I agree with Bob. Great recording, except that I think Kaufmann is the weak link - His voice is too foggy for Calaf, and the high notes don't shine (there's no squillo). Radvanovsky studied the Callas' recording thoroughly,and it paid off. It is a great take on the role, feminine but with a curdled tone that shows this princess is ready to strike her suitors if they fail to dominate her. Jaho reminds me of the way old-time divas like Olivero, Vishnevskaya, etc used to sing Liu (more dramatic delivery of the lines, and less concern for beautiful floating notes). Pappano is good, and I like the sound quality of the recording.
I agree 100% with Dave. We didn't need this recording. I know that the soprano and tenor are stars of today and are fine artists. I have seen and admired them both but this work and this recording doesn't show them to advantage. The sound is really terrible. Was the orchestra recorded in a closet? The conducting is erratic and balances are truly odd. Back to Nilsson, Tebaldi, Bjoerling, Corelli, Caballe, Galina,Sutherland, Scotto, Hendricks, Moffo, Borkh, Luciano, Serafin, Stokowski, Leinsdorf, etc.
Scott was a sublime Liu. She really helped create the fairytale atmosphere and,tentatively of this work with the manner in which she shaded and manipulated her voice.
If it helps to get Alfano's original ending played more often and become better known, then I do think this recording will have filled a need. Just an opinion.
I've heard Radvanovsky live a number of times and respect her more than I enjoy her monochromatic metallic instrument. In a way, I react to Kaufmann the way I do with Bjoerling singing these roles: I'm so used to the Southern Europeans singing them, that it takes me awhile to get used to the Northern European voices. I do enjoy them though once my ear settles in. And Kaufmann sings a very fast repertoire.
My ending for Turandot: Calaf is beheaded, after which Azucena from Il Trovatore emerges from the crowd to scream “He was your brother!” in English. Curtain.
I'm more with Levine. First, I am just glad as we all are that studio recordings are being made. Second, I think Pappano does interesting things with the score, and draws out some beauitful and nicely detailed playing, even if there are issues with balance. I also like the principals, and find Rad's voice "warmer" than your description. Plus she has an exiciting edge to the sound and relishes the text effectively. That said, all the principals have been bettered by singers from the 50s/60/70s. Sutherland sounds effortless and vocally perfect in the part, although her better than usual diction is not as incisive and acted-out as Rad’s. Borkh is incredibly exciting. And Corelli, Pavarotti, or Del Monaco are all better than Kaufmann, fine and (very) exciting as he is. The chorus sounds fabulous. So I guess I agree it doesn't rise to the top of the best recordings out there, but I think it's a very fine record.
The problem will always be that a taste for 'voices' is subjective - Callas is SO distinctive, for instance, she can really wreck stuff if you dislike her particularly dramatic approach to intonation. And voices go out of fashion, as instrumentalists tend not to - I find I can't bear Elizabeth Schwarzkopf these days, even though she hits all the right notes - and I used to admire her singing......
After the excellent (Disc of the month) review in "Gramophone" I bought the download (No "Nessun Dorma!" with concert ending, as you mentioned, Dave). I love the music so much that I can virtually listen to any performance and I do have mixed feelings about this one but like most of it. (I also have the Leinsdorf and Mehta recordings)
For the same reason you (and I) have difficulty with Mozart's requiem, b/c the composer died before completing it, I have trouble getting into Turandot. Which is a shame as it was one of my most treasured starter operas. And yet, I don't have a problem with Schubert's unfinished symphony. From which we learn: better to leave unfinished that which was left unfinished.
And by contemporary mores, the story is pretty disgusting, even though a fairytale. Puccini ‘sexes’ it up too much to really seem like a fairytale. Just a gratuitous comment, but I agree with you.
If I find a used copy of it at a reasonable price, I'll probably pick it up. Even though the difference in endings isn't huge, I'll take this ending any day! The Berio ending is interesting and weird, but it ain't Puccini. The regular, usual ending just doesn't work for me.
