Giuseppe Verdi, James Levine, Luciano Pavarotti, Samuel Ramey, Metropolitan Opera Orchestra and Chorus, June Anderson, Richard Leech, Antony Dean Griffey, Patricia Racette, Ildebrando D'Arcangelo, Jane Shaulis, Yanni Yannissis - Verdi - I Lombardi / Anderson, Leech, Pavarotti, Ramey; Levine

I Lombardi, composed on the heels of the big hit Nabucco, has some earmarks of a sequel. Both operas tell a tale of sibling rivalry in the ruling class (sisters in Nabucco, brothers in Lombardi). Both are epic stories of religious-ethnic conflict in the Middle East (in this case, the First Crusade) in which Jerusalem is captured and the chorus plays a prominent role. There is even a chorus, "O Signore," that sounds like an imitation of "Va, pensiero." Like many sequels, it is not quite up to its predecessor, though it has some magnificent moments. James Levine has assembled a first-class cast, he conducts with the energy that this opera demands, and his chorus and orchestra are equal to all its challenges. --Joe McLellan Amazon.com

Zwei wunderschöne Stunden

Die Oper "I Lombardi" von G. Verdi beeindruckt mich mit dieser Aufnahme auf sehr positive Art. Als jahrelanger Fan von Samuel Ramey komme ich auf meine Rechnung, indem er den Pagano mit wundervoller, intensiver Stimme darstellt. June Anderson, als Semiramis in bester Erinnerung, singt schnörkellos und trotzdem einfühlsam die Giselda. Ebenso berühren Luciano Pavarotti und Richard Leech in ihren Rollen. James Levine fand einmal mehhr die richtigen Tempi und hielt die Musiker zu optimaler Lautstärke an.
Ich würde die Aufnahme gerne weiterempfehlen. April 7, 2008

Best studio recording of Lombardi.

Giuseppe Verdi's I Lombardi was a follow-up to the immense success of Nabucco; it explores similar themes and musical forms, and exhibits a particular penchant for choral numbers. Though some are keen on finding the innovative qualities in all of Verdi's works, to this listener Lombardi remains mediocre. Though it does offer more than one enjoyable number.

To date two studio recordings tower above the relatively few other "live performances" available. The more recent Decca set under the baton of James Levine is substantially better than the earlier Philips set led by Lamberto Gardelli.

An opera like this one, lacking the musical brilliance of later Verdian works, depends on a crisp reading of the score bent on articulating all its indulgent elements which appealed to 19th century audiences and those of us who enjoy 19th century opera. Devoid of much subtlety, the music must be bombastic and should be milked for every operatic drop of bathos to be found. Gardelli's conducting often lacks clarity, allowing the music to drag and failing to elicit rigorous playing from the orchestra. On the contrary Levine tightens up tempos, speeds up the action, and creates a lush, full sound, without disturbing balances between the orchestra and the performers (as Gardelli-- or perhaps the engineers-- does from time to time). A special note should be made of the truly fine playing of concert master Raymond Gniewek on the Decca set during the Act III Prelude.


As far as the Giseldas are concerned, while Christina Deutekom's voice on the Philips set is agile and pleasant on the whole it is a bit small and ultimately unremarkable. June Anderson offers a focused and vocally superior performance, though in exploring the beauty of her voice, she comes off as a bit cold. There is also a shrill quality to the timbre that some (not me) might find unpleasant.

As Pagano, Ruggero Raimondi on the Philip's set seems surprisingly ill at ease. Though I generally enjoy his performances, here his voice seems to be over-taxed and thin. His dramatic interpretation of this character--typical villain turned zealous repentant-- is generally understated. Samuel Ramey on the Decca set has also seen better days, and his voice sounds worn. Still, he manages to sing like a pro, and offers a very believable performance filled with evil-villain gnarl, and more than a fair share of a self-righteous preacher's histrionics.

In the "secondary" tenor role of Arvino Richard Leech (Decca) offers a very strong performance with a clearer tone and more virile sound that his counterpart on the Philips set, Jerome Lo Monaco. (Though the latter offers a competent performance).

