Her ëAddio,, mio dolce amor’ is a calling card that should open many an opera houseís door as she combines the strength and the morbidezza needed of every Puccini soprano. Adriana Damato is a wonderful Fidelia, equalling Scottoís expressiveness without the shrillness that was often there with the older soprano. His top notes are more firmly sung than Bergonziís though one wonders how much is still Domingoís and how much came out of DGís vaults. At 64 and after a career of 45 years, the shimmering beauty of Domingoís voice is slowly deteriorating and he sounds nasal a lot of the time. Bergonziís middle voice at the time sounds far more beautiful and sweeter than Domingo nowadays can master. Though the Italian tenor already flattened every note from high A on by the time of his recording, his sense of phrasing in his arias and duets is vastly superior. The issue under review is superior in all aspects to its predecessors except one: the title role. And then it took another 29 years when Varady and Tanner recorded a far less impressive performance. We had to wait until 1976 when CBS finally brought forth an official recording made during an OONY performance (Bergonzi, Scotto, Killebrew, Sardinero, Queler). On record, as in the theatre, Edgar didnít have much of a career.

It is one of three ëFlemishí operas which were all performed some years ago in Antwerp as the story plays out itself in Flanders (the two others being Lohengrin and Tote Stadt) and Sharon Sweet as Fidelia was exemplary. the tenorís ëO soave visioní) though after a few hearings they are clearly recognizable and enjoyable.Ī real performance of Edgar always is a pleasure as I can witness. In Edgar, his melodies sound a little laboured (e.g. The Tuscan was a very slow starter and in his first two operas he still had not found the inspiration to write those short, catchy tunes that would make him the most popular composer of his time.

The fault, if there was one, lies with Puccini. Still Manon Lescaut was a success and Edgar was not.

Newbieís seeing the opera for the first time probably wonder if by coincidence the two acts are not erroneously switched. At the beginning of Act II, Manon is firmly established as the mistress of the same Geronte. At the end of Act I, RenÈ des Grieux and Manon elope from the clutches of Geronte.

Pucciniís Manon Lescaut is a prime example. As long as a libretto is able to inspire its composer, it may ramble along. Too often libretti are thought to be ridiculous ó Trovatore is an outstanding example ó because people donít take the pains to read them line by line (and then Trovatore makes perfect sense). And as critics like to copy sleeve notes, one finds this same opinion in Opera Newsí review.

French play puccini opera