Puccini: Il Trittico - Cotrubas, Scotto, Horne, Gobbi, Domingo [Maazel] [3 CD]

×

Puccini: Il Trittico - Cotrubas, Scotto, Horne, Gobbi, Domingo [Maazel] [3 CD]

Close

It's refreshing and invigorating to have a taut unyielding view of a fine score. This recording should win converts among those who still regard Puccini as merely soft and sentimental.

Rather as I expected, the reissue of Lorin Maazel's three recent recordings of Puccini's one-acters as a co-ordinated box of the Trittico sharply brings out the conductor's distinctive approach. It is an approach which is typified by the very start of Gianni Schicchi, where there is an almost Stravinskian sharpness in the ostinato rhythms. Generally Maazel's concessions to romantic expressiveness are calculated rather than obviously warm. This degree of severity has the merit of underlining the musical cogency of all three pieces, splendid examples of Puccini's mastery at his high maturity, and Suor Angelica—wrongly regarded for far too long as a limp piece of sentimentality —benefits just as much as either of the others with the succeeding climaxes spaced in carefully balanced relationship.

The snag is that particularly with CBS's somewhat close recording balance, the atmospheric qualities of each opera—which some Puccinians would regard as among their highest merits—are underplayed. When I first reviewed Il tabarro, this absence of essential atmosphere made me give a less charitable review than I would now. Hearing it in context with the other performances, it is refreshing and invigorating to have a taut and relatively unyielding view of a fine score, even while one misses the dark evocations of the scene under a bridge of the Seine in Paris, which other versions so vividly capture.

The other gain from hearing the performances together is to have the dominance of Renata Scotto reinforced in both It tabarro and Suor Angelica. In Il tabarro neither Placido Domingo as Luigi (not quite in his warmest voice) nor Ingvar Wixell as the bargemaster Michele (rather too gritty-toned as recorded) is exactly a cipher, but Renata Scotto consistently focuses the centre of involvement with her dramatic and finely detailed singing.

In Gianni Schicchi the central pivot is provided of course by the contribution of the veteran Tito Gobbi, and though there may be some signs of the voice not being as young as it was, it is a deeply satisfying performance, as fine in its way as the classic one he recorded for HMV 20 years earlier. That HMV version is included in the boxed reissue set of Il trittico which appeared two years ago (SLS5066, 10/76), with all three operas given marvellous performances but with very dated recording and only Schicchi in stereo. The Decca set under Gardelli (SET 236-8, 12/62) is more idiomatic in performance than this Maazel CBS issue, and the sixties recording is amazingly bright and full for its age. But the new issue, controversial as it may be in some ways, is certainly refreshing, and should in particular win converts among those who still regard Puccini as merely soft and sentimental.

– Gramophone [8/1978, reviewing the LP release of Il Trittico]