I really wanted to love this recordings, but something is off. Even if you are an opera fan who only cares for the singers, the orchestra and the chorus are a big deal in this particular opera. For me, Mehta is pretty much the only one that manages to hold it all together and never lose momentum. I've enjoyed Kaufmann and Radvanovsky when they were younger, but not so much here. Sometimes I play the nerdiest game ever in my mind, creating my own imaginary recording. I would love to try a Turandot with Lise Davidsen and Jonathan Tetelman (and may be, I don't know... Nadine Sierra?) and conducted by Riccardo Chailly.
I agree that there's a lot of the essential oriental colour missing. An A/B comparison with the Mehta shows just what's possible - gorgeous gongs and thrilling, visceral tuned percussion. The slow/soft scenes really drag, and are recorded at too low a level to be involving, and I also never really get a sense of the orchestra laid out in front of me, and the chorus is too distant. I think the Mehta/Sutherland/Pavarotti is one of the greatest opera recording marvels of the 20th century!
I only previously had the Mehta recording - and never really listened to it. I had the impression that I didn't very much care for this one Puccini opera but, with this recording, I find that that's not the case at all. Very interesting review, this. Almost all of which I disagree with! ; ) I wonder if some of the divergence can be put down to different listening conditions. Because I have the opposite experience of the orchestral sound. I find it so rich and clear, with all sorts of sparkling details I'd never even noticed before; honestly, the orchestra and chorus are my favorite things about this recording. I very much like Radvanovsky in the title role; I think she has pretty much exactly the correct voice for this particular role. ((The biggest issue I have with the Mehta recording is Sutherland. I know she was a very great artist, but I just can't stand the SOUND of her voice.) I was rather shocked when I first heard Kaufmann's Calaf. (He isn't someone I've listened to much at all.) His voice seems so heavy and forced. With repeated listenings, I've grown - accustomed - to it, but I don't enjoy it. The biggest disappointment for me is Jano. I just think she sounds dreadful. To be honest, I can't help but compare these latter two with Pavarotti and Caballé from the Mehta recording. They were the best things about it, Caballé especially. I know one of the reasons I wasn't more drawn to the opera before is because of the disappointing end; the severely truncated version of Alfano's ending is loved by no one. But as for the restoration, in which Alfano makes SUCH a departure from Puccini and what came before that it's almost comical... I really rather enjoy it. It's totally wacky. And it's exciting, if nothing else. And, more importantly, it makes a serious effort in bringing this story - with its very unlikeable couple - to a more graceful conclusion. I think, in spite of everything, it works!
The first time I ever heard In questa reggia, it was a recording by Eileen Farrell. From that I got a false impression of Turandot sopranos, thinking they were bright and fiery, just like a woman so gorgeous that men were clamoring to lose their heads (literally) over her. Since then, I discovered that Turandots are basically heavy and ponderous. I get it. They have to be heard over the big orchestra. Yet It doesn't fit with my image of the wildly beautiful deadly seductress. I'm still waiting for the right (according to me) Turandot.
Thank you for mentioning Eileen Farrell! I just listened to her 2 Turandot arias and downloaded the album, “Puccini Arias” with Max Rudolf, who was the conducting teacher at Curtis my first year! Wow, that “Quel’ grido”!
Did you ever hear the funny story about Farrell’s In questa reggia? I met her way back (my father audited her taxes), and she was so kind and down to earth. But she was very direct, no-nonsense, and hysterically funny. Anyway, just before the conductor gave the downbeat for the aria, she said to the orchestra, “Ok boys, let’s get this right the first time….because I only got one of these in me!”
As far as the concert ending of Nessun Dorma, I’ve heard live performances of the full opera use that to give the audience the chance applaud so it really didn’t bother me at all on the streaming release. This recording wasn’t going to break into the “Top 3” Turandot recordings. I liked Jaho a lot, her sound didn’t bother me at all. Pertusi on the other hand had some ugly, overly covered sounds in act one as Timur which were far more concerning than any of the other singers. I’d place this towards the top of the second tier of Turandot studio recordings. To my ear, this is better than Karajan and Screechy-arelli, better than both Eva Marton recordings, I think as a performance it’s better than Lombard/Caballe but that has a few individual performances that are better (Freni is better than Jaho), but both the mono performances, Borkh/Del Monaco and Callas, are better than this. It’s good but not great.
