Siberia: Umberto Giordano: Siberia [Import]

Product Details

Performer: Adriana Lazzarini, Amadeo Zambon, Antonio Zerbini, Elvira Spica, Enzo Sordello, et al.
Orchestra: Milan Radio Symphony Orchestra, Orchestre di Teatro Donizetti, Milan RAI Symphony Orchestra, San Carlo Theater Orchestra (Naples)
Conductor: Danilo Belardinelli
Composer: Alfredo Catalani, Francesco Cilea, Umberto Giordano
Audio CD (April 27, 2004)
Number of Discs: 2
Format: Import
Label: Gala
ASIN: B0001Z3HKY

By : Alfredo Catalani (Composer), Francesco Cilea (Composer), Umberto Giordano (Composer), Danilo Belardinelli (Conductor), Milan Radio Symphony Orchestra (Orchestra), Orchestre di Teatro Donizetti (Orchestra), Milan RAI Symphony Orchestra (Orchestra), San Carlo Theater Orchestra (Naples) (Orchestra), Adriana Lazzarini (Performer), Amadeo Zambon (Performer), Antonio Zerbini (Performer), Elvira Spica (Performer), Enzo Sordello (Performer), Franco Pugliese (Performer), Franco Ricciardi (Performer), Gino Galo (Performer), Guido Mazzini (Performer), Ida Farina (Performer), Laura Londi (Performer), Leyla Gencer (Performer)|Format:Audio CD
Price : $18.84

Umberto Giordano: Siberia [Import]

Consumer Evaluations

I really do not know what the prior Amazon.com reviewer, Mr Villanueva, is complaining about with regards to the sound of this 1974 live overall performance. It is no superior or worse than most Gala recordings from this era and I locate the words perfectly intelligible. I have not heard the equivalent Opera d'Oro problem, but I do not count on that it will be any much better - rather the reverse, in reality, if earlier encounter is something to go by.
If, like me, you actually rate "Andrea Chenier" and "Fedora" as operatic entertainment (Corelli's Andrea is among my rather favourite recorded performances), then you might possibly be drawn to sample this, Giordano's personal favourite amongst the fifteen operas he composed. It has all the hallmarks of his verismo style: passionate arias and duets, varied orchestral colours, soaring melodies, sudden reversals of mood and a sweeping spatial sense ("Fedora" ranges all over the location - see my evaluation) and it is growing on me the way more I listen to it. In addition, we have a exceptional exotic element: this is the only Italian opera to incorporate an echt Russian atmosphere, quoting the Imperial anthem, the "Song of the Volga Boatman" and a sense of the wild desolation of the steppes and wastes in Vassili's fine aria "Orride steppe". The opening of the opera presents us with a fine, plangent chorus which sounds wholly authentically Russian, sung in harmony con gusto - so the sudden switch to verismo style suitable following it ends is rather wrenching - but different! I would not have believed that a Milanese chorus could sound so Slavic.
The cast, whereas not 1st rank international stars, are even more than adequate. Most collectors will know baritone Walter Monachesi from his function as Paolo in the well-known Gobbi "Simon Boccanegra" (both the studio and reside versions) and here is sturdy, if a just a small stretched and wobbly at occasions - but wholly convincing. I have never ever heard of Luisa Maragliano but she is a sound spinto, if, as with Monachesi, sometimes a bit rocky. I surely do not agree with Mr Villanueva that she is a screamer - in fact, the wonderful Olivero, with whom he unfavourably compares Maragliano, was not immune to that tendency herself, substantially as I love her voice. The tenor, Amedeo (or "Amadeo",as he is quite often known) Zambon is a genuine Italian tenor who enjoyed a not inconsiderable career and might be identified to collectors from the fine 1969 Gala "La Straniera" with Caballe (once again see my assessment). He's a bit of a belter, but I do not mind that in this musical genre. The playing, conducting and (as I said earlier) chorus are particularly excellent, as one would anticipate from Milan RAI forces.
So it's not challenging to undestand why the composer favoured this piece. I undoubtedly would not decide on it over "Andrea Chenier" but it certainly does not deserve total neglect. It was initial performed in 1903, then in the US by the Manhattan Opera in 1908 but its composition seemed to signal Giordano's gradual decline in reputation and it is hardly ever revived today. There is an additional full price tag 2004 recording which Mr Villanueva rates as five stars (but why does he at all times shout at us in his reviews in capital letters, I wonder?), which I have not however heard but would like to. It must be improved recorded and has a libretto, even though I wonder if it can be better sung meanwhile for the mildly curious and impecunious, this Gala set will do nicely.
(As usual, Gala generously gives bonuses in the form of excerpts in rough sound, each featuring Zambon, from a 1972 "La Wally" with Olivero and a 1966 "Adriana Lecouvreur" with Gencer - the two good candidates for the "Queen of Pirates" title.)

THE MUSIC IS Amazing AND THE SINGERS DO THEIR JOB. ZAMBON IS Really Very Fine. LUISA MARAGLIANO Produced ME RUN FOR MY OLVERO RECORDINGS TO WASH HER SCREAMING OFF MY EARS. A single Should ALSO TAKE INTO ACCOUNT THIS IS THE ONLY Available RECORDING OF THIS OPERA, A Live TAKE FROM 1974. ALAS, IT HAS THE (IN)Famous GALA SOUND, THAT IS, IT SOUNDS AF IF RECORDED By means of A BOX, Honestly INTOLERABLE. ADD TO THAT THE LACK OF NOTES OR LIBRETTO, WHICH I WOULD NOT Thoughts IF AT LEAST I COULD Know WHAT IS Becoming SUNG (I KNOW ITALIAN). SO, AT YOUR Personal Danger.