Verdi: Un ballo in maschera [DVD Video]

The particulars:Gustavo: Carlo BergonziAmelia: Antonietta StellaRenato: Mario ZanasiOscar: Margherita GuglielmiUlrica: Lucia DanieliCristiano: Mario FrascaSamuel: Plinio ClabassiTom: Antonio ZerbiniNHK Symphony Orchestra, Tokyo Philharmonic ChorusOliviero de Fabriitis, September 1967NHK and VAI continue to put out their priceless live performances. Most of them capture an artistry and a tradition that has long faded away.There's no director, set designer, costumer, lighting director listed. You will not see, a la Calixto Beito, a row of gentlemen sitting on porcelain goddesses. There's no micro-scholarly essay on how Verdi or this opera should be "interpreted." It's all done exclusively by singing and the singers, and the conductor, aiding and abetting them.I have perhaps used the word "organic" far too many times in my summations of performances such as this. But I can't think of any other word that is so apt and apropos to describe the work of this cast. When you have these native Italian singers, who have lived, breathed, slept, dreamt the expressions of their language, who understand the Verdian idiom, the way they channel the blood, heart and soul so instinctively through their music making, how would a regieproduktion possibly further their, shall we say, highest-met goals of fulfilling the drama of this score?I can only make a half-hearted stab as to why this performance feels so completely right on the money. You may, as I did, watch and listen with wonder, perhaps catch your breath at certain places, maybe even emit an occasional small gasp, at the sheer comeliness of the singing and musicianship.Take Bergonzi, for instance. In stupendous form, miraculous really. He has never been more spontaneous in his tenor-revelry than here. Insouciantly confident, he gilds Verdi's lines as if he were in heaven, and therefore, we are. The hallmark quality of his phrasing must be heard to be believed. His sense of rubati, aided by the ever-alert and instinctive de Fabriitis, seems exactly right. His keen feel of rhythm and spot-on tuning, when to "crown," to slow down, to quicken, how to accent - is a textbook in itself, but I hasten to add, it's anything *but* of a paint-by-numbers factor. Even his personal touches sound natural. Why, for example do his laughs (a long-controversial argument amongst opera tattlers) in "E schrerzo od e follia" sound so natural and perfectly integrated, whereas when Domingo does them, they sound so self-consciously tacked-on? Maybe it's because the less cerebral (notice I do NOT mean less intelligent!) Bergonzi lives in the music? All of his breaths in time with the rhythms, the ways the words just flip off the tongue, the non-evidence of "technique (meaning the art concealed art aspect)" - Bergonzi really was the Verdi King. All through "Ma se m'e forza perderti" the hair on the back of my neck rose, my eyes reacting. I could elaborate on and on, but it'd require finding new sets of adjectives (and guilty already here of their number - my fatal case of AA - Adjective Abuse).Just as satisfying is Antonietta Stella, in one of her few rare captured visual performances. It was always (annoyingly) held that Stella was in the second-tier in the Tebaldi-Callas reign at the time. Worse; "Stella would be a gigantic star today." Bull. She was a big star in her time, just not as well-publicized nor EMI'ed or Decca'ed like the other two. Stella was her own person, with her own sound, on her own terms. Today she'd be Italian soprano Number One. As Amelia, she trumps Callas and Tebaldi in two ways: far more consistently steady in tone and integrated of voice than the former, and with the freer top register than the latter. And in comparing her to other Amelias: more Italianate than Nlisson, Price, Margaret Price, Martina Arroyo (though I love her performance), more substantial than Ricciarelli. Let's not get into Crider at all. So it adds up that Stella is, confirmed, one of the best Amelias to be had. You could personally argue for your own needs that Callas may be more memorable to you, or Tebaldi closer to your heart, but they're not better.I have always found Stella's warm, gilded-tone, soft-grained voice a pleasure. I have