The role of Oronte was assumed in these sets by the pre-eminent tenors of their era, Placido Domingo (Philips) and Luciano Pavarotti (Decca). Domingo was still in his thirties, and in the early part of his career; Pavarotti was at the end, and indeed this was his last studio operatic recording. Still, to this listener Pavarotti's performance is both dramatically more believable, and simply more enjoyable to the ear. Neither particularly excels in their two arias (La mia letizia infondere and Come poteva un angelo), though I found Domingo's interpretation at times plain ugly-- the diction sluggish, the tempo unbearably slow, the tone too heavy, and the top register quite strained. Pavarotti also shows some strain, though the honey-toned quality of the voice remains. He still sings transcending the tempo and with deliciously crisp diction. Pavarotti's most important contributions occur during his duet with Anderson, and the wonderful trio with her and Ramey. Here we are treated to truly spectacular singing (for a tenor of any age)garnished with a care for the text which prove that he was very capable of being an engaged performer. Domingo fares better in these pieces than in his arias, but he lacks the beauty of tone and even the dramatic engagement one expects from him. He offers a very monochromatic, overbearing reading of the score. Though there were many other occasions on which Domingo was capable of winning points over his rival,this role goes to Pavarotti.

If only the recording studio gods had conspired to make Pavarotti the Oronte on the Philips disc, this listener would be a lot happier. Indeed, the various "live" recordings of Pavarotti in the role in 1969 (with Scotto) are very, very good. Although the sound tends to be mediocre, any tenor-maniac without an aversion to Pavarotti, and anyone interested Scotto's typically excellent performance should find this recording and relish in what good singers can do to so-so music.
April 12, 2007

A bel canto Lombardi

I had a wonderful time listening to DECCA's 1996 recording of I lombardi. Notwithstanding Levine's pedestrian conducting, this is that rarest of occurrences: a bel canto performance of a Verdi score, especially early Verdi.

Pavarotti, well past 60, and Sam Ramey, 57, sing like angels as Oronte and Pagano. Each modulates his voice perfectly and turns phrases with a sustained grace and true feeling for Verdian expansion, without shouting.

I purchased the set for June Anderson's Giselda. She sings here like a Marchesi pupil-getting no help from Levine-and achieves one of her best things on records. Her Act II prayer (Se vano è il pregare) is just about the best Verdi singing from a female of the post-1980 generation. (Not saying much, I know.) Richard Leech, with his crystal-clear voice, is also excellent as Arvino.

How refreshing to hear Verdi's music performed as though it were music, not just barged through in that horrible Toscanini way. Levine tries to barge, allright, but Pavarotti's lordly legato and perfect portamento-phrasing just won't let him. (Too bad Richard Bonynge wasn't the conductor.)


March 12, 2005

The best "I Lombardi alla prima crociata"

Pavarotti was 61 when he did this recording, but he is lways very good, and the best tenor Verdi could have for this role. Anderson has some problems in some places of the opera, but she has a very beautiful voice and she is even very dramatic. Ramey sings very well and his voice is marvellous. Leech sings the role with an inusual strenght and with many passages to remeber.Levine conducts as only he can do, and I mean with energy and passion. The Gavazzeni set is very good too, but for a studio recording of the opera with an incredible beautiful sound go for it. July 13, 2004

A terrific cast led by Levine in a memorable recording.

This opera would not rank in the highest echelon of Verdi operas, but this cast, orchestra and conductor make the most of what they have been given. Ramey is magnificent, as usual. Pavarotti sounds slightly frayed around the edges, but more than justifies his somewhat misleading star-photo billing on the recording's cover. James Levine conducts with vigour, and the Met Orchestra responds in kind. At times, Levine does drive almost too hard -- this is particulary during a few of Ms. Anderson's moments, when you sense that her bel canto technique is not allowed to shine as much as it might. Nonetheless, I found her singing to be quite beautiful. A very different "Non fu sogno" than one provided by a Caballe, perhaps, but equally arresting. (More Anderson recordings, please!) January 3, 2002

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