Dave, I have listened to your video and read Bob Levine's review of this Turandot. I think I'll stick with the Sutherland/Pavarotti/Caballe/Mehta recording.
IMO, the best thing Sutherland ever did. I still remember the shock when I first heard the text of "in questa reggia" coming clearly from that golden throat!
Different strokes for different folks Dave! I disagreed with eighty per cent of your Cancrizans selections yet I visit your channel day in and day out.
When I read the Gramophone review I couldn’t wait to hear it…well…the wait was not worth it…I agree with you, David, except, in my humble opinion, Kaufmann is not Calaf…of the Calafs I have heard, he comes in last..In all, it was a huge disappointment…
The Alfano ending meanders and is very distracting. I heard that ending attention old NYCity opera back in the 80's or 90's. Also, I'd like to add that Millo was, for me, a very enchanting Liu.
I saw that production too--wonderful because Howard van Heining, the City Opera lead percussionist, had the original set of Turandot tuned gongs especially made for the opera. Alfano's ending sucks, however.
Want to hear every note of the tuned gongs? The much-overlooked '55 London (Borkh/DelMonaco/Erede) recording is unbeatable. Want to hear the best, most characterful, vocally contrasted Ping-Pang-Pong? The '55 London (Corena/Carlin/Ercolani) trio is unbeatable. Many other versions contained excellent singers, but none of them "gelled" like the old '55 recording (too darn bad the 3 standard Act II cuts were taken). Percussion detail? The Mehta recording is disappointingly bad; even the '57 mono Callas is much better. Too bad that "21st-Century" Turandot recordings can't manage to capture the orchestra detail nearly as well as "mid-20th-century" versions did (Maazel and Karajan also quite good). LR
my favorite Puccini opera - but only for the music - the story drives me crazy - and I would rather have it unfinished in performance than with an ending by someone else - as for voices, don't get me started - lol - how are my ears supposed to be satisfied with modern opera singers compared to the giants of yesteryear ? ain't happening
Just to put a word in for Radvanovsky, her voice records uniquely poorly, and I have no clue why record companies haven’t found a way to record her voice properly after 25 years. She always sounds harsher and less colourful on professional recordings than she does live and in pirate recordings. I have heard her several times live, and the upper half of her voice _always_ cuts through the orchestra. It is truly strange and tragic that record companies find a way to make it sound just screechy and even apparently underpowered here. I have heard a pirate of the Turandot scenes of the live performances they did, and she sounds completely different than she does in here. Kaufmann in the pirate sounds like he is singing with a pillow over his mouth whenever they sing together. (This verifies my memory of his voice in live performance - the man is completely inaudible, which _does_ warrant severe points reductions in my view. Audibility is a basic requirement in the roles he likes to sing.) I realize that a recording should be judged on its own merits, but I do think there is something unfair about how her voice consistently gets treated by professional sound engineers.
I agree. She's distanced compared to the other voices, even in her big moments. That maybe an intentional artistic choice to give her a 'royal' aura, or it maybe that her dynamic range is just so huge, it's impossible to record her close up.
My observation at Kaufmann's Tristan Act II at the Boston Symphony a couple years ago: I sat in the middle section of the 2nd balcony, and did not hear him. And I wasn't the only one who didn't.
Another great Turandot who was great live and had a voice that didn’t record well was Eva Marton. It’s not uncommon in this role. I like Kaufmann, the voice is controversial but I enjoy him. He sings with the appropriate amount of testosterone required for the role, I don’t mind the darker color and timbre.
