A good, idiomatic Traviata
This was the first opera recorded digitally by Decca. The sound is bright and clear, but a bit glassy in the manner of early digital recording. Dame Joan is far better in this recording than she was in her first (1963). Her middle voice had become a bit unsteady, but by way of compensation, her diction had improved and she really seems to "get" Violetta's emotions.
Pavarotti is in fine voice, although he is inclined to ignore any dynamic marking below mezzo forte. I could have lived without the screamed top C in his second act cabaletta. No matter----he is stylish and effective.

My favorite performance in this Traviata is Matteo Managuerras Germont. His legato is exemplary, the grain of his voice lovely, and his involvement with the character complete. I wish he had recorded more!

Bonynge's conducting is sympathetic and supportive, although I think the Brindisi is a little rushed.
If you love Traviata or any of the principal singers, get it!

Uneven, but worth having.
Luciano Pavarotti and Joan Sutherland were once a dynamic duo on the opera stage-- if they lacked the sex appeal of more recent pairs such as Alagna/Gheorghiu or Villazon/Netrebko, they nevertheless had two of the most gorgeous voices of the 20th century. Unfortunately, as fate would have it, their recorded legacy together is uneven. Although Sutherland is a phenomenon in her own right, in many of her pairings with Pavarotti after the mid 70s she tends to be the weak-link.

Although Sutherland's voice could still handle the vocal acrobatics Verdi set before her, and indeed she could still produce super-human sounds (for example, moments in the famed aria, "Ah, forse lui...Sempre libera," at the end of act I), she sounds altogether too matronly in her role as the passionate, hot blooded young Parisian, Violetta. Part of the problem is that by 1979 Sutherland's voice was heavier and not as agile as it was once. Moreover, her awful diction and her often awkward phrasing (which have long been impediments to my enjoying her work) do little to enhance her interpretation.

What makes Sutherland's occasional mediocrity more noticeable, is Pavarotti's well-sung Alfredo. In response to Sutherland's stodgy sounds we are treated to a clear, youthful, and often disarmingly direct performance by her conterpart. Though there are some moments (in fleeting phrases) when Pavarotti fails to support the voice fully, and although some signs of age were beginning to creep in even in 79', on the whole, the ease with which he sings and the care with which key words seem to be cradled make this a very important contribution to his discography. That having been said, if the listener is looking for a darker hued reading of the score, it is well worth looking elsewhere (Bergonzi, Domingo, etc.). What Pavarotti offers is beauty mixed in with a fair share of youthful irreverence.

Manuguerra as Germont is competent if astonishingly unremarkable.

Bonynge's reading of the score is-- as it often is-- rather square. The famous Brindisi, for example, is absolutely metronomic-- something that does no service to Sutherland or Pavarotti. The prelude is absolutely forgettable. Still, on the whole, he keeps all parties involved on the same page, and adequately paces the score.

If this recording might lean toward mediocrity, it is well worth having if interested in hearing glimpses of how good Sutherland could be, and in having a good performance by one of the greatest tenors of his generation. This recording will not be revelatory, but it will offer some moments of vocal mastery.

A bel canto showcase for Sutherland and Pavarotti
One in search of the unparalleled Italian maestro Giuseppe Verdi's orchestral brilliance should not necessarily turn to La Traviata, often heralded as one of his finest achievements. That is not to say that it is a poorly composed opera, for it lacks nothing in charming lyricism and it boasts roles which define sectors of the operatic repertoire. However, it, like the equally famed and beloved tragedy of the cursed jester, Rigoletto, is not an orchestral showcase in the same capacity as his more mature works, such as sweepingly pastoral Simon Boccanegra, gloomy and morose Don Carlo, tumultuously passionate and exotic Aida, and intense, psychological, nearly Wagnerian Otello.

What La Traviata does possess is the potential to spark career-defining performances through roles beloved by countless bel canto singers; thus, one has quite a few options in terms of which recording to own. This relatively recent recording with Dame Joan Sutherland and Luciano Pavarotti as the ill-fated lovers Violetta Valéry and Alfredo Germont lacks considerably the orchestral verve of competing renditions, and the supporting cast is far from superior; however, the grandeur of the legendary stars surpasses any others available and would have, most likely, impressed Verdi himself beyond measure.

