Solo un pianto

A while ago, in the description to "Joan Sutherland sings three baroque arias", I discussed my feelings towards the Australian diva's early work versus her later recordings, and in some ways, Teresa Berganza presents, for me, a similar case. It is undeniable that Berganza was an extremely talented performer with a wide array of accomplished recordings (including an unusually light but extremely believable Carmen), and, when I first heard her singing Rosina with Prey, Alva and Abbado (recorded in 1970, if I'm not mistaken), the attraction was imminent. But when I managed to obtain the present early 1959 recital not so long ago, I suddenly found myself in a dilemma very much similar to the one that occurred in the case of Joan Sutherland: while Berganza's voice, unlike Sutherland's, retained its' basic color throughout the mezzo's career, both singers started out with brighter voices and a more involved manner than their later selves were famous for. In short, both singers started so well that their later work can seem slightly less distinguished, though, I must note, that this comparison is limited to each of the singers, that is, their respective younger selves are just too good and charming; and, of course, this is just a way I perceive their voices.

The present recital, quite imaginatively constructed (Rossini arias are interspersed with those of his predecessors, such as Pergolesi, Paisiello and Cherubini), can be considered almost an equivalent of Sutherland's "The art of the primadonna" on all levels (though it is on a smaller scale, limited to just one CD). I will try to upload three pieces from the recording: Serpina's joyful opening aria, "Stizzoso, mio stizzoso", Nina's moving cavatina, "Il mio ben", and Neris' stunningly gorgeous plea "Medea, ah, Medea" (in fact, the respective works of the trio of composers mentioned above).

First performed in Paris, in 1797, Cherubini's "Medee" is a complex and demanding work, requiring in its' title role a soprano with what would later be called an exceptional bel canto voice as well as extraordinary dramatic talent. In fact, the opera almost seems to represent a transition from the classicist works of Paisiello, Haydn and Mozart to the romantic music of Rossini, Donizetti and Bellini. However, the opera, a moderate success was quickly forgotten in France, only to be properly reevaluated in recent times.

Among its' unusual features, the secondary role of Neris, Medea's servant and friend, stands out: the part could have been another one in a long of background confidante characters but Cherubini blesses his singer with one of the most profound mezzo-soprano arias, graced by a perfect combination of understated string lines, a bassoon obbligato (a stroke of genius, if there ever was one) and a mournful vocal melody, as Neris sympathizes with her mistress' plight. Teresa Berganza who had sung the part in one of the productions with Callas in the title role is, as in the recital in general, vocally breathtaking and dramatically responsive, wonderfully enlivening the slightly cold Italian text.

Hope you'll enjoy :).