Though this is neither the fieriest nor the most colourfully exciting La Traviata on disc, it is a strong performance of Verdi's masterpiece that, unfortunately, falls down not for what it is, but rather for what it is not.
In 1953, EMI signed a contract with La Scala, Milan to make a series of recordings every year. One was La Traviata, but the proposed Violetta, Maria Callas, was discovered to be contractually unavailable. With their American affiliates pressing for a release, EMI were forced to choose another singer for the lead role. That singer would be the rising Italian soprano Antonietta Stella, who appears in this 1955 recording.
Avoiding a judgement such as 'Stella is not Callas' can be tricky, such is the impression that the latter artist has left on the role through her studio and live performances. But the former artist provides a pleasing interpretation of one of the most demanding roles in the repertoire, fully thought out and well sung, though perhaps lacking a final edge of personality. The coloratura of Act One, though precise, lacks bite, and that is vital to remind us that Sempre libera is both an act-ending showpiece and a dazzlingly real portrait of female hysteria. Stella does improve considerably as the opera progresses, as the character becomes increasingly alone and fragile. Stella's quivering delivery in the finale is excellent, though the interpretation misses (if the comparison can be forgiven) Callas' weird, otherworldly sound in the work's concluding passages.
Giuseppe Di Stefano is a lyrical, ardent and near ideal Alfredo, his effortless Italianate grace working wonders in the Act Two aria and his hysterical outburst later in the act truly shattering. Tito Gobbi sings a beautiful, unusually delicate Di Provenza and colours his timbre with typical panache throughout, though his top is dryer than might be preferable at times. The three singers interact convincingly, though Di Stefano's sometimes melodramatic delivery can momentarily distract from the drama. The Act Three ensembles are, however, perfectly balanced.
Tullio Serafin conducts a tight and persuasive, if sometimes monochrome, rendition of the score, ably leading the Orchestra and Chorus of La Scala through Verdi's stylistic, dramatic gear changes and accompanying the voice well. The Act Two party scene and concluding concertante finale are captivating. The whole is a rewarding listening experience, but it is not an essential purchase as, one may speculate, it would have been had Callas taken part.
share with:
