This is a wonderful historical document, and yes, Sutherland is singing at her stunning best (and her diction, so often complained about is good -- a fact usually attested to in her "live" recordings or videos, why her studio recordings had poor diction I really feel is more the problems with mikes than with her, as shows up with many other very mellow voiced sopranos, while strident very foreward sopranos have clear diction). It seems her "small" role (really only 25-30 minutes in total in a 4 hour work, if uncut) is the only thing anyone writing reviews about this opera seem to concentrate on. That is not seeing the opera as a whole, or the work as it progresses. Certainly, Sutherland is wonderful (and in life has far more "excitement" than one ever finds in her studio recordings -- which, surprise surprise has less to do with her and more to do with the microphone's inability to capture large voices, especially female voices, well) and her performance alone is a reason to buy this recording.
However, it is Meyerbeer and his interpretation of historical events through opera what counts more than anything. Berlioz stated that Les Huguenots had enough material for 10 operas, and in truth it does. That explains why in this live historical recording the work is so heavily cut. To really enjoy all Meyerbeer wrote buy the London studio recording with Joan Sutherland conducted by her husband (even though the tenor in that recording is lifeless and horrible), and for those who think that recording just doesn't have the energy of this one, remember this is FRENCH OPERA, which is stylistically very different to Italian opera (even though this version is sung in Italian, thus entitled Gli Ugonotti). Restraint is the hallmark of French Opera, while wild abandon is the hallmark of Italian opera.
Now to the recording itself. The sound is passable, though very imperfect, and the singers don't always "sound" in important moments. If you follow with a score in hand, be prepared to be more than disappointed. Firstly some of the finest ensemble writing is cut out completely. You will then discover that even though the Tenor (Corelli) and the "Falcon Soprano" (Simionato) singe wonderfully full bodied performances, neither of them sing any of the written cadenzas (especially the one out of the Act IV duet which requires the tenor to sing a very wonderfully line clear up to a high D), and for all Simionato's praised high notes, she really sings very few high C's (less than a quarter of them written, though mind you, Meyerbeer did write lower alternate lines - not just notes - for those parts, which she often sings, and ineffectively, since her voice seems to lose the needed power when doing the lower alternates fading into nothing). Both understand ITALIAN style well, and yet neither of them has a good legato line. Corelli is to the point he becomes annoying with his continual need to use the spring-board of the Petit note inferior to reach his high notes. The constant asperates during the famous forth act duet (during the soft part "Ah dillo ancor, Tu m'ami", and it is written PPPP in the score demanding the tenor float the notes not bash them out) not only spoil the haunting affect asked for in the music, they actually ruin the piece entirely. And what makes it even more glaring is Simionato sings her repeat with a wonderful legato line. Yes, Corelli is energetic, viril in fact, but he is SLOPPY to the extreme. He may have been the best tenor of the day, with fabulous looks, but it would have been nice to actually hear him sing with proper style.
This was a very popular work in the past centuries, and when it was performed it was dupped "The Night of the Seven Stars." Justly so, really, as it requires seven of the most gifted singers to pull it off. This recording, with all its warts (and there are many) is the closest thing we will ever come to when it comes to experiencing that excitement that made it a sell out experience to many of our great grandparents.
No, this is NOT Meyerbeer, No, this is NOT French Opera style, No, this is NOT the best representation of this massive work, but it is exciting, and we are hearing the great voices of that day giving their all, and in a very wonderful way, for the creation of a work they obviously all believed in. It is more than evident that these singers LOVED singing this opera. That fact alone takes it out of its mistakes into a realm of enjoyment. Just a word, though, those unfamiliar with this opera DON'T buy this version, do buy a studio verson which is more complete and listen to it SLOWLY taking in only what you are able at any given time. Then when you love the work for what it is consider buying this one, then imagine what it would feel like attending a real performance of the opera (which will ALWAYS be heavily cut, just because the opera is too long). Then sit back and live the experience.
