Puccini: Il Trittico

by George Jellinek

Guleghina, Gallardo-Domas, Gheorghiu, Manca di Nissa, F. Palmer; Shicoff, Alagna, Van Dam, P. Guelfi, Roni; London Voices. London Symphony Orchestra, Pappano. Texts and translations. EMI Classics 56587-2 (3)

Minor reservations aside, this is an outstanding account of Puccini's unique triptych. It is hard not to ascribe its success to a unified concept: the recording of all three operas occurred at the same London studios in July and August 1997. Antonio Pappano's propulsive, finely detailed leadership can rightly claim a lion's share in the achievement.

Each exposure to the complete Trittico renews admiration for Puccini's expert stagecraft and his remarkable sense of contrast, which fuses three different operas into a fascinating whole. No attempt is made here to assign the sensuous Giorgetta, the saintly Angelica and the maidenly Lauretta to the same interpreter, an approach that sometimes works but frequently doesn't. It has been said that death is the unifying factor in these three operas, but so is sin. The fast action of Il Tabarro centers on adultery and murder. Suor Angelica is more sinned against in our view, but she is guilty of suicide. Her redemption is revealed in the closing moments of the opera, while Gianni Schicchi's elaborate deceit receives absolution from us sympathetic sinners in the audience.

All three operas are thoughtfully cast. Maria Guleghina's passionate Giorgetta sounds youthful enough to convey her disillusion with an older, unromantic husband and certainly seductive enough to attract a younger lover. She performs her vocally and emotionally wide-ranging role with more tonal security than any previous recorded interpreter. Neil Shicoff makes Luigi's ardor and impulsiveness believable, and Paolo Guelfi perfectly captures Michele's predicament. He is no brute, but there is menace lurking behind even his amorous moments.

Cristina Gallardo-Domas presents an ideal Suor Angelica. She observes Puccini's dolcemente markings in the early episodes, anticipates the visit of her formidable aunt with fearful agitation and reacts to the dreadful news of the loss of her child with a despair that is palpable but not excessively theatrical. Bernadette Manca di Nissa also observes an intelligent balance: she is stern and unbending, yet more a captive of rigid beliefs than an unfeeling monster.

In Gianni Schicchi, Angela Gheorghiu's appeal to her "babbino caro" would melt a stone, and she is partnered well by Roberto Alagna's youthfully engaging Rinuccio. José van Dam effectively takes over the opera as soon as he arrives on the scene. His voice may have dried a bit, but the role's tessitura is comfortable for him, and the sudden flights to F and G find him on target. If his Schicchi lacks the infinite subtleties of Tito Gobbi (EMI or Sony), he never fails to find the right note, whether in his smooth, legato "Addio Firenze" or in his varied reactions to the rapacious Donati clan.

These three ensemble operas feature important cameo roles, all of which are in expert hands -- most notably the colorful Frugola of Elena Zilio (who doubles as the waspish Ciesca in Gianni Schicchi); the assertive Angelica Abbess and Schicchi "La Vecchia" of Felicity Palmer; and Enrico Fissore as both the slimy Doctor and the pompous Notary in Gianni Schicchi. Alagna and Gheorghiu also are heard as the young lovers in Il Tabarro, their brief contributions properly captured offstage.

No one need abandon any favorite earlier versions of Il Trittico, but this one is sure to bring much pleasure.