Cheap Nabucco [Highlights] (Music) (Giuseppe Verdi, Fulvio Vernizzi, Omroeporkest, Anita Cerquetti, Dino Dondi, Giampaolo Corradi, Giovanni Andrea Fioroni, Jolanda Mancini, Ugo Trama) Price

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Customer Reviews of Nabucco [Highlights]

Cerquetti's Abigaille
First off, it should be known to the potential buyer that these are HIGHLIGHTS only. The mono sound is acceptable. Orchestra and chorus are average at best. The focus clearly is on Anita Cerquetti and her rendition of Abigaille. Even though in the booklet listing of tracks her name is omitted on the last cue point. I never heard this singer live. My first encounter with her voice was the studio GIOCONDA with del Monaco and Simionato and I liked it very much. As Abigaille I find her less convincing. The voice is beautiful and even. But she cannot convey Abigaille's high flying ambitions. She sounds noble most of the time. Never aggressive or infuriated or spiteful or menacing. Her repentance/dying scene is superficial. Which makes me wonder how often Miss Cerquetti may have had the chance to sing this role during her brief career and develop a feeling for it. At times she unexpectedly breaks a phrase to catch her breath, which I find somewhat irritating. And some climax seem "rushed". It's also a bit disappointing to me that the "Salgo gia" cabaletta gets no repeat. Guess such were the customs in those years, even for concert performances. I am pleased with Messrs. Dondi (in the title role) and Trama. Aside from their vocal qualities I find them very much in character. Also the singers of Fenena and Ismaele made me prick up my ears. Taken all in all, it's worthwhile to have this document. It will nicely supplement your studio NABUCCO. It's been a guilty pleasure of mine to compare Anita Cerquetti to Elena Suliotis and Dino Dondi to Tito Gobbi. And I wish that one day the Metropolitan Opera's NABUCCO with Leonie Rysanek under the baton of Thomas Schippers will appear on CD.

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Good soloists, mediocre chorus, mono recording
The soloists are very good, but the chorus (key in this opera) is not on the same level. "Va Pensiero", the famous chorus piece, is very weakly done. The mono recording is only just adequate, OK for the soloists but flat and dull for stage presence and orchestration.

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Blistering Vocalism
I first heard this rare pearl over 20 years ago on some faded third-generation cassette. Despite the dim sonics, I was thrilled to hear a diva who could actually negotiate the scorching roulades of Abigaille's music while still sounding like a singer and not some wounded forest creature howling in pain. Apart from Callas' live performance, we've had precious little to celebrate in recorded Abigailles. Sure, Scotto lit a few fires with her EMI pressing, but who wouldn't with a microphone clenched betweeen her teeth and the volume control nailed in place at the top of the control panel? For Heaven's sake, most of the current generation of half-wit dimpled divettes and "sound-enhanced" melody muffins could come off like an Abigaille with the right studio wizards calling the shots.

Cerquetti was the REAL thing. Like Margharita Roberti (listen to her in Christoff's ATTILA recording), Caterina Mancini and Fedora Barbieri, she came from a school of barnstormers who could shake the foundations of San Carlo or La Scala with truly schooled, crafted voices that emanated from the viscera and not the top of the larynx. Cerquetti was one of the Queens of Can Belto, and this new release in great sound is one of the treasures among re-releases of the past decade. I cast aside all conservatory terminology and call this type of performance a ripsnorter for the ages. With Callas, Cerquetti, and Dimitrova on disc, and the rare likes of Linda Roark-Strummer performing the role onstage, the other studio bunnies can turn their attention to gentler repertoire and give the rest of us a break.