Nessun dorma!

I've been going through the Callas Studio recording canon, focusing on those recordings that I've never heard. One of the ones that I missed (on purpose) was Turandot, primarily because it is my least favorite Puccini opera and that the cast, Callas apart, never interested me.

One of my reservations about the cast was well-founded. I don't really care for Elisabeth Schwarzkopf in music for which she is usually thought idiomatic (Mozart, Strauss). In this case, she makes Puccini sound like Lehar and the tone is grating on my ears.

With Callas the result is predictable. Squally top notes apart, she creates a character (with what little Puccini provides). She is interpretively astute and while I don't ultimately find any emotional empathy with Turandot, more than just about any other interpreter, I know where this Ice Princess is coming from. Even with the great Birgit, this part was rarely more than gleaming exciting high notes. With Callas, you sense the person underneath.

The tenor is Eugenio Fernandi and the Wikipedia article on him claims that his recording career was undone by this much too early attempt at Calaf. Given the current near complete absence of authentic Italian tenors, I find much to admire. True, the voice is a few sizes too small and you get the sense that he is operating at a few ticks higher than optimal capacity. But I admire the use of text and authentic Italianità. I certainly enjoy hearing this more than several of the more generic tenors I've heard in the part in recent years.

I can only think that had he had the opportunity, Puccini would have revised the hell out of Turandot. There is no emotional empathy with any character except Lìu (which in this case turns to revulsion) and the part is too inconsequential to save the emotional thrust (or lack thereof) of the opera. The two principals are vapid and uninteresting and a few thrilling melodies aside, there is not much substance. Apart from the pure excitement of "In questa reggia" and "Nessun dorma", I'm not sure why this opera holds much appeal. Still, despite the numerous attempts I've suffered by aspiring sopranos, I wouldn't be without "Tu che di gel."

Next to Medea, I think.