@@djquinn4212 The issue isn’t the timbre. It’s that the voice doesn’t project. There is no ring, and some of the darkness is manufactured. It is fine on recordings, but the proof is in the pudding live. I liked his singing a lot until I heard him live in Manon Lescaut. It was a big lesson in how recordings can lie. Darkness can (and should) come with brightness. E.g., Caruso, Corelli, even Pavarotti (who is more lyric).
@@ER1CwC I saw him sing Das Lied von der Erde in Cleveland (just the tenor songs, not the ridiculous party trick where he did the whole cycle). The voice filled severance hall fine and there’s nothing small about Mahler’s orchestration.
Excellent personal opinion and critique. I never understood Sondra's voice. It is not pleasing at least, to me. I don't disregard her artistry and I so want to like her. Aside, her interviews reflect a warm and kind person but vocally. I can't understand the accolades although to her credit, she takes on ridiculously difficult roles so kudos to her. Jonas I do like very much. Who could sing this role?! It is a bitch as is the title role. These are my humble opinions as a tenor and performer.
While I enjoyed that recording (especially Sondra Radvanovsky but less pleased with Jonas Kaufmann voice colour) much more than you, I do think that Deutsche Grammophon needs to record a Turandot with Netrebko and Jonathan Tetelman as soon as possible.
The sound seems muffled. It's like they turned up the bass levels in the studio and sonic clarity seems missing. Turandot is either declarative with everything she sings or she throws in these Caballe style pianissimos that aren't even in the score. Lui sounds like Turandot's Auntie May and Kaufmann should just stick to German stuff where he excels. As others have said, there are just too many great recordings out there to bother with this. If you are going to do a studio recording, do something that has never had justice or is mostly patchy live performances put on disc.
I bought this after reading the review on Classics Today and Gramophone (less helpful as usual). I'm disappointed. There is nothing great in it, unlike many other recordings. E.g. Kaufmann, I agree is probably the best but he is no match for Domingo, Pavarotti or Corelli. Karajan's recording has it's (big) drawbacks but what a gorgeous sound he produces and Hendricks is a dream. Mehta's recording has glorious singers but for me it's spoilt by his conducting. I was hoping this could be the one recording that gets everything right but alas as I say there is nothing or nobody outstanding and the sound is very strange.
I don’t know why you guys all despise the ending of Turandot as we know it so much. I for one actually like a happy ending. What’s wrong with that? Call me a hopeless, romantic. I guess lol
@@DavesClassicalGuide wow thanks for the response! Yes I see what you mean. The music definitely does make a jarring change. I have never heard the complete Alfano ending before this and it seems very clumsy. I can understand why Toscanini cut 100 measures from it. However, I have to admit to liking the “happy and triumphant” ending regardless. It does give me goosebumps. 😄
Oh, don’t say that! Ping Pang and Pong are the only three-dimensional characters in the whole opera. They begin their scene with fun and games, and then it takes it sharp turn when they say how homesick they are. Love those guys!
@@wotan10950 I watched the recent production from Finland (?) and changed my mind. I did enjoy them! But it's still a tragedy that someone else had to complete the masterpiece of an opera.
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I agree with Bob. Great recording, except that I think Kaufmann is the weak link - His voice is too foggy for Calaf, and the high notes don't shine (there's no squillo). Radvanovsky studied the Callas' recording thoroughly,and it paid off. It is a great take on the role, feminine but with a curdled tone that shows this princess is ready to strike her suitors if they fail to dominate her. Jaho reminds me of the way old-time divas like Olivero, Vishnevskaya, etc used to sing Liu (more dramatic delivery of the lines, and less concern for beautiful floating notes). Pappano is good, and I like the sound quality of the recording.
Totally agree about Kaufmann.
I agree 100% with Dave. We didn't need this recording. I know that the soprano and tenor are stars of today and are fine artists. I have seen and admired them both but this work and this recording doesn't show them to advantage. The sound is really terrible. Was the orchestra recorded in a closet? The conducting is erratic and balances are truly odd. Back to Nilsson, Tebaldi, Bjoerling, Corelli, Caballe, Galina,Sutherland, Scotto, Hendricks, Moffo, Borkh, Luciano, Serafin, Stokowski, Leinsdorf, etc.