just about everything she recorded, and find pleasure in just about everything she's done. Her recording of "Ave Maria" from OTELLO is my top favorite; it is gorgeous, golden-voiced and deeply felt; her exquisite portamenti is an object lesson in phrasing (Ms. Gheorghiu: take note). Ever since Callas cursed Serafin and Stella for "taking away" "her" Traviata on EMI, the recording has been branded the traviata-that-doesn't-have-Callas-so-it's-worthless. It's one of my favorite accounts of the role. Then there is her Tosca, also led by Serafin, very femininely beautiful - and ~~~ her much maligned Linda di Chamounix, the very first commercial of it. She sings it charmingly.Here as Amelia, she is in resplendent voice. Like Bergonzi, she has an unerring sense of the role's pacing and demands. Stella dives into the difficult big act 2 scena fearlessly; and she acts it out vividly, with grand as well as subtle gestures. Some of these make look broad, but we're getting the camera's vantage point, not the theater's. She passes the test in the aria's "Mezzanotte" section to the end with admirable poise, resolutely undefeated. You could point out a phrase or two being broken up, and the occasional, slight muscling-out of a top note, but in general, there is - thank heavens! - so little to complain about and so much much more to laud: her (stunning) power in the ensemble numbers, the give-and-take with Bergonzi an Zanasi, the involvement in the drama. "Morro, ma prima in grazia" is beautifully, poignantly delivered - and that cello intro never more fitting as a lead-in. Most importantly, the give-all, wanting-to-please sincerity of manner is very captivating. Physically, Stella is a looker, and she moves freely, completely at ease in the period costumes. It is a triumphant assumption, not likely to be bettered for awhile.There's really not a truly weak link in the cast. Mario Zanasi, singing Renato, scores a thunderous ovation after a particularly anguished (in expressiveness), intensely acted "Eri tu." An exceptionally handsome, trim presence, Zanasi matches the two leads in being compelling, involved and attentive to the drama. "Eri tu" is not Merrill-smooth, but it does resonate very strongly, and we get Renato's pain. Zanasi manages, unlike many baritones, to put across the character way beyond the typically-wronged stock moves. Zanasi actually recalls Leo Nucci (but with a better voice) in his skills as an actor.Lucia Danieli, as Ulrica, is a little cautious in her singing, but actually manages a creditable "Re dell'abisso" without sounding comical; the voice is at least integrated, and takes care to phrase with some sense of musicality.Margherita Guglielmi is a thoroughly ingratiating, charming Oscar. Though light voiced (and trill-less), she does have a glint to the tone that carries well (and she can be heard riding over the ensemble in "E scherzo od e follia" - one of Verdi's most brlliant), and she skips nimbly around the stage.And how often do we get a Samuel and Tom as strong as Plinio Clabassi and Antonio Zerbini?As a bonus? We get a 25 minute interview with Stella, looking just dynamite at 78, clear-minded, charming, and her words on her experiences in opera are simply fascinating. Not at all drenched in melancholia, she is vibrant, and seems to be serene in her place in operatic history. It is so refreshing to see someone like her still thriving and apparently content with her place in operatic history. Moreover, she's modest yet has satisfaction in all she's done, not at all bitter or condemning; yet she reveals what she feels is a lack of preparation in today's singers. She does not hit this point hard though, and gives an example of how she spent an entire month with Serafin prior to recording traviata with him. It makes sense - preparation is everything (thus spake me).This Ballo is the top choice of all of them on video - and given the rewards of seeing it - may be the top, or close to the top choice, period. It really doesn't get much better than this. This is Verdi and Italian opera, defined. This is the way it should be.Do yourself a favor and buy this - support VAI so we can keep getting stuff outta them. No Verdian or lover of great singing should be without this.

