Verdi Macbeth Rysanek, Colzani, Bergonzi, Tozzi, Rosenstock NY 24 March 1962

Описание: Act 1 (ii) 00.15.57 Act 2 (i) 00.45.40 (ii) 00.52.32 (iii) 00.59.29
Act 3 01.13.16 Act 4 (i) 01.45.55 (ii) 01.57.40
This performance is certainly out there, but not as well known as the one from the first run in February 1959 where Rysanek in her met debut was was partnered by Leonard Warren. This broadcast is of her final Lady Macbeth for the House. These excerpts from John Ardoin’s review in Musical America were for an earlier performance in the run, which may explain Rysanek’s avoidance of the D flat:

“The focal point of the opera is, of course, Lady Macbeth, and for her Verdi has written music unsurpassed in its theatrical power. In the hands of a great singing-actress such as Leonie Rysanek, Lady Macbeth's music becomes doubly potent and exciting. Miss Rysanek did not have the complete ease in her upper register that she had two seasons ago (she barely tipped the D-Flat in the Sleepwalking Scene), but otherwise this is still one of the memorable vocal and dramatic characterizations of this decade. She has sharpened her portrayal of the Sleepwalking Scene to a rare point of dramatic excellence. As she sang "Andiam Macbetto," she seemed to be actually pulling an invisible and frightened Macbeth from the scene of their crime.

Like Miss Rysanek, Anselmo Colzani's first Macbeth at the Met was not merely a chain of stylized poses and gestures but a taut, vivid enactment. His voice may lack the richness of the late Leonard Warren, but his fusion of voice and drama towers far above Warren's portrayal. Carlo Bergonzi shone brilliantly in his one big moment, "Ah, la paterna mano", as did Giorgio Tozzi with "Come dal ciel precipita." Joseph Rosenstock conducted a much less frenzied performance than Erich Leinsdorf.”