Scott was a sublime Liu. She really helped create the fairytale atmosphere and,tentatively of this work with the manner in which she shaded and manipulated her voice.
If it helps to get Alfano's original ending played more often and become better known, then I do think this recording will have filled a need. Just an opinion.
I've heard Radvanovsky live a number of times and respect her more than I enjoy her monochromatic metallic instrument. In a way, I react to Kaufmann the way I do with Bjoerling singing these roles: I'm so used to the Southern Europeans singing them, that it takes me awhile to get used to the Northern European voices. I do enjoy them though once my ear settles in. And Kaufmann sings a very fast repertoire.
'Audible facts' -- yes! Accurate description has its place along with analysis & comparison. Thanks for the descriptions!
My ending for Turandot: Calaf is beheaded, after which Azucena from Il Trovatore emerges from the crowd to scream “He was your brother!” in English. Curtain.
My favorite is when the Forbidden City catches on fire, collapses and the Yangtze overflows its banks.
😂😂😂😂😂😂
😂😂😂😂😂😂😂😂😂
I'm more with Levine. First, I am just glad as we all are that studio recordings are being made. Second, I think Pappano does interesting things with the score, and draws out some beauitful and nicely detailed playing, even if there are issues with balance. I also like the principals, and find Rad's voice "warmer" than your description. Plus she has an exiciting edge to the sound and relishes the text effectively. That said, all the principals have been bettered by singers from the 50s/60/70s. Sutherland sounds effortless and vocally perfect in the part, although her better than usual diction is not as incisive and acted-out as Rad’s. Borkh is incredibly exciting. And Corelli, Pavarotti, or Del Monaco are all better than Kaufmann, fine and (very) exciting as he is. The chorus sounds fabulous. So I guess I agree it doesn't rise to the top of the best recordings out there, but I think it's a very fine record.
The problem will always be that a taste for 'voices' is subjective - Callas is SO distinctive, for instance, she can really wreck stuff if you dislike her particularly dramatic approach to intonation. And voices go out of fashion, as instrumentalists tend not to - I find I can't bear Elizabeth Schwarzkopf these days, even though she hits all the right notes - and I used to admire her singing......
After the excellent (Disc of the month) review in "Gramophone" I bought the download (No "Nessun Dorma!" with concert ending, as you mentioned, Dave). I love the music so much that I can virtually listen to any performance and I do have mixed feelings about this one but like most of it. (I also have the Leinsdorf and Mehta recordings)
For the same reason you (and I) have difficulty with Mozart's requiem, b/c the composer died before completing it, I have trouble getting into Turandot. Which is a shame as it was one of my most treasured starter operas. And yet, I don't have a problem with Schubert's unfinished symphony. From which we learn: better to leave unfinished that which was left unfinished.
And by contemporary mores, the story is pretty disgusting, even though a fairytale. Puccini ‘sexes’ it up too much to really seem like a fairytale. Just a gratuitous comment, but I agree with you.
I’m with you on most of this. You can read my review in the Sept/Oct issue of American Record Guide.
Thanks for the warning. I just got an SACD transfer of the classic Mehta recording on DECCA. That is more than enough!
If I find a used copy of it at a reasonable price, I'll probably pick it up. Even though the difference in endings isn't huge, I'll take this ending any day! The Berio ending is interesting and weird, but it ain't Puccini. The regular, usual ending just doesn't work for me.
Once I heard the trio of Nilsson/Bjorling/Tebaldi, any other recordings would be superfluous. Having said that, Sutherland was amazing as Turandot.
And Tebaldi cries.
I really wanted to love this recordings, but something is off. Even if you are an opera fan who only cares for the singers, the orchestra and the chorus are a big deal in this particular opera. For me, Mehta is pretty much the only one that manages to hold it all together and never lose momentum. I've enjoyed Kaufmann and Radvanovsky when they were younger, but not so much here.