Bless the engineers who remastered this definitive 1967 production of Verdi's UN BALLO IN MASCHERA. It's not up there with Blu-ray and Dolby Digital but the singing more then makes up for any video or audio deficiencies. Carlo Bergonzi has always been and remains my favorite tenor. Antonietta Stella was the first Butterfly I saw in a memorable Met production. I was back stage when the performance ended and she was walking to her dressing room with a hot towel wrapped around her throat. She saw me standing there with a program and pen in hand. She stopped and chatted while she autographed my program. A month later she sent me a picture. Wondeful singer! Wonderful lady. I met Mario Zanasi at the Lyric Opera of Chicago and he autographed a post card sized picture of himself which I have hanging with my collection. I always expected him to become a super star but that didn't quite happen and I don't know why. The only flaw with this DVD is once you hear all this great singing, no other cast will do it justice. By all means, add this to your collection.

Indeed this is an old one. The picture is terribly dark. Frequently when there were many actors on stage, they were lined up across the bottom of my tv screen and the top half of my screen was almost black.For me the best part of this Ballo is Mario Zanasi. I had never even heard of him, but what a beautiful voice! I also enjoyed Margherita Gugliemi's Oscar.I own two other Ballos, both with Domingo - 1975 ROH and 1990 Salzberg. I love both but Salzburg is my favorite. IMHO Bergonzi was not as good as Domingo. Placido breathed life into Gustav. I am devastated when Placido's Gustav dies - every time. I confess I love Domingo in almost anything. But Bergonzi just didn't do it for me. Bergonzi was well into the sailor song before I realized it was the sailor song. When Domingo sings the sailor song he makes it come alive and I love it. ~ Celeste Downey

I have the original LEGATO CLASSICS VHS version of this opera presentation and there is no comparison in detail and colors. The current VAI reissue is very well done as far as video is concerned, however, the sound is not as clear or expansive. Carlo Bergonzi sings with a young powerful tenor voice and his usual diction. Antonietta Stella shows her convincing acting. Mario Zanasi'n baritone overwhelms his character. All in all, this is a historical performance during which all singers outdo themselves. Un Ballo in Maschera

Wow...even the La Scala traveling troupe in Japan was stocked with fabulous singers. Every major role in this performance is just wonderful, headed up by Carlo Bergonzi. He is so effortless (apparently) in his vocal production that you wonder if he is lip sync-ing. He is perfect for this role. Antonietta Stella is very old-school in her acting histrionics and she doesn't match Carlo's bravura performance vocally, but she is fine nonetheless.You can't go wrong with this wonderful record of a sterling night of opera in Tokyo. If you don't know the singers of time gone by, buy this DVD and be jealous of those who saw these folks live. I know I am.

Five stars here to agree with those who liked the picture quality and disagree with the one who subtracted a star because of picture quality. This kind of Impressionism in a dark space has the beauty of late TitianMoreover, we owe five stars of appreciation to VAI and to NHK. If only more broadcasting....No point in repeating the praise for the performance and production. A gift for opera history.

This is a rather old recording. A poor picture should be expected. The audio is OK. A three star rating is solely attributed to the picture quality. Buy it only if you like Bergonzi that much as I do. Owning a disc that includes both Bergonzi and Stella is all worth it too.

What a performance not just from the great bergonzi but from Stella and Zanassi!

glorious

Eine Aufnahme aus dem September 1967, Tokio, damit ein historisches Dokument. Zwar restauriert, aber natürlich weit vom heutigen technischen Standard. Für Stimmenliebhaber aber die absolute Freude.Ich höre historische Aufnahmen mit Studio-Equipment - Grace Audio Design Vorverstärker mit DAC und Grado 2i Kopfhörern, alternativ aktive Studiomonitore Geithain 904. Damit wird der Glanz der Stimmen auch heute noch erkennbar. Ich gehe so speziell bei allen historischen Aufnahmen darauf ein, weil ein gewisses technisches Niveau für ein angemessenes Ergebnis nötig ist, um Enttäuschungen zu vermeiden, die technisch bedingt sind.Inszenatorisch ist das im Zeitgeist auf die Bühne gebracht, Naturalismus pur.Sängerisch gehört diese Aufnahme zu den Traumaufnahmen, die große Sänger der Vergangenheit auch heute noch präsent machen. Auf ganzem Ensembleniveau erstklassig.Grandios die Gestaltung des Gustavo von Carlo Bergonzi, souverän, mit einer Leichtigkeit in allen Facetten, die nur mit absoluter stimmtechnischer Meisterschaft zu erreichen ist. Stilistisch, nuanciert, durchgestaltend und auf den Punkt intoniert, seine quasi "federnde" Singgestaltung, ein Genuss. Bergonzi war ein Jahrhunderttenor.Ebenso faszinierend der Renato von Mario Zanasi, eine absolut involvierende, grundierte Baritonstimme, der Spitzenklasse.Antonietta Stella als Amelia, berührend, intensiv.Die Ulrica von Lucia Danieli, grundiert, mezzo-"röhrig", meisterhaft.Insgesamt unter den genannten Aspekten für den Stimmenliebhaber ein absolutes muß. Ich beurteile bei historischen Aufnahmen nur die Sängerqualität und diese hat großartigen Status.

Ein überragender Carlo Bergonzi mit seinem unglaublich kultivierten Belcanto-Gesang, er wurde nicht ohne Grund zum Jahrhundert-Tenor ernannt! Sollte als Beispiel für die nächsten Sänger-Generationen gelten!

Très beau chant (surtout Bergonzi) ; il s'agit plus de faire du son que d'interpréter. Un document fort intéressant sur la conception de l'opéra dans les années 60.