10 recommendations for Verdi's 200th birthday
FILE - In this Jan. 25 2013 file photo, Zeljko Lucic, right, performs the title roll alongside Diana Damrau during the final dress rehearsal of Giuseppe Verdi's Rigoletto at the Metropolitan Opera in New York. Michael Mayer's production and Christine Jones' sets, which shift the action from 16th-century Mantua to a 1960 hotel and casino on the Las Vegas strip. (AP Photo/Mary Altaffer, File)
The 200th anniversary of Giuseppe Verdi's birth is being celebrated this month. Of the more than two dozen operas he composed, here are 10 The Associated Press recommends:
"Aida" — Riccardo Muti, conductor; New Philharmonia Orchestra and chorus of The Royal Opera House, Covent Garden (recorded at Walthamstow Assembly Halls, London, 1974), EMI. Montserrat Caballe is a deeply affecting Aida, with Placido Domingo making up for a slight lack in power with vocal drama. Some may prefer Leontyne Price's Aida, sung with Jon Vickers and Georg Solti conducting on a 1962 Decca recording, or with Price and Domingo with Erich Leinsdorf conducting on a 1970 RCA recording. And for lovers of the unusual, there is an EMI recording of a live performance from Mexico City in 1951 during which Maria Callas adds an unwritten E-flat to the end to the "Triumphal Scene," stirring the audience into an uproar.
"Un Ballo in Maschera (A Masked Ball)" — James Levine, conductor. Metropolitan Opera Orchestra and Chorus (DVD of live performance, 1991); Deutsche Grammophon. Notable for the unforgettable Riccardo of Luciano Pavarotti, who effortlessly handles the role and mixes grandeur with humor. He's joined here by Aprile Millo and Leo Nucci in a rather dull Piero Faggioni staging. For old-style vocalism, try the 1966 RCA set with Carlo Bergonzi, Price and Robert Merrill under Leinsdorf's baton, or a 1943 EMI recording with Beniamino Gigli joined by Maria Caniglia.
"Don Carlos" — Antonio Pappano, conductor; Orchestra de Paris and Chorus of the Theatre du Chatelet (recorded live, 1996); EMI (audio) and Kultur Video (DVD). Composed as a French grand opera in a commission for the Paris Opera, this may be the Verdi opera with the most choices for conductors: French or Italian? Five-act or four? Pappano goes for the five-act French, and the uniformly strong cast includes Jose van Dam (Philippe II), Karita Mattila (Elisabeth), Roberto Alagna (Don Carlos), Thomas Hampson (Rodrigue) and Waltraud Meier (Eboli). A more classic version is the 1966 Decca release in Italian with Solti conducting and a cast highlighted by Nicolai Ghiaurov as Philip II and Martti Talvela as the Grand Inquisitor. For a contemporary take, Peter Konwitschny updates the action in a 2004 Vienna State Opera production of the French version on Arthaus Musik DVD. The auto-da-fe is staged as if modern TV news cameras were covering the action.
"Falstaff" — Claudio Abbado, conductor; Berlin Philharmonic and Rundfunkchor Berlin (recorded at Philharmonie, Berlin, 2001); Deutsche Grammophon. Bryn Terfel's performance in the title role of Verdi's final opera, filled with laughs and pathos is as good as any. Recorded here about two years after his role debut, he's in his vocal prime, joined by Hampson's Ford, Dorothea Roeschmann's Nanetta, Adrianne Pieczonka's Alice Ford and Larissa Diadkova's Quickly. Solti's 1963 Decca recording with Geraint Evans and Arturo Toscanini's 1950 version with Giuseppe Valdengo also are classics — Toscanini was a cellist at La Scala for the opera's premiere in 1887.
"Otello" — Herbert von Karajan, conductor; Vienna Philharmonic Orchestra, Chorus and Children's Chorus (recorded at the Sofiensaal, Vienna, 1960); Decca. More than a half-century later, this remains a first choice. Mario Del Monaco has a tenorial heft and sheen that's unheard of in recent decades in the title role. Renata Tebaldi has vulnerability to go along with vocalism as Desdemona. For those not minding thinner sound, the 1947 performance of Toscanini leading Ramon Vinay's Otello is filled with cracking energy. And on DVD, Riccardo Muti's La Scala performance from 2001 with Domingo uses Verdi's 1894 Paris revisions, inserting some surprises in the third act.