Verdi: Rigoletto (Parma, 1987)
 

Cast: Leo Nucci (Rigoletto), Alfredo Kraus (Duke), Luciana Serra (Gilda), Michele Pertusi (Sparafucile), Ambra Vespasiani (Maddalena), Desdemona Malvisi (Giovanna), Angelo Nosotti (Monterone), Renzo Magnani (Marullo), Gianfranco Manganotti (Borsa), Marcello Crisman (Count Ceprano), Lea Kalj (Countess Ceprano), Tiziano Tmoassone (Usher), Roberta Quartieri (Page), Orchestra Sinfonica dell'Emilia Romagna 'Arturo Toscanini' and Coro del Teatro Regio di Parma della Cooperativa 'Artisti di Coro' di Parma, Angelo Campori (conductor), Tiziano Santi (director), by Pier Luigi Samaritani (sets and costumes)

Recorded at the Teatro Regio, Parma, February 1987

Published by Hardy Trading Company of Via Millelire 13, 20146 Milan, Italy, in collaboration with Azzali Editori of Parma. Distributed in the USA by VAI (Video Artists International and VAI Audio) HCD4001

NTSC, with English subtitles

Sung in Italian

Price $34.95 in the USA
 
This is a problematic disc: in many ways excellent, in others unacceptable. The vocalism is excellent: accurate, produced freely and without apparent effort. Lighting is unacceptable: many scenes are reduced to dark grays on black with performers recognizable only as blurs when they move. Where lighting is sufficient to show some detail, focus is not sharp and contrast is excessive. The sound is fine in general, but there are dead spots on the stage and Kraus, seemingly unfamiliar with that problem, often finds himself in one at an unfortunate moment.
 
Campori is not familiar to me. His conducting is effective but uninspired, indeed 'uninflected' may be more accurate. Early in 'Parmi veder', Kraus appears to have had enough and takes over by enforcing his pulse on the music. Fortunately, Campori quickly catches on and provides some supportive flexibility for the tenor thereafter. The orchestra is capable barring a few minor flubs; clearly, this is not a great house or a great band, but it is quite sufficient for the work at hand. The same may be said for the chorus.
 
The production is generally conventional but gets off to a weak start. Act I, Scene 1 is dominated by a banquet table. There is much milling about and climbing onto and off the table to no effect. The start of Scene 2 is promising with an unadorned grayness in which Sparafucile and Rigoletto hold their unadorned, gray dialogue. Little can be seen of the jester's home (there is no garden) but what is visible seems rather tawdry. Returning to the ducal palace, one can see steps to nowhere and a mass of something on which the owner reclines. There is also a fallen but intact bust of a Roman nobleman; its significance is not apparent. Act III uses a multilevel set: the stage is the exterior; the interior of the inn is almost seen through a missing wall perhaps a meter higher; a very steep stair leads up to the sleeping quarters. Again, it is not possible to discern stationary objects less than a meter or so across.
 
Nucci performs the title role with ringing tones and effective physical acting. Unfortunately, he does not present a vocal portrayal of any depth at all. The great 'Cortigiani' scene is played for all it is worth, but he offers no obsequiousness or wryness before that portion and no venom during it. The baritone seems at home on the Parma stage and relieved by Campori's strictness; he asks for few liberties so he does not miss them when they are not forthcoming. Serra is a most attractive Gilda vocally; the video quality precludes judgement on her appearance or physical acting. There is nothing spectacular in her singing, but everything is in place and the audio image of a girl emerging into brief adulthood is clear.
 
Kraus may have been the most predictable major artist in recording history. By this time, the tone had lost much of the limited beauty it had in his prime, but the artistry, technique and portrayal were untouched. 'Questa o quella' is marred by the dead spots on the stage and the irrelevantly busy production around him. 'E il sol dell'anima' is superb for both singers. 'Parmi veder le lagrime' starts off badly until Kraus forces Campori to adapt to his lead. 'Ella mi fu rapita' is a lesson scene of its own sort; 'Possente amor' begins similarly but Kraus ends in one of those acoustic holes and his D does not thrill as intended. In misguided compensation, he is given free rein in the three 'La donna e mobile' executions and rather overdoes it in each. It must be noted that the audience had no objection. In fact, the ovations were interesting in themselves. Compari received a few seconds of desultory applause as each of the later acts began. Serra was acknowledged warmly but with no more flamboyance than she displayed in 'Caro nome'. The Nucci support group was there in substantial numbers and tried to counter the wild enthusiasm of the Kraus supporters. They did not succeed, but not for lack of effort after 'Cortigiani'.
 
Pertusi was miscast as Sparafucile; his slender basso cantante is ill suited to the role though he managed all the notes. Vespasiani's Maddalena was effective though the voice is a bit wooly for the character. Only one of the smaller roles was ill-cast: Countess Ceprano focuses her attention on finding the camera rather than on the Duke or her voice. I wish it were possible to say that this was the long-hoped-for Rigoletto which would be fully satisfying. Instead, it is among the handful of acceptable, but not particularly worthwhile, versions I know.
 
Related websites: Hardy Trading Company www.promart.it/Dischi/EtichDiHardy.html
VAI (Video Artists International and VAI Audio) www.vaimusic.com
Hardy Trading Company email: hardyclassic@tiscaline.net
 
Michael Richter, 29 March 2002
mrichter@cpl.net
 
See also Michael Richter's Introduction to the DVD, for a list of other reviews see the DVD Project page.