J'avais déja cet enregistrement sous forme de lp. Hélas ! Je n'ai plus des moyes pour l' ecouter sous cette forme lá. Alors, j'ai décidé'd'acheter le CD. C'est bon, ce sont les interprètes de la création et Nicola Rossi-Lemeni fait du protagoniste un portrait croyable. Pizzetti était vivant encore et il paraît qu'il a bien aimé ce qu'on en a fait.

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L. E. Cantrell

"Fare forward to the end. / All other ways are closed to you...."

2008年4月7日にアメリカ合衆国でレビュー済み

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SOURCE: The Good Grey British Magazine, "The Gramophone," delicately refers to this recording as "unofficial." Details are conspicuously lacking, and perhaps it might be wise not to inquire too closely. The performance is the world premiere of the opera at La Scala on March 1, 1958.

SOUND: Fair mono at best, and minimally acceptable if approached with good will. Serious audiophiles, stop reading at this point and walk away.

CAST: Thomas Becket, Archbishop of Canterbury - Nicola Rossi-Lemeni (baritone); First Chorus Leader - Leyla Gencer (soprano); Second Chorus Leader - Gabriella Carturan (mezzo-soprano); Herald - Aldo Bertocci (tenor); First Priest - Unknown (tenor); Second Priest - Mario Ortica (tenor); Third Priest (baritone); First Tempter - Adolfo Cormanni (tenor); Second Tempter - Antonio Cassinelli (baritone); Third Tempter - Nicola Zaccaria (baritone); Fourth Tempter - Lino Puglisi (bass); First Knight, Sir Reginald Fitz Urse - Rinaldo Pelizzoni (tenor); Second Knight, Sir Hugh de Morville - Enrico Campi (baritone); Third Knight, Baron William de Traci - Silvio Majonica (baritone); Fourth Knight, Sir Richard Brito - Marco Stefanoni (bass).

CONDUCTOR: Giandrea Gavazzeni with the Orchestra and Chorus of Teatro alla Scala in Milan.

TEXT: In 1935, T. S. Eliot, who was a great poet, published "Murder in the Cathedral," a verse play based on the death of Saint Thomas Becket in the year 1170. The play is not bad, but it and others that followed progressively demonstrated that Eliot's true genius was not for the stage. In serviceable but hardly memorable verse, the play closely adheres to the contemporary accounts of Gervase of Canterbury a monk who knew Becket and Edward Grim, an eyewitness who was actually wounded while trying to defend the Archbishop from his attackers. The true merit of "Murder in the Cathedral" is not in its verse but in a long prose passage. After the murder of the soon-to-be saint, the four bloodstained knights who had just done the deed step forward to address the audience directly. In perfectly calm, reasoned and ordered words, they seek to justify their barbaric act of savagery. Such is the power of Eliot and such is the strength of the play that they come shockingly close to succeeding.

"Murder in the Cathedral" was translated into Italian as "Assassinio nella cattedrale" by Alberto Castelli. Pizzetti, acting as his own librettist, used a shortened version of Castelli's text. The main cuts involved the prose justificatory speeches of the four knights. As in the play, the two halves of the opera hinge upon a paraphrase of the actual sermon delivered by Thomas Becket at Canterbury Cathedral on Christmas Day, 1170.

COMMENTARY: Ildebrando Pizzetti (1881-1968) was an academic by profession. After various teaching positions in Parma and Florence, he became a director of the Instituto Cherubini in Florence in 1917. He shifted from the Instituto in 1924 to become director of the Milan Conservatory and from 1936 at Academia Santa Cecilia, a position he held until he retired in 1960. Among his many pupils was Gianandrea Gavazzeni, the conductor of this performance. Pizzetti wrote a symphony, concertos, sonatas and other works, including several operas, the first being "Fedra" in 1912. "Assassinio nella cattedrale" was his last major work, premiering when he was 77 years old.

Pizzetti was a traditionalist, massively out of step with his more experimental and adventurous contemporaries. This traditionalism is very much in evidence in "Assassinio nella cattedrale." Neither Pizzetti nor his music is unsophisticated, but the straight-forward, dignified, even tuneful settings, especially of the choruses look back to the beginning of the 20th Century, not to its discordant middle years. Pizzetti's music has not had much impact on the English speaking world, but, I gather, it remains alive and well in Italy. Judging by this opera, I, for one, shall look forward to other examples of his work.

This world premiere performance is a good one. La Scala and Gavazzeni, who was the leading conductor there and would eventually retire as its artistic director, seem to have been intent on seeing Pizzetti off in the style befitting a grand old man. The large cast bears evidence of that, for it is clear that the four tempters, who appear only in the first part of the opera, are duplicates of the four knights who appear only in the second part. Karajan led a performance at the Wiener Staatsoper in 1960; he doubled performers of the magnitude of Walter Berry and Paul Schöffler between Tempters and Knights.

The La Scala cast was co-anchored by Rossi-Lemeni and Leyla Gencer. Rossi-Lemeni was a far better performer than much of subsequent critical opinion would suggest. On record, his voice does admittedly tend a bit toward fuzziness, but on stage, as I saw him on half a dozen occasions, he was a strong and vital performer. The Turkish-born Gencer was a great bel canto specialist. Pizzetti's music is not in her natural environment, but she nevertheless provides a fine performance as the First Chorus Leader. The remainder of the cast consisted of La Scala house regulars whose names will be familiar to those who collect Italian opera performances of the 1950s and 60s.

This is a good performance of an old-fashioned but pleasantly pleasing setting of a famous literary work. For myself, I'd assign five stars to it, but it can't be denied that the sound of this "unofficial" recording is not what it might have been, so ... four stars.

14人のお客様がこれが役に立ったと考えています

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Gary Jones

No libretto

2012年4月3日にアメリカ合衆国でレビュー済み

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No libretto is included; a brief synopsis is provided.

(just a few pointless words to satisfy the absurdly imposed minimum word requirement.)

5人のお客様がこれが役に立ったと考えています

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Alfredo R. Villanueva

A MAGNIFICENT PERFORMANCE

2008年4月14日にアメリカ合衆国でレビュー済み

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I DO NOT LISTEN TO MUSIC LIKE THIS WITH MY BRAINS BUT WITH MY GUTS. AND I WAS TOTALLY GRIPPED, CAPTURED BY THE INTENSITY AND FORCE EMANATING FROM IT. WHAT A NIGHT IT MUST HAVE BEEN, THAT PREMIERE! THE VERY BEST ITALY HAD TO OFFER AT THE TIME, PUTTING THEIR ALL INTO THIS CONTEMPORARY MYSTERY PLAY CONVERTED INTO GLORIOUS TRANSCENDENT MUSIC! THIS IS RECORDED MUSIC HISTORY. IT BELONGS IN EVERY SERIOUS COLLECTION OF MODERN ITALIAN OPERA. I WOULD NOT TRADE IT FOR ANY GIMMICKY ASTUDIO RECORDING.

3人のお客様がこれが役に立ったと考えています

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obsessedreader

noteworthy

2017年2月11日にアメリカ合衆国でレビュー済み

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I gave this to my son, an accomplished musician, as a gift. I'd read about it in Opera News and it seemed like something he would appreciate.

He did like it, but wasn't ecstatic: he said he would need to hear it a few more times.

I'm intrigued, however, so I'll be borrowing it in the near future. I'm optimistic!

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Assassinio Nella Cattedrale

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