Search - Gaetano Donizetti, Giuseppe Patanè, John Pritchard :: Donizetti: L'Elisir d'Amore

Hear Carreras at his peak

Ralph Moore | Bishop's Stortford, UK | 05/20/2008

(4 out of 5 stars)

"I sometimes struggle to convince others that Carreras was fully the equal of his two peers in the "Three Tenors"; I always cite his work in Gardelli's early Verdi series, his Werther in the famous Philips recording with Von Stade - and now this live recording can also be adduced. There is a peculiarly plaintive quality to his voice at his best; a voice of fire and tears - and it suits the role of the lovelorn Nemorino to perfection. Later, it developed a beat and became less beautiful in tone; here, he is at his peak. I saw this production and was disappointed when, for contractual reasons, CBS brought out the studio recording with Domingo substituting for Carreras, as, as much as I admire Domingo, his voice was already too heavy for the role. Hayashi alternated with Cotrubas; both were lovely (and Hayashi's bright, pert tones can be heard on other live recordings such as Opera d'Oro's "la Juive" or the excellent "Bianca e Fernando"). Thomas Allen sings Belcore a role ideally suited to his light, pungent baritone with its flickering vibrato and easy top. He's not better than Wixell in the studio recording but then both are fine exponents of the preening sergeant. Geraint Evans reprises one of his most celebrated roles, milking the comedy for all its worth. The voice per se was always a little rocky but it matters little here; he brings rich inflections to Dulcamara's persuasive patter. The orchestra, supporting cast and conducting are all excellent. The audience are occasionally a little bronchial but not obtrusively so. The sound is quite good; a bit muddy and lacking the brighter overtones but perfectly listenable, especially when Hayashi, with her pure, agile, flutey voice, is singing. I really enjoyed this recording as a souvenir, thirty odd years on, of an occasion I attended, but it is perfectly good as a bargain introduction to Donizetti's comic masterpiece - and a great souvenir of Carreras in his liquid-voiced prime. (There are also some nice bonus tracks of a youthful Pav, Reri Grist and "Cesto" (sic; i.e. Sesto) Bruscantini in the same opera from a 1969 San Francisco performance - Gala are always generous in their programming.)"