This is a fine performance of Verdi's great middle-period tragedy. James Levine whips his orchestra into a frenzy when need be, is amazingly tender during the Rigoletto-Gilda duets, and comments spectacularly on the action... more » when Rigoletto is taunting Monterone in Act One. In fact, the orchestra makes up for Vladimir Chernov's undercharacterization in that scene. Later, Chernov livens up, using his smallish, but wonderfully phonogenic voice with great expressivity; indeed, his "Cortigiani..." is heartbreaking. As the Duke, The Big One (Luciano, that is) is in superb voice and turns in a wildly aggressive, go-get-her performance, but please don't be fooled into thinking that he still sounds this good--this set was recorded in '93. Cheryl Studer's Gilda is not always in tune, and some of her high notes barely squeak by, but she's very moving and sings off the words in a really informed manner. This set may not be your primary Rigoletto--who can live without the Callas recording? But it's an excellent and even important release, and it's recommended highly. --Robert Levine« less
This is a fine performance of Verdi's great middle-period tragedy. James Levine whips his orchestra into a frenzy when need be, is amazingly tender during the Rigoletto-Gilda duets, and comments spectacularly on the action when Rigoletto is taunting Monterone in Act One. In fact, the orchestra makes up for Vladimir Chernov's undercharacterization in that scene. Later, Chernov livens up, using his smallish, but wonderfully phonogenic voice with great expressivity; indeed, his "Cortigiani..." is heartbreaking. As the Duke, The Big One (Luciano, that is) is in superb voice and turns in a wildly aggressive, go-get-her performance, but please don't be fooled into thinking that he still sounds this good--this set was recorded in '93. Cheryl Studer's Gilda is not always in tune, and some of her high notes barely squeak by, but she's very moving and sings off the words in a really informed manner. This set may not be your primary Rigoletto--who can live without the Callas recording? But it's an excellent and even important release, and it's recommended highly. --Robert Levine
CD Reviews
"...qual piuma al vento..."
E. J. Van Sten | 04/01/1999
(5 out of 5 stars)
"I heard Serafin's and Bonynge's recordings of Rigoletto (the most advertised recordings ever), and I thought they were both quite dull. It happens, in such an opera, when the conductor is afraid to ruin the vocal performances by people like Callas or Sutherland. That's the wrongest way to approach Rigoletto; this is not just an opera, it's a big, wonderful piece of music, with a great synphonic structure. It needs a conductor with great personality. Maestro Levine's got the heck of a personality: his directing is powerful, emotionate, and never makes you feel like you could use your time better. Chernov is a perfect Rigoletto, sometimes you can almost see his hump while he's singing; he is a character, not a sterotype (and that's a great achievement). Studer is probably not the best Gilda you can imagine (I liked her better than Sutherland, anyway), but she's good enough not to pop the party. I really can't understand why so many people hate her! Pavarotti's voice isn't as powerful as it was in his first recording, but it's gotten warmer and more passionate. Big Luciano gives a delicious interpretation of the Duke, the only one that shows the character as it actually is. I personally appreciate the fact that Pavarotti (and nobody but him...) sings "La donna è mobile", and not "La donna è mobbbile": Thats the Duke of Mantua, not the king of Naples! This is a great recording; I recommend it to anybody who wants to hear great music and is not obsessed with "mono" 1910s recordings- Mac."
Great performance
03/23/1999
(5 out of 5 stars)
"It is one of those performances that will leave you with scenes playing in your mind. James Levine's intense presentation gave me a "was there" feeling. More Verdi, Maestro Levine! This cast is almost ideally assembled. First of all, Vladimir Chernov joins the small, distinguished lineup of great Rigolettos along with Milnes, Cappuccilli and Bruson. He brings unusual feeling of utter despair and sadness to the character. Rather than showing a bitter jester enraged by what's been done to his daughter, and thus making his murderous intent a crime of passion, Chernov cleverly conveys the feeling of sorrow and gloom that makes this intent an inevitable fateful outcome. In the great scene with Marullo "Povero Rogoletto," for instance, the feeling of realization of what's happened is brought up early in Rigoletto's sad attempt to seem cheerful. Magnificent performance. Luciano Pavarotti is, as always, a ravishing Duca - he practically plays himself. Gone are the sentimental romantic feelings, this Duke is after one thing - skirt chasing. Flamboyant and ostentatious, just what we want to hear in this anti-hero. Reading the reviews, I detected some antagonism for Cheryl Studer. Well, ok, so she does not sound like an innocent girl. But neither did Callas. This Gilda is just a means to put Rigoletto over the edge. If she was "too innocent," it would bring about his outrage, but her being more "human" makes him lose any affection for the humankind and that's exactly what we hear. The resulting chemistry between Studer and Chernov is believable. For a truly angelic portrayal of Gilda, turn to Ileana Cortubas. Very nice prophetic Monterone from Ildebrando d'Arcangelo. Anyone would shrink back in fear from his curse! It's my first hearing of Roberto Scandiuzzi and I am very impressed. Smooth slightly "demonic" basso, perfect for the role of Sparafucile. And what about true rising stars taking smaller roles! Dwayne Croft, here singing Marullo, could easily make a fine Rigoletto himself, and Danyce Graves' Maddalena is irresistibly seductive. A pleasant appearance by Heidi Grant Murphy makes this recording even better (check her out in Idomeneo, fans!) Overall, a bliss plus a great, well balanced recording by DG."
Disappointing
01/02/1999
(2 out of 5 stars)
"I was truly excited when I heard that this recording was finally being released, with Cheryl Studer as Gilda. I am a big fan of hers, and look forward to hearing each of her recordings. Unfortunately, my heart sank as I began listening to this. Pavarotti sounds worn, although some of his old panache comes through in "Questa o quella." Vladimir Chernov does well as Rigoletto, but lacks the blind devotion to his daughter which really makes a tragedy out of this opera. And Miss Studer? Let's hope that '93 was just a bad year for her. Her "Caro nome" is, quite frankly, a mess, and she isn't much better in the rest of Gilda's music. Perhaps the toll of singing such diverse roles as Sieglinde, Donna Anna, Elsa, Queen of the Night, and Semiramide has finally shown up in her voice. I hope, I hope, I hope, that she sees a coach and gets some vocal rest, because she can't continue much longer in this way. There is nothing in this recording to detain listeners -- even Denyce Graves as Maddalena emerges as bland in this dramatically slack cast. If you want Pavarotti as the Duke, I recommend his recording with Joan Sutherland and Richard Bonynge -- incidently, it's the best-sung "Rigoletto" on disc. For the best-conducted "Rigoletto," it would have to be Giulini's with Domingo, Cotrubas, and Cappuccilli. And for the most dramatically involving, the Maria Callas/Tullio Serafin recording takes the palm, hands down."
Enjoyable and important
E. J. Van Sten | 11/18/2005
(5 out of 5 stars)
"This recording received a lot of flak when it was finally released in '98 after some five years in DG's vault. But it has aged well, thanks to Levine at his inspirational best, a sensible balance between tragedy and excitement, reference class recorded orchestral and vocal sound, and Chernov as a very bright Rigoletto. Not everything works - Chernov does not make the most of some of the more dramatic moments which come out a bit flat as a result. But often, moments later he sings with breathtaking beauty.
A word about Studer's controversial Gilda and Pavarotti's controversial duke. Studer does not sound entirely comfortable with the high notes but she turns in an overall very moving performance. Her soprano matches very well with Chernov's baritone, and their duets belong to the highlights of this recording. Pavarotti was in good voice at the time of this recording, and does not have a problem with his high notes at all. By this time late in his career, his voice had acquired a mellow lower register which sounds very pleasant, if recorded well as in this recording. He sounds fresh, very committed and integrates well with the rest of the cast.
Uncharacteristic for modern recordings of Verdi, most of Verdi's unwritten high notes are in here, and then some. Not to be missed as a first or second Rigoletto!"
Good version, but it isn't the best.
Annio | Spain | 08/15/2003
(4 out of 5 stars)
"This is a good version of 'Rigoleto', but I think that there are lots of versions better than this. Vladimir Chernov is the sourprise of the recording: he offers a really good Rigoletto, with a beautiful voice and a good psicologyc perfomance. Cheryl Studer as Gilda has a dramatical and beautiful voice, but she has also a very bad vibratto here. She's the worst singers of the version. Luciano Pavarotti knows the role of "Ducca" perfect, and he is an autentic classic singin it. Very very well all the little roles, specially Denyce Graves and Roberto Scandiuzzi as Maddalena and Sparafucile. The cast is full of famous names, as Ilberando D' Arcangelo, Dwayne Croft, Paul Groves, Heidi Grant Murphy... The orchestra and chorus of the MET directed by James Levine are simply well. But I think that they can do it better."
Track Listings (18) - Disc #1