Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan

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Music reviews of Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan

Music Review: Wonderful historical performance in cleaned-up sound
Rating: 5 Stars

Maria Callas was, of course, the central attraction, and indeed the raison d'etre, for this Visconti-directed production and, judging from what we hear on this set, she was in excellent form on the first night (when this recording was taped). In portraying the innocent and virginal village girl Amina, Callas uses her meltingly tender tone to enchanting effect, whether in her serene reflection of the beauty of nature or her sweet anticipation of marital bliss. Indeed, this recording documents some of Callas' most lyrical singing that has ever been captured on record. Her mesmerising interpretation of the sleeping walking scene would, by itself, ensure her a lasting place in the annals of operatic singing. Conjuring a magical half-lit tone which most convincingly evokes the fragility and the melancholic musings of a girl whose mind is then residing in the realm just beyond consciousness, this mistress of bel canto not only demonstrates how to phrase the long melodies of Bellini with liquidity and musicality, she also shows how these purely vocal devices can contribute towards expression. Her coloratura singing is also brilliant with top E flats securely in place. The Act I cabaletta "Sovra il sen", with the increasingly ornate embellishments with each reprise of the melody and the cascades of chromatic scales at the end, is superbly done and the rondo finale, "Ah! non giunge", provides a spectacular conclusion to the opera where the awakened Amina is amazed and dazzled by the jubilation that surrounds her, which for once made those vocal pyrotechnics an apt reflection of the heroine's sense of awe and elation. While some slight unsteadiness in tone does intrude once in a while, these are comparatively minor in 1955 when the diva was still in her vocal prime. This is truly a great vocal performance and an unforgettable assumption.

Callas is here ideally partnered by Cesare Valletti, a tenore di grazia of the old school, who sings with admirable grace and style throughout. He possesses a beautiful voice and his singing is also heart-felt, elegant and true to the spirit of the work. In fact, he is quite incomparable in the part of Elvino. His duets with Callas are just sublime with the two phrasing prodigiously and singing to perfection in close harmony and with supreme expressiveness. This recording can, hopefully, lead to a re-assessment of the artistry of this rather under-appreciated Italian tenor and maybe even the release of his other recordings for many of today's singers (including some of the biggest names) and voice students can surely learn a lot about the art of singing from him. There is actually no weak link in the cast, which attests to the strength of the La Scala Company in those days. Giuseppe Modesti provides streams of warm Italianate tone as Count Rodolfo and he sings his arias with an innate sense of style without the slightest forcing. Eugenia Ratti is a perky and jealous Lisa with bright high notes and fluent scales while Gabriella Carturan is a sympathetic Teresa whose firm voice does not get submerged in ensembles. The Scala chorus is an effervescent lot, although they are at times out of sync with the orchestra, especially at the beginning of Act I.

One very special feature of this recording is the presence of Leonard Bernstein in the pit. The famed American composer, then at the earlier stages of his conducting career, gives a rather individualistic interpretation of the score. The dynamic range that he produces is great and there are more marked contrasts in tempo than one use to encounter in a Bellini opera. In particular, he employs a rapid and almost whirl-wind of a tempo for some of the choral scenes and thereby distinguishing them from the more leisurely, introspective and spiritually concentrated episodes for the principal solos and duets. Through such contrasts, Bernstein successfully marks out the private and more introspective spheres of the protagonists from the hustle and bustle of the village during the wedding celebrations. He also allows the singers maximum flexibility, which thereby enables Callas and Valletti to do all those wonderful things in their solos and duets. In short, this is an interesting and at times even exciting, though perhaps not absolutely idiomatic, reading of the score.

This live recording is preferable to the earthbound studio recording that Callas made with EMI in 1957. There, Antonino Votto's conducting is pedestrian and Nicola Monti can hardly be compared with Valletti in terms of style and technical control. Callas is also in better voice (and more vivid) 2 years earlier and Bellini's score suffers more cuts under the hands of Votto than those of Bernstein. This new release is therefore the one to have, and given the quality of the performances as well as the cleaned-up sound, it easily deserves a 5-star recommendation.

Description of Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan

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