Sutherland proves that a soprano is never too old to play the wanton woman, the "woman who strayed," the "lady of the camellias." Vocally, she is ravishing; one can envision her Violetta, indescribably elegant and ingratiating, draped in her unblemished white gown, dotted with verdant, blossoming camellias. Sutherland's dramatic presence has always been, nonetheless, somewhat vapid, and more energetic and exciting performances exist. If one is concerned, however, solely with vocal pulchritude, than one cannot find a more dazzling Violetta than Sutherland's. During her first Act I aria ("È strano! È strano!...Ah, fors'è lui che l'anima"), she is enticing, endlessly beguiling and charming; her ethereal voice floats upon a feathery raft of contemplative woodwinds. Her trilling, oscillating, invigorating cadenza is absolutely marvelous. During her second aria ("Follie! Follie! Delirio vano è questo!...Sempre libera"), and one of Verdi's most renowned, Sutherland tirelessly tosses herself into its turbulent jollity, tackling the paramount tiers of her soprano register with seemingly vernacular ease. One who cannot proclaim the Australian diva as an operatic miracle-worker should reevaluate his or her ridiculous standards. She could lacerate the coldest of hearts during Violetta's Act II confession ("Alfredo, Alfredo, di questo core") as she gracefully assures Alfredo that, though he could never possibly understand what she has done, she shall adore him even after her demise. She is at her most melodramatic in the letter aria ("`Teneste la promessa'"..."Addio, del passato bei sogno ridenti"), though her coloratura vocalism and chastity is in no way restrained or lessened.

Sutherland's succulent Violetta is matched with Luciano Pavarotti's Alfredo Germont, and it remains one of his greatest recorded triumphs. His piercing, immaculate tenor register has forever been the quintessential partner for Sutherland, and their achievement in this recording is comparable only to their breathtaking chemistry as Turandot and Calaf in the historic Zubin Mehta recording of Puccini's final musical testament. They are superb with their rousing votre santé, their Brindisi ("Libiamo ne' lieti calici"), to profligacy and hedonism. They are rapturous in their Act I duet ("Un dì, felice, eterea"); Pavarotti is sensually tender, while Sutherland twitters throughout her velvety coloratura arena, never screeching, like a precious songbird in a proverbial gilded cage. Pavarotti also displays his characteristic élan during his Act II tirade ("O mio rimorso! O infamia!"); he sings with almost frightening fury and his final high note puts any other Alfredo to shame, including Nicolai Gedda and Plácido Domingo. He hisses with searing contempt and derision during "Ogni suo aver tal femmina."

One now comes to the recordings substantial weaknesses. Matteo Manuguerra's voice is ghastly; it is soggy, reedy, whiny, and irksome, without an ounce of dramatic vitality or elegance. Why could Bonynge not have cast Sherrill Milnes (a superb Germont on the Carlos Kleiber recording with the Romanian diva Ileana Cotrubas), Robert Merrill (who excelled with Sutherland and Carlo Bergonzi under Sir John Pritchard), Rolando Panerai (who was magnanimous under Aldo Ceccato with Beverly Sills and Nicolai Gedda), Piero Cappuccilli, Samuel Ramey, Sir Thomas Allen, Renato Bruson, or, at the worst, even Sir Geraint Evans, whose execrable Beckmesser is more endearing than this travesty of the Verdian role? For further evidence of this horrid baritone's highly unsavory performance, merely observe how he gasps, mumbles, and sputters his way through "Di provenza, il mar, il suol," Verdi's most sublime aria for the baritone voice. Nonetheless, in spite of his grotesque presence, Sutherland manages to produce a heartbreaking portrait of the languishing Violetta, who has now accepted the fact that she shall soon be forever parted from her only unadulterated love, Alfredo, during their Act II duet ("Ah! Dite alla giovane, sì bella è pura").

The supporting cast is rather a heterogeneous batch. Alexander Oliver's Viscount Gastone is insipid and occasionally off-key. Mezzo-soprano Della Jones is adequate as Flora Bervoix, though the role is hardly trying. Jonathan Summers and John Tomlinson are indulgences as, respectively, Baron Douphol and the Marquis d'Obigny. Giorgio Tadeo is a rather unrefined Doctor Grenvil.

