Sutherland/Horne (Bonygne) or Caballe/Verrett(Perlea)? Caballet more tender and elegiac, Horne more impressionant than Verrett. Alfredo Krauss full of tenderness. Perlea is poetic.

Sutherland/Horne (Bonygne) or Caballe/Verrett(Perlea)? Caballet more tender and elegiac, Horne more impressionant than Verrett. Alfredo Krauss full of tenderness. Perlea is poetic.

I have not listened to this CD, but I wanted to point out to those who might not be aware--Caballe is the soprano singing Lucrezia Borgia, she is NOT the conductor as is indicated on the information above. Also, I gave it 5 stars (even though I haven't listened yet) because I couldn't submit this information without a rating. But I'm sure it would be close to 5 stars anyway, considering the cast.

Lucrezia Borgia is a beautiful opera and this set - the first
studio recording - does it full justice. Opinions on who was
the best bel canto singer - Callas/Sutherland/Gencer/Sills -
vary sharply but to my ears Caballe is the truest. She has a
gorgeous voice - rich and powerful yet flexible and capable of
the most exquisite shadings and pianissimi - her phrasing is
exemplary and her musicianship refined. All of this can be
enjoyed in this recording plus her tragic conception of the
evil Lucrezia caught up by fate - a splendid performance.
Fortunately she has a wonderful cast to support her. This is
one of the few recordings of Alfredo Kraus while still in his
youthful prime and what a treat it is - his voice is fresh and
attractive and he sings most beautifully matching Caballe in
musicianship and refinement. Shirley Verrett and Ezio Flagello
have both somptuous voices and offer beautiful performances.
The comprimarios are very important in this opera and they all
rise to the challenge with idiomatic and stylish singing. Cho-
rus and orchestra are excellent and Perlea conducts lovingly
and warm and atmospheric sound. Bel canto at its best.

Lucrezia Borgia is an overally beautiful opera also because of Felice Romani's moving libretto. He was also the librettist for other big operatic successes such as Norma, La Sonnambula et a.

On this set we have Montserrat Caballe's rare instrument at it's finest! Beautiful phrasing, absolute breath control, amazing legatos and powerful high notes of vocal freshness! Her legendary pianissimo is really hard to describe; just listen to her on track10, (cd1). One thinks this woman can go on for another 20 seconds without a single breath! Her performance on the second Cd (for instance, tracks 3 and 15) reveals her understanding of the role.

Alfredo Kraus, though not my most favourite tenor, outlines here a sensitive Gennaro. His fans will adore him even more. Shirley Verrett uses her fine mezzo voice skillfully and performs the demanding role of Maffio Orsini perfectly. Last but not least, I love E. Flagello's Alfonso whose performance in the aria on track12(cd1) for example is superb!

On the whole, I strongly recommend this opera and especially this version which contains thrilling performances!! Finally, a small comment on what has been mentioned on another review: I just wish more sopranos had the ability to show us how "bloody beautiful" they are!

I strongly recommend this opera, a piece of 'bel canto' and good taste.

An authentical lesson of 'bel canto' and good taste. The right singers for the right repertoire. Anyway every really opera-lover must have every Alfredo Kraus' recordings and this is one of his finest.

with the above review -I found this recording boring, dull with CAballe again too concerned about making beautiful sounds with no respect for the drama that Donizettis opera contains,her phrasing is poor and some top notes are shrill-(she comes a little undone in her effort to show us all how bloody marvellous she is), it is a vain although some times beautiful performance. If you adore her, then you'll love this - but should you want a more dramatic approach - steer clear. All the supporting roles are fine - but there is just no feeling to this at all - La Borgia should have a little bit of character no?

Donizetti's Lucrezia Borgia was the vehicle chosen for Monserrat Caballe's New York debut at Carnigie Hall in the mid-60's. Her triumphant success in that concert performance hailed her as the new prima donna and earned her a Time Magazine cover story.

Capitalizing on her success, RCA Victor decided to record the opera in its entirety, with all the notes in the printed score, no cuts allowed. The result is magnificant, making this one of the MUST HAVE recordings for lovers of great singing and Bel Canto opera.

Caballe in her early career shows a vocal freshness that is never bettered in any of her other recorded work, which is saying a lot. The young Alfredo Kraus is breathtaking in his virility and ease of vocal production. Shirly Verrett has a bright effortless sound that makes you yearn for a bygone era of opera singing. The rest of the cast is equally impressive, with Ezio Flagello rumbling forth in one of his best recorded performances, and a strong supporting cast of Italian comprimario singers.

Concuctor Jonel Perlea seems to know this score to perfection, coaxing from his orchestra and singers an inspired performance. Just listen to the energy in the choruses, the sensitive support to the singers in each of their arias, and the dramatic thrust of the whole performance toward its inexorable conclusion in Caballe's final aria, a show stopper for all times. The Fat Lady really sings here.

Only one step in the Donizetti oevre below the ubiquitous Lucia, this opera became a vehicle for many a prima donna, including Sutherland and Sills. But other recordings, good as they may be, are just not up to the standard of Bel Canto opera performance that RCA gives here.

This recording was one the favorites of my youth. It still is. Get it!

Ed Flaspoehler eflaspo@aol.com