Sometimes I play the nerdiest game ever in my mind, creating my own imaginary recording. I would love to try a Turandot with Lise Davidsen and Jonathan Tetelman (and may be, I don't know... Nadine Sierra?) and conducted by Riccardo Chailly.
I agree that there's a lot of the essential oriental colour missing. An A/B comparison with the Mehta shows just what's possible - gorgeous gongs and thrilling, visceral tuned percussion. The slow/soft scenes really drag, and are recorded at too low a level to be involving, and I also never really get a sense of the orchestra laid out in front of me, and the chorus is too distant. I think the Mehta/Sutherland/Pavarotti is one of the greatest opera recording marvels of the 20th century!
I too think the Mehta/Sutherland/Pavarotti is one of the greatest opera recording marvels of the 20th century!
I only previously had the Mehta recording - and never really listened to it. I had the impression that I didn't very much care for this one Puccini opera but, with this recording, I find that that's not the case at all. Very interesting review, this. Almost all of which I disagree with! ; ) I wonder if some of the divergence can be put down to different listening conditions. Because I have the opposite experience of the orchestral sound. I find it so rich and clear, with all sorts of sparkling details I'd never even noticed before; honestly, the orchestra and chorus are my favorite things about this recording.
I very much like Radvanovsky in the title role; I think she has pretty much exactly the correct voice for this particular role. ((The biggest issue I have with the Mehta recording is Sutherland. I know she was a very great artist, but I just can't stand the SOUND of her voice.) I was rather shocked when I first heard Kaufmann's Calaf. (He isn't someone I've listened to much at all.) His voice seems so heavy and forced. With repeated listenings, I've grown - accustomed - to it, but I don't enjoy it. The biggest disappointment for me is Jano. I just think she sounds dreadful. To be honest, I can't help but compare these latter two with Pavarotti and Caballé from the Mehta recording. They were the best things about it, Caballé especially.
I know one of the reasons I wasn't more drawn to the opera before is because of the disappointing end; the severely truncated version of Alfano's ending is loved by no one. But as for the restoration, in which Alfano makes SUCH a departure from Puccini and what came before that it's almost comical... I really rather enjoy it. It's totally wacky. And it's exciting, if nothing else. And, more importantly, it makes a serious effort in bringing this story - with its very unlikeable couple - to a more graceful conclusion. I think, in spite of everything, it works!
The first time I ever heard In questa reggia, it was a recording by Eileen Farrell. From that I got a false impression of Turandot sopranos, thinking they were bright and fiery, just like a woman so gorgeous that men were clamoring to lose their heads (literally) over her. Since then, I discovered that Turandots are basically heavy and ponderous. I get it. They have to be heard over the big orchestra. Yet It doesn't fit with my image of the wildly beautiful deadly seductress. I'm still waiting for the right (according to me) Turandot.
Thank you for mentioning Eileen Farrell! I just listened to her 2 Turandot arias and downloaded the album, “Puccini Arias” with Max Rudolf, who was the conducting teacher at Curtis my first year! Wow, that “Quel’ grido”!
Did you ever hear the funny story about Farrell’s In questa reggia? I met her way back (my father audited her taxes), and she was so kind and down to earth. But she was very direct, no-nonsense, and hysterically funny. Anyway, just before the conductor gave the downbeat for the aria, she said to the orchestra, “Ok boys, let’s get this right the first time….because I only got one of these in me!”
As far as the concert ending of Nessun Dorma, I’ve heard live performances of the full opera use that to give the audience the chance applaud so it really didn’t bother me at all on the streaming release.
This recording wasn’t going to break into the “Top 3” Turandot recordings.
I liked Jaho a lot, her sound didn’t bother me at all. Pertusi on the other hand had some ugly, overly covered sounds in act one as Timur which were far more concerning than any of the other singers.
I’d place this towards the top of the second tier of Turandot studio recordings. To my ear, this is better than Karajan and Screechy-arelli, better than both Eva Marton recordings, I think as a performance it’s better than Lombard/Caballe but that has a few individual performances that are better (Freni is better than Jaho), but both the mono performances, Borkh/Del Monaco and Callas, are better than this.
