A while ago, in the description to "Joan Sutherland sings three baroque arias", I discussed my feelings towards the Australian diva's early work versus her later recordings, and in some ways, Teresa Berganza presents, for me, a similar case. It is undeniable that Berganza was an extremely talented performer with a wide array of accomplished recordings (including an unusually light but extremely believable Carmen), and, when I first heard her singing Rosina with Prey, Alva and Abbado (recorded in 1970, if I'm not mistaken), the attraction was imminent. But when I managed to obtain the present early 1959 recital not so long ago, I suddenly found myself in a dilemma very much similar to the one that occurred in the case of Joan Sutherland: while Berganza's voice, unlike Sutherland's, retained its' basic color throughout the mezzo's career, both singers started out with brighter voices and a more involved manner than their later selves were famous for. In short, both singers started so well that their later work can seem slightly less distinguished, though, I must note, that this comparison is limited to each of the singers, that is, their respective younger selves are just too good and charming; and, of course, this is just a way I perceive their voices.

The present recital, quite imaginatively constructed (Rossini arias are interspersed with those of his predecessors, such as Pergolesi, Paisiello and Cherubini), can be considered almost an equivalent of Sutherland's "The art of the primadonna" on all levels (though it is on a smaller scale, limited to just one CD). I will try to upload three pieces from the recording: Serpina's joyful opening aria, "Stizzoso, mio stizzoso", Nina's moving cavatina, "Il mio ben", and Neris' stunningly gorgeous plea "Medea, ah, Medea" (in fact, the respective works of the trio of composers mentioned above).

"La serva padrona" certainly needs no formal introduction: one of the most successful comic stage works of the entire eighteenth century, Pergolesi's intermezzo was first produced in Naples at the San Bartolomeo theater on September 5, 1733. The function of such works was to serve as an entr'acte piece between the acts of a substantial opera seria - in this instance Pergolesi's own "Il prigioniero superbo", a work subsequently eclipsed by the fame of its' intermezzo.

Serpina, the opera's heroine, enters in one of the most charming ABA arias imaginable, demanding her own master to head her command, and Berganza's version is the best one I had heard to date: not only does she sing beautifully, she ensues any kind of vulgar gestures that plague some reading and yet characterizes the young woman superbly, the varied "tzz"s being a particular highlight.

Hope you'll enjoy :).

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