Giuseppe Verdi: Simon Boccanegra by Francesco Molinari-Pradelli (1951)

Simon Boccanegra is one of my favorite verdi operas. A mixture of a not so absurd story like la Forza or Il Trovatore, the modernized style from Verdi, where he goes much farer in the possibililities, … But, in the discography, there are quite a few recordings of it. So, as using my favorite streaming service, I’m always curious about a recording I didn’t know, what happened to me a few days ago with this one, by Francesco Molinari Pradelli recorded 1951.

To start, the recording is indubitably on the historic side. You have quite a lot of details with the correct hifi equipment, but, the voices and orchestra is saturating quite a lot, which is quite typical for radio recordings of this time at the end. There were a mixture of live and studio, you may hear to the public or other stage noises. At the end, for me it’s OK, but it’s a matter of taste

The first thing that stroke me was the sheer energy coming out from this recording, what in my view is all about Verdi you have understand at a glance. Further, it’s interesting to notice, that even with the historic character, you may hear details that are not easy to hear on other recordings, even much newer. Francesco Molinari-Pradelli, was for me a typical good conductor standing behind the Italian stars. But here, it’s first rate Verdi-conducting in my view.

Antonietta Stella was only 24, and at the beginning of a great career, even if Callas or Tebaldi were more highly publicized. At the end, her voice is marvelous, the technique is great, from the piani to the forte, from the lower to the upper register, the timbre is round and beautiful. She characterizes Amelia very well either. In some cases, the higher notes sung at full volume may sound a little matronically, but this is probably a problem with the recording quality. I’m just listening to the first duet Amelia-Simon and it’s just thrilling.

Let’s continue with Simon. Silveri has an interesting baritone voice. It’s very beautiful, and truly a baritone, even if sounding quite light at a first, which surprised me a little for a former bass. I think the reason is that his register is unusually homogeneous. He characterizes very well the role of Simon either, even if remaining on the beauty of tone, and thus working out the dynamic for dramatic effects.

Carlo Bergonzi is here, like Antonietta Stella at the beginning of his career with only 27. And his Adorno is really astonishing. Beginning with his beauty of tone, the role characterization, the perfect technique… Definitively the best Adorno on recording I know to this day.

Mario Petri is a singer I did not know before. His Paolo is very well sung, the voice is nice, and the technique is very good. It seems that he made a nice career mostly in Europe, and I can understand it.

Last but not least is the bass of course, Walter Monachesi. Not the most well known bass, but as every other singer here, a very good match in every sense for Fiesco. Nice voice, right color. Even if you may find quite a few live recordings of him (it looks like all in Italy, and with well known Italian singers or conductors…), he looks like a total underrated singer to me. His aria in the Prelude (“Il lacerato spirito”) is very well sung, and yes, he is neither Christoff nor Siepi nor Ghiaurov, but he fits perfectly, from both the playing and singing point of views, the role.

So, for me one of the best recordings of Simon Boccanegra, if the historical sound is OK for you. And a must have if you are found of Bergonzi.