It’s good but not great.
Very honest review. You are even too flattering opinion on Kaufmann singing here.
The best percussion recording for Turandot is the 55 Erede Decca set
Dave, I have listened to your video and read Bob Levine's review of this Turandot. I think I'll stick with the Sutherland/Pavarotti/Caballe/Mehta recording.
IMO, the best thing Sutherland ever did. I still remember the shock when I first heard the text of "in questa reggia" coming clearly from that golden throat!
👍👍 yes indeed
Different strokes for different folks Dave! I disagreed with eighty per cent of your Cancrizans selections yet I visit your channel day in and day out.
Cool, thanks.
Poor sound. Kaufmann is not Calaf. The Orchestra, uneven and pale.
When I read the Gramophone review I couldn’t wait to hear it…well…the wait was not worth it…I agree with you, David, except, in my humble opinion, Kaufmann is not Calaf…of the Calafs I have heard, he comes in last..In all, it was a huge disappointment…
The Alfano ending meanders and is very distracting. I heard that ending attention old NYCity opera back in the 80's or 90's. Also, I'd like to add that Millo was, for me, a very enchanting Liu.
I saw that production too--wonderful because Howard van Heining, the City Opera lead percussionist, had the original set of Turandot tuned gongs especially made for the opera. Alfano's ending sucks, however.
Want to hear every note of the tuned gongs? The much-overlooked '55 London (Borkh/DelMonaco/Erede) recording is unbeatable. Want to hear the best, most characterful, vocally contrasted Ping-Pang-Pong? The '55 London (Corena/Carlin/Ercolani) trio is unbeatable. Many other versions contained excellent singers, but none of them "gelled" like the old '55 recording (too darn bad the 3 standard Act II cuts were taken). Percussion detail? The Mehta recording is disappointingly bad; even the '57 mono Callas is much better. Too bad that "21st-Century" Turandot recordings can't manage to capture the orchestra detail nearly as well as "mid-20th-century" versions did (Maazel and Karajan also quite good). LR
The 55 Decca also had that wonderful chorus!
I LOVE that Borkh recording
my favorite Puccini opera - but only for the music - the story drives me crazy - and I would rather have it unfinished in performance than with an ending by someone else - as for voices, don't get me started - lol - how are my ears supposed to be satisfied with modern opera singers compared to the giants of yesteryear ? ain't happening
Just to put a word in for Radvanovsky, her voice records uniquely poorly, and I have no clue why record companies haven’t found a way to record her voice properly after 25 years. She always sounds harsher and less colourful on professional recordings than she does live and in pirate recordings. I have heard her several times live, and the upper half of her voice _always_ cuts through the orchestra. It is truly strange and tragic that record companies find a way to make it sound just screechy and even apparently underpowered here. I have heard a pirate of the Turandot scenes of the live performances they did, and she sounds completely different than she does in here. Kaufmann in the pirate sounds like he is singing with a pillow over his mouth whenever they sing together. (This verifies my memory of his voice in live performance - the man is completely inaudible, which _does_ warrant severe points reductions in my view. Audibility is a basic requirement in the roles he likes to sing.) I realize that a recording should be judged on its own merits, but I do think there is something unfair about how her voice consistently gets treated by professional sound engineers.
I agree. She's distanced compared to the other voices, even in her big moments. That maybe an intentional artistic choice to give her a 'royal' aura, or it maybe that her dynamic range is just so huge, it's impossible to record her close up.
My observation at Kaufmann's Tristan Act II at the Boston Symphony a couple years ago: I sat in the middle section of the 2nd balcony, and did not hear him. And I wasn't the only one who didn't.
Another great Turandot who was great live and had a voice that didn’t record well was Eva Marton. It’s not uncommon in this role. I like Kaufmann, the voice is controversial but I enjoy him. He sings with the appropriate amount of testosterone required for the role, I don’t mind the darker color and timbre.
