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In a Neglected Opera

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In a Neglected Opera Fedora and Tosca are based on plays by the French drama- A REDISCOVERED SINGER tist Victorien Sardou), is a marvelous role for Magda IN A NEGLECTED OPERA Olivero, an artist who is now enjoying a triumphant come- back and reaping the rewards of a long -overdue recogni- Soprano Magda Olivero scores a triumph in tion (see the story by Robert M. Connolly in the Novem- a London recording ofGiordano's Fedora ber 1969 issue of STEREO REVIEW). Her singing can best be compared to that of Maria Callas in its overall intensity, FEDORA (1898) was UmbertoGiordano's second-best thrusting delivery of lines, ability to impart unusually ex- opera-an observation that is notlikely to impress pressive coloration to phrases, and dedicated attention to those who are inclined to dismiss Andrea Chenier(1896), word values. But the comparison is not entirely fair to Giordano's best. Nonetheless, after two previous (and not Mme. Olivero, for she is the "senior" artist of the two; I too successful) complete recordings, we nowhave Fedora therefore hasten to add that her voice today is in better in stereo for the first time. London's just-released new shape than Callas', judging from that artist's latest record- version offers Magda Olivero and Mario del Monacoin ings. Olivero has some vocally effortful moments, but the the roles of Fedora Romazoff and Loris Ipanoff, two Rus- requirements of the role are unfailingly met: the eloquent sian emigres in Paris who love and unwittingly destroy use of the voice makes up for what itlacks as an intrinsi- each other, and Tito Gobbi as the busybody French diplo- cally sensuous instrument, and the final scene in particular mat De Siriex. Somehow I could not resistcalculating that is an absolute tour de force. the combined stage experience of these three stars ap- If it can be said that Magda Olivero provides the chief proaches a hundred years, and with that much know-how attraction in this Fedora, it is the veteran tenor Mario del involved, it is perhaps not surprising that this Fedora is Monaco who delivers the surprise. The role of Loris such a success. Ipanoff, a man given to wild jealousy and raging outbursts, Fedora, like Tosca a passionate, impulsive woman full has some overtones of Otello in it-at least the wayDel of contradictions (which might be expected, since both Monaco interprets it. His tone has the familiar hard edge, but the attacks are direct and the intonation always accu- rate, and the score's big lyrical "hit," the arioso"Amor ti MAGDA OLIVERO AND MARIO DEL MONACO Passionate principals in a well -made opera vieta," is delivered with great expressiveness and a nicely turned legato. The role of De Siriex is not a large one, but Tito Gobbi's interpretive mastery lends it ample distinc- tion. He still commands a sizable voice, and his brief aria "La donna russa" is tossed off with impressiveaplomb (the music here represents a borrowing of Alabiev'sThe Nightingale, with echoes of The Volga Boatmen thrown in for good measure). There are some good cameo roles also, particularly the Boroff of Virgilio Carbonari and the Grech of Silvio Maionica, but the overall production lacks the imaginative "staging" atmosphere of London's best recorded -opera efforts. The sound itself is fine, and Lamberto Gardelli conducts a vital performance. But Fedora is a verythe- atrical opera, and it could have been made even more exciting by a fuller realization of its theatricalelements. Musically, Fedora is an eclectic score, with its materials skillfully subordinated to the melodramatic qualitiesof the subject. The first two acts open with operetta -likethemes that admirably set the mood of the Parisiansalons. Act III opens with an aptly evocative Swiss melody(the action has moved to Switzerland), and again the proper atmos- phere is established in a matter of seconds.Fedora flirts with Ipanoff in the second act against abackground of piano music a la Chopin. Later, when the pianistis scorn- fully described as a "second Chopin," thereference is illustrated in the music by a passing phrase right outof Chopin. These are resourceful touches, and theyall work. As William Weaver observes in his excellent notes,"No 75 JUNE 1970.
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