Amazon.com
This performance, the only one available in English, is problematic. Best is Yves Abels leadership of the orchestra, which sounds wonderful, imbuing Puccinis lush score with just the right exoticism and emphasis. But aside from Gregory Yurischs fine Sharpless, the singers dont please. Paul Charles Clarke as Pinkerton is lacking stylistically and vocally, and as Butterfly, Cheryl Barker sounds under strain and never pretty. While she has the power and feeling for the big second-act climax (the sighting of the ship), she never for a moment sounds fragile or girlish, not even in the all-important early scenes. English or not, this set isnt in the running. Stick with Callas or Scotto in Italian, and follow the libretto. --Robert Levine
Rate Points :3.5
Binding :Audio CD
Label :Chandos
Manufacturer :Chandos
ProductGroup :Music
Studio :Chandos
Publisher :Chandos
UPC :095115307021
EAN :0095115307021
Price :$31.98USD
Lowest Price :$24.34USD
Rating Point :4 Helpful Point :1
I did not think I would enjoy or play this Butterfly as much as I have. Somehow operas sung in English, even those originally composed in English, seem a little bit silly compared to those sung in Italian, French, and German and even Czech and Russian. Butterfly, however, transfers well to English. Just two years after its 1904 premier, the libretto was translated into English and performed with much success, particularly in the United States. After several years, however, the use of an English libretto stopped and this Butterfly is the only commercial recording currently available.
Any performance of Butterfly, unlike Turandot, is critically dependent on the excellence of its title character, and Australian soprano Cheryl Barker is up to the task. She has improved her technique over the years, and, with little doubt, is underrated by those who have failed to adjust opinions fixed some time ago. The Amazon editorial review by Robert Levine is quite correct in saying that Barker sounds under strain in this recording but quite incorrect in saying that she never sounds pretty. In fact, she mostly sings very well and sounds very pretty indeed. However, there are some moments, particularly when Butterfly herself is under strain, in which Barkers voice becomes harsh. The most critical of these times is in the final aria, just before Butterflys suicide. Barker can and has sung this aria superbly unfortunately, she does not do it here.
The final aria is the dramatic peak of Madama Butterfly, and I suspect that Barkers lapse in it may have colored Mr. Levines opinion of the whole recording. Overall, however, Barkers performance is very moving and more than good enough to give English speaking lovers of Madama Butterfly an understanding of the opera that otherwise might be lost in translation.
A touching English Butterfly
Rating Point :3 Helpful Point :3
Anyone familiar with Cheryl Barkers Butterfly will be interested in hearing this recording. I have heard her in the role twice - in Auckland and London - and her voice has filled out as the years have gone on. She hasnt a large italianate soprano the sound is too slender somehow. Yet there is the paradox - it has great carrying power and a decent cutting edge to make itself heard above the orchestral climaxes. What really impresses is the sense of vulnerability and moral strength she imparts, making sense of the big moments of the secong act. The sound in Act one is gorgeous (and a super D flat in theentrance aria) and she differentiates impressively between the child-bride and the embittered woman of the two acts.
She is surrounded by a mixed supporting cast. Jean Rigby is maternal, warm and affecting as Suzuki. Gregory Yurisich makes Sharpless dilemma more understandable than usual, rather than being completely ineffectual. Paul Charles Clarke perhaps illustrates Pinkertons arrogance with a degree of vocal swagger, but the sound is rough-hewn and unlovely save for some moments in the love duet. Stuart Kales Goro is suitable ingratiating and oily.
Abels conducting is the other chief draw of this set. That he has experience of the score in the theatre means that his pacing is really superb, and the lush orchestration is given its due, the potent intermezzo during the overnight vigil sounding suitably ominous.
This wont replace the classic Butterfly recordings, but in the absendce of any new ones recently, and for acceptable diction in an English version, it is certainly worth the (not very high) price. Recommended.
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