@@djquinn4212 The issue isn’t the timbre. It’s that the voice doesn’t project. There is no ring, and some of the darkness is manufactured. It is fine on recordings, but the proof is in the pudding live. I liked his singing a lot until I heard him live in Manon Lescaut. It was a big lesson in how recordings can lie.
Darkness can (and should) come with brightness. E.g., Caruso, Corelli, even Pavarotti (who is more lyric).
@@ER1CwC I saw him sing Das Lied von der Erde in Cleveland (just the tenor songs, not the ridiculous party trick where he did the whole cycle). The voice filled severance hall fine and there’s nothing small about Mahler’s orchestration.
Y esta es la razón de porque no salgo de las interpretaciones de Metha.
Excellent personal opinion and critique. I never understood Sondra's voice. It is not pleasing at least, to me. I don't disregard her artistry and I so want to like her. Aside, her interviews reflect a warm and kind person but vocally. I can't understand the accolades although to her credit, she takes on ridiculously difficult roles so kudos to her. Jonas I do like very much. Who could sing this role?! It is a bitch as is the title role. These are my humble opinions as a tenor and performer.
The lead singers aren't up to the group in Mehta's recording, Pappano's conducting is sleepy, and the sound is mush. Never made it to the ending.
While I enjoyed that recording (especially Sondra Radvanovsky but less pleased with Jonas Kaufmann voice colour) much more than you, I do think that Deutsche Grammophon needs to record a Turandot with Netrebko and Jonathan Tetelman as soon as possible.
😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂
Okay THAT just made me laugh!
Hysterical review. Nailed the utter stupidity of the story. I like the Karajan.
Have you heard some other Turandot? Are you referring to the DG Vienna Turandot?
@@ianng9915 yes, the DG Vienna with Karajan
To each their own….
The sound seems muffled. It's like they turned up the bass levels in the studio and sonic clarity seems missing.
Turandot is either declarative with everything she sings or she throws in these Caballe style pianissimos that aren't even in the score.
Lui sounds like Turandot's Auntie May and Kaufmann should just stick to German stuff where he excels.
As others have said, there are just too many great recordings out there to bother with this.
If you are going to do a studio recording, do something that has never had justice or is mostly patchy live performances put on disc.
I bought this after reading the review on Classics Today and Gramophone (less helpful as usual). I'm disappointed. There is nothing great in it, unlike many other recordings. E.g. Kaufmann, I agree is probably the best but he is no match for Domingo, Pavarotti or Corelli. Karajan's recording has it's (big) drawbacks but what a gorgeous sound he produces and Hendricks is a dream. Mehta's recording has glorious singers but for me it's spoilt by his conducting. I was hoping this could be the one recording that gets everything right but alas as I say there is nothing or nobody outstanding and the sound is very strange.
I don’t know why you guys all despise the ending of Turandot as we know it so much. I for one actually like a happy ending. What’s wrong with that? Call me a hopeless, romantic. I guess lol
It has nothing to do with whether ending is happy or not. The problem is the music that gets us there. The final duet is a total non-happening.
@@DavesClassicalGuide wow thanks for the response! Yes I see what you mean. The music definitely does make a jarring change. I have never heard the complete Alfano ending before this and it seems very clumsy. I can understand why Toscanini cut 100 measures from it. However, I have to admit to liking the “happy and triumphant” ending regardless. It does give me goosebumps. 😄
Such a tragedy that Puccini ran out of time to complete the opera... if only he'd held off on Ping Pang and Pong. (They are crashing bores!)
They are the best things in the opera.
Oh, don’t say that! Ping Pang and Pong are the only three-dimensional characters in the whole opera. They begin their scene with fun and games, and then it takes it sharp turn when they say how homesick they are. Love those guys!
@@wotan10950 I watched the recent production from Finland (?) and changed my mind. I did enjoy them! But it's still a tragedy that someone else had to complete the masterpiece of an opera.
Good orchestral work. Atrocious vocalism. A solid foundation for a house of twigs and leaves.