This is a wonderful historical document, and yes, Sutherland is singing at her stunning best (and her diction, so often complained about is good -- a fact usually attested to in her "live" recordings or videos, why her studio recordings had poor diction I really feel is more the problems with mikes than with her, as shows up with many other very mellow voiced sopranos, while strident very foreward sopranos have clear diction). It seems her "small" role (really only 25-30 minutes in total in a 4 hour work, if uncut) is the only thing anyone writing reviews about this opera seem to concentrate on. That is not seeing the opera as a whole, or the work as it progresses. Certainly, Sutherland is wonderful (and in life has far more "excitement" than one ever finds in her studio recordings -- which, surprise surprise has less to do with her and more to do with the microphone's inability to capture large voices, especially female voices, well) and her performance alone is a reason to buy this recording. However, it is Meyerbeer and his interpretation of historical events through opera what counts more than anything. Berlioz stated that Les Huguenots had enough material for 10 operas, and in truth it does. That explains why in this live historical recording the work is so heavily cut. To really enjoy all Meyerbeer wrote buy the London studio recording with Joan Sutherland conducted by her husband (even though the tenor in that recording is lifeless and horrible), and for those who think that recording just doesn't have the energy of this one, remember this is FRENCH OPERA, which is stylistically very different to Italian opera (even though this version is sung in Italian, thus entitled Gli Ugonotti). Restraint is the hallmark of French Opera, while wild abandon is the hallmark of Italian opera. Now to the recording itself. The sound is passable, though very imperfect, and the singers don't always "sound" in important moments. If you follow with a score in hand, be prepared to be more than disappointed. Firstly some of the finest ensemble writing is cut out completely. You will then discover that even though the Tenor (Corelli) and the "Falcon Soprano" (Simionato) singe wonderfully full bodied performances, neither of them sing any of the written cadenzas (especially the one out of the Act IV duet which requires the tenor to sing a very wonderfully line clear up to a high D), and for all Simionato's praised high notes, she really sings very few high C's (less than a quarter of them written, though mind you, Meyerbeer did write lower alternate lines - not just notes - for those parts, which she often sings, and ineffectively, since her voice seems to lose the needed power when doing the lower alternates fading into nothing). Both understand ITALIAN style well, and yet neither of them has a good legato line. Corelli is to the point he becomes annoying with his continual need to use the spring-board of the Petit note inferior to reach his high notes. The constant asperates during the famous forth act duet (during the soft part "Ah dillo ancor, Tu m'ami", and it is written PPPP in the score demanding the tenor float the notes not bash them out) not only spoil the haunting affect asked for in the music, they actually ruin the piece entirely. And what makes it even more glaring is Simionato sings her repeat with a wonderful legato line. Yes, Corelli is energetic, viril in fact, but he is SLOPPY to the extreme. He may have been the best tenor of the day, with fabulous looks, but it would have been nice to actually hear him sing with proper style. This was a very popular work in the past centuries, and when it was performed it was dupped "The Night of the Seven Stars. " Justly so, really, as it requires seven of the most gifted singers to pull it off. This recording, with all its warts (and there are many) is the closest thing we will ever come to when it comes to experiencing that excitement that made it a sell out experience to many of our great grandparents. No, this is NOT Meyerbeer, No, this is NOT French Opera style, No, this is NOT the best representation of this massive work, but it is exciting, and we are hearing the great voices of that day giving their all, and in a very wonderful way, for the creation of a work they obviously all believed in. It is more than evident that these singers LOVED singing this opera. That fact alone takes it out of its mistakes into a realm of enjoyment. Just a word, though, those unfamiliar with this opera DON'T buy this version, do buy a studio verson which is more complete and listen to it SLOWLY taking in only what you are able at any given time. Then when you love the work for what it is consider buying this one, then imagine what it would feel like attending a real performance of the opera (which will ALWAYS be heavily cut, just because the opera is too long). Then sit back and live the experience.