. But I'm gonna send her and her hubby back to England to make it all better. Oh, my sacrifice! Boo-hoo-hoo! I don't get to have the chick who's already taken!" What a blockhead. What a whelp! And the only times Stefano uses any kind of emotional expression in his voice are during the scene at Urlica's cave and for "Oh qual soave brivido." That's it! No wonder I dislike Riccardo.
So this is my overall opinion: I do not recommend this copy of "Un Ball in Maschera." Callas and Stefano are enough to ruin the main character for anyone new to the opera. However, if you are bent on trying Maria Callas's Amelia and want to hear the greatness of Gobbi, Barbieri, and Ratti, then go ahead. But-- and I can't put too fine a point on this-- familiarize yourself with a different version first!!!
Until next time,
Your friend and fellow opera-lover,
~R.M.
No comments:
Post a Comment