Giuseppe Verdi, Richard Bonynge, Luciano Pavarotti, Joan Sutherland, London Symphony Orchestra, Sherrill Milnes, Joseph Clement, John Gibbs, Clifford Grant, Kiri Te Kanawa, Gillian Knight, Ricardo Cassinelli, Ambrosian Opera Chorus - Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge

This Rigoletto has been around for so long it might be easy to take it for granted or skip it for a newer set. Don't! It features all three principals in superb voice, as well as pacing from Maestro Bonynge that is much heavier on drama than most of us expect from him. Sutherland may sound a bit mature (and mush-mouthed) for Gilda, but not only is she sympathetic, she sings gorgeously. And speaking of gorgeous, those familiar only with the Pavarotti of the last 10 years would be wise to hear him here--this is stylish, full-blooded, Golden Age singing. The beautifully round tone, the easy high notes, the impeccable diction, and the pointed characterization are unique. Milnes, in the title role, is also in splendid voice, offering smooth legato, brilliant, Verdian ring and real attention to the text. The ADD sound is excellent. No other modern recording offers the visceral thrill of this Rigoletto--go for it. --Robert Levine Amazon.com essential recording

De primera clase!

Cabe mencionar que hace poco mas de 11 años que tengo este disco que tuvo a bien regalarme un amigo muy querido; de nuevo la fórmula muy efectiva en los años 70's; Pavarotti se muestra como "el mejor duque de la historia" (según críticos conocedores) y que vocalmente está en su punto, basta escuchar el aria "possente amor mi chiama" coronado con un trino para tenor que calidad insuperable; como dijera el propio Verdi "Rigoletto esta concebido como una interminable ristra de dúos", todos ellos memorables; Joanine se luce con la interpretación de una adolescente, imprimiendo una sutil Gilda, conmovedora hasta los huesos (vg en los hermosísimos dúos con Rigoletto) y con un dramatismo excepcional como en el terzetone del tercer acto previo a la muerte de Gilda a manos de Sparafucile, etc. Una de las joyas de este disco es la inigualable voz de Sherril Milnes como Rigoletto, sumamente convincente y elocuente; con una poderosa voz lírico spinto y diría yo hasta "di forza" que hiela los sentidos, poderosamente dual, muy lírica en los dúos con Gilda, pero muy enérgica y como trueno en las arias de bravura; gigante Rigoletto se tiene en esta grabación!!; otro poderoso vocalmente es el recientemente exinto gigante entre los que mas (media mas de 2 mts), Marti Talvela, con su voz profundísima, obscura y timbrada, bellamente trabajada, impostada y engolada; en el dúo con Rigoletto se tiene creo yo el momento más obscuro de la ópera con la conjunción de reino grave de la orquesta con el de dos voces obscuras y con el entorno maléfico de pensar en un homicidio... espléndido personaje en todos los sentidos; la orquesta magistralmente dirigida por Richard Bonynge y de sonoridad espectacular (vg la tormenta en el tercer acto al punto de desenlace en donde "brama a toda potencia" según palabras del musicólogo Kurt Phalen en su revisión literaria de la ópera); no se arrepentirán de comprarla! April 10, 2008

Just buy it

If you can listen to the sample of "Ah! vegiia, o donna" above and not buy this recording, then you don't truly love Opera. This is simply a stunning recording. The sound quality is remarkably strong given the age of the recording, and the singing is stupendous. January 3, 2008

Great performance

I love this recording. I love the voice of Joan Sutherland - such a full, warm, beautiful sound. However, I must correct a reviewer who mentions that Sutherland recorded every optional high note; She does end the ensembles with SPECTACULAR high notes, but does not follow suit with "Caro Nome". In fact, before I became one of her BIGGEST fans, after hearing this version of the aria, I was THOROUGHLY disappointed. I was used to hearing the final high e''' (thanks to Moffo, in her EMI recording, and surprisingly enough, Leontyne Price), so when Sutherland ended the aria an octave lower (though sustained for quite some time), I lost what little respect I had for her at the time (late 1994, early 1995?). Shortly thereafter, I heard her 1971 (I think?) recording of the Doll's song from 'Hoffmann', and was instantly mesmerized. She may not have sung Zerbinetta or any arias with a g''', but I believe she is THE coloratura assoluta.
By the way, her E-flat at the end of Act II in her 1961 'Rigoletto' recording is perhaps the best high E-flat EVER. September 15, 2006

Awesome!

I have heard many Rigoletto's during my life, but any like this. Bonyge is an absolute master, conducting London Symphony Orchestra brilliantly. Pavarotti's Duke surpasses the best of tenors, and even though I am not one of Pavarotti's greatest fans-don't misunderstand me, I agree he is very good-I think that, in this performance, he has reached his level best, thus I give him the deserveful credit of five stars.
Sutherland's Gilda is melodious-something of and achievement-but not staggering.
Sherill Milne's Rigletto's shines throughout the whole opera, thus making it "a must", a classic amongst the best performances.
The recording is perfect, however it is extremely upsetting that it can't be played in some sound systems. February 26, 2006

The Definitive Rigoletto

I have owned this recording for years, and now I can't listen to any other recording. I've even performed in this opera. While Sutherland is indeed too old for Gilda, these are still the glory days for her (early 70s). However, Pavarotti and Milnes are simply GLORIOUS in these roles. This is the height of virtuosity with Pavarotti singing to a High D, and Milnes to a High B-natural - Simply AMAZING. The drama is all here, and the majestic beauty of one of Verdi's best operas. December 18, 2005

More reviews at Amazon.com ...