Word: bergonzi
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...more pernickety listeners, Renata Scotto still does her best to fulfill the image of the 15-year-old Japanese teenager, and has successfully made the role one of her specialties. Her rather metallic intonations are warmed by the richness of Rolando Panerai's baritone and Carlo Bergonzi's tenor, while Conductor Sir John Barbirolli exposes enough colors in the opera's palette to prove that it may not be so smart to sneer at Puccini's musicality...
...Gustav III) to exotic Massachusetts and to dramatize instead the assassination of the "Governor of Boston." Conducted appropriately by Boston's Erich Leinsdorf, this version stars the lush vocal beauty of Leontyne Price, supported by a mostly American cast, including Robert Merrill, Shirley Verrett and Reri Grist. Carlo Bergonzi provides appropriate Italianate grace as the doomed governor...
VERDI: DON CARLO (London; 4 LPs). The usual cuts have been restored and all five acts are here, sung by an assemblage of stars: Renata Tebaldi, Carlo Bergonzi, Dietrich Fischer-Dieskau, Nicolai Ghiaurov and Grace Bumbry. Their voices often outshine their characterizations (though Bumbry is good as Eboli and Ghiaurov as Philip), and the solos are stronger than the ensembles. Conductor Georg Solti generally keeps rein on the sprawling tragedy, which unfolds with dark grandeur and erupts with fiery excitement in the auto da fe in the great Spanish square...
VERDI: REQUIEM (RCA Victor). The virtues of this new recording are the soloists. Carlo Bergonzi is good enough to make the listener forget Jussi Bjoerling's masterly reading of the Ingemisco. Birgit Nilsson is all fire; Lili Chookasian and Ezio Flagello both have big, warm voices. The difficulties stem from Erich Leins-dorf's conducting of the Boston Symphony. The pace is much too slow. The long, dramatic Otello-like lines enshroud the listener rather than move him. Tullio Serafin's interpretation of the Requiem (Angel) is still the best...
...Miss Caldwell's production was Mexican operetta star Placido Domingo, who sang the title role of Ginastera's Don Rodrigo with the New York City Opera this season. As Hippolyte, his lyric tenor projected warmly and well controlled, with little hollowness or break between registers. Unfortunately, he is no Bergonzi; Domingo's sound is marked by continual tightness and lack of real ring. Perhaps his singing on unfamiliar French vowels was part of the problem. His acting usually remained typically tenoristic; that is, non-existent. But Domingo's forthcoming reappearance (opposite Renata Tebaldi in the new Boheme) should provide...