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24 of 25 humans found the following review helpful.
The Definitive Butterfly
By F. Taylor
There are a few recordings that I believe most opera lovers may agree on: the Beecham Boheme and the Callas Tosca stand at the top of the list. This Butterfly belongs in that group. There is not a weak link the entire recording. First and foremost, Butterly is a soprano’s opera — probably more so than any other opera. From her entrance until her death, Butterly is never offstage except for the brief amount of time at the commence of act III when sleeping. However, a pretty voice is not enough. The capacity to go from sounding like a 15 year old girl in act I to being almost weary in act III is not without apparent effort done. Renata Scotto has done it in this recording better than any one. Her’s is the extreme reading of the drama. She sounds much younger in Act I than in Acts II and III. For some, the spotlight of the opera is Un Bel Di. However, for me, it comes a bit later is in the letter scene with Sharpless. In Che Tua Madre, Scotto will rip your heart out. At the end of the aria, on her basi “morta” on the high A, it stabs you like the knofe that is soon coming. Sharp, pointed and wrenching — perhaps even the best single note in any recorded opera. It’s that magnificent. I had the privilege of seeing Scotto do Butterfly later in her career (after galore of the wear and tear had introduced numerous wobble in the upper register). Dramatically, they were amidst the most intense performances I have ever seen. Amazingly, on this recording, she conveys the same dramatic line as well as being at the prime of her vocal career.
This is the recording that introduced me to the glorious Carlo Bergonzi. His Pinkerton is plainly unequaled. Although I am one of the biggest Domingo fans, Placido could never approach Berognzi’s Pinkerton. Bergonzi’s portrayal is not rather the cad most others project, but his aroused breakdown at the realization of what he has caused at the end of the opera closely makes you feel sorry for him. Being capable to make Pinkerton sympathetic is a neat trick. It shows how outstanding Bergonzi is as Pinkerton.
The third leg of the stars is Rolando Panerai as Sharpless. I don’t recognise of any individual who does not believe this is the biggest Sharpless recorded. Warm and sympathetic when needed, reproaching but never condeming with Pinkerton in both Act I and III.
Lastly, Sir John Barbirolli leads the forces masterfully. Sir John only recorded two operas, but I’m glad this is one of them. The story is told in the liner notes of how the Rome Orchestra a few weeks before had played with regards to as bad as possible on another recording and still get paid. Yet here, just a few weeks later, they play their hearts out for him. His pacing makes the drama and the dramatic portrayal by the rest of the cast even more intense. His reading is flawless.
There are not sufficient adjectives in the thesaurus to describe how splendid this recording is. If you don’t know Butterfly, this is the recording that will make you fall in love with the opera. If you love the opera, this recording will remind you why. This recording belongs in each opera lover’s library.
20 of 22 people found the following review helpful.
THE Madama Butterfly
By A
Scotto is the best Butterfly on record. She brings her incomparable artistry with her. You feel her as a humane being with aroused depth (without overdoing things). Bergonzi proves himself the most stylish Italian tenor in the world. Barbirolli is a master at the score. Preferable to Karajan’s Butterfly which is overrated.
16 of 24 persons found the following review helpful.
The definitive Butterfly
By Armando Garcia
Forget with regards to Callas (Karajan), de los Angeles (Santini), Freni (Karajan) and Tebaldi (Serafin). This recording with Scotto, Bergonzi and Barbirolli is not to be believed! It is the definitive recording of Madama Butterfly.
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