Richard Bonynge makes some interesting decisions while interpreting score. The National Philharmonic Orchestra plays with sweeping, almost grandiose abandon during the Prelude to Act I. However, some other instances suffer from erratic alterations in tempi, and one often finds with conductor exemplifying his wife's vocal talent more than efficiently presenting the orchestral music. The London Opera Chorus has been better in other recordings, but the numerous choral passages (including "Si ridesta in ciel l'aurora," the chorus of the departing dinner guests; "Noi siamo zingarelle," the perfumed chorus of the gypsy palm-readers; "Di Madride noi siam mattadori," the anecdotal chorus of the matadors and picadors; and "Largo al quadrupede," the chorus of the Parisian merry-makers and revelers) are presented adequately.

On the whole, this recording is a showpiece for Sutherland and Pavarotti and little else. The aforementioned Kleiber (Cotrubas, Domingo, Milnes) and Ceccato (Sills, Gedda, Panerai) recordings lack this rendition's ragged edges and boast instances of vocal and orchestral superiority. However, for one who simply applauds these two accolade-laden operatic superstars, then this is an indispensable article of excellence for one to own.

Solid version
This is an intriguing version of "La Traviata." Joan Sutherland takes on the role of Violetta, something that does not appear to be a natural fit, near the end of her career. Other sopranos, such as Renata Scotto or Anna Moffo, appear more natural in this role. Luciano Pavarotti, at an earlier stage in his career, is fresh voiced in comparison. The rest of the cast is serviceable in their various roles. Richard Bonynge conducts. The overture illustrates the pathos of this opera. It is an affecting version.

Some illustrative examples from the 2 CD work. . . .

"Libiamo, ne'lieti calici" is splendid. Pavarotti takes this at an appropriately quick pace. His fresh voice suits this work well. This is a lively aria sung in a lively manner by Pavarotti. Sutherland, upon entering into a duet, fits well with Pavarotti's voice. While her voice is not nearly as fresh as Pavarotti's, the two sing effectively together.

"Un di felice" is a poignant aria. Alfredo's pledge of love (as rendered by Pavarotti) to the doomed Violetta is well sung. Violetta's response: "I don't know how to love." This is an affecting duet. Sutherland shows that she has considerable agility left in her voice, but there is no longer a fresh tone.

"E strano. . .Sempre libera" is a romp for sopranos--if done well. Sutherland does a decent job (better than some reviewers suggest, from my perspective). "E strano" is sung with some pathos, but characterization was never one of Dame Joan's strengths. There is a very nice trill at the end of "Ah! Fors'e lui." "Sempre libera" features a somewhat harsh note early on. However, this is a decent version. In the repeat, Sutherland shows vocal agility, including some nice runs. She still had decent coloratura technique at this point in her career. At the end, there is a nice high note.


"De miei bollenti spiriti" is well sung by Pavarotti. His singing catches the spirit of this piece well. "Di provenzo il mar" is a duet between father (Germont, sung by Matteo Manuguerra) and son (Alfredo). This is a fine version of this work. Robert Merrill's Germont seems to me to be one of the better versions, and this is not at that level--nonetheless, the duet works nicely.

While this is certainly not the best version available, it is an interesting "La Traviata." Sutherland, even toward the end of her career, still shows good vocal technique. Pavarotti, still fresh voiced, does a nice turn as Alfredo. Thus, in the end, this is a good version.

So what?
For the life of me, I could never figure out why Decca took the incentive of recording this opera during the latter years of Dame Joan Sutherland's career. Her voice could still produce high notes, but as usual we find her playing with high notes that don't make sense at all. Her singing is as usual, Dame Joan singing, and I could never find her singing as Violetta in this Traviata. Her duets with Germont are basically words declaimed by people who don't understand the story behind Doumas' Lady of the Camelias, and her Italian is again, very cloudy. Luciano Pavarotti sings Alfredo with high notes alright, but what does he want to convey. And Bonynge? He has to add the uncut parts of most Traviatas because it is essential for this recording simply because Dame Joan's last Traviata could never give Violetta life the way Callas' or Fleming's could. The last act ends unusually, somewhat different from the interpretations of the greater Traviatas, and I could sense that this was one of Bonynge's measures taken to add what he would call drama to a dramaless interpretation. It's just like saying "Oh, how nice and how beautiful. So many high notes and trills and this and that...but so what?" Did anyone feel the heartbreaking role of Violetta in this one? Not recommended. Get Dame Joan's earlier set if you like her. Sills could do a better job at this. But Fleming and Callas are supreme Violettas.