Composer: Giacomo Puccini
Works: Madama Butterfly
Performers: Toti Dal Monte (Cio-Cio-San), Beniamino Gigli (B.F. Pinkerton), Vittoria Palombini (Suzuki), Mario Basiola (Sharpless), Gino Conti (Prince Yamadori), Adelio Zagonara (Goro), Ernesto Dominici (The Bonzo), Chorus and Orchestra of the Royal Opera House, Rome
Recording: July 1939, 32 sides by His Master’s Voice
Label: NAXOS HISTORICAL 8.110183-84
Puccini’s “Madama Butterfly,” first unveiled in 1904, remains a cornerstone of operatic repertoire, encapsulating the tragic intersection of East and West, love and betrayal, innocence and despair. This historical recording, captured just prior to World War II, offers a window into a pivotal moment in operatic history, showcasing the artistry of Toti Dal Monte and Beniamino Gigli at a time when recording technology was still in its nascent stages. The choice of a July 1939 recording not only reveals the peak of their vocal prowess but also represents a significant turning point in the evolution of opera recording practices.
Dal Monte’s portrayal of Cio-Cio-San is characterized by a compelling blend of youthful innocence and poignant fragility. Her voice, while occasionally light by contemporary standards, captures the essence of a fifteen-year-old girl entrapped in her naïve beliefs. The opening duet with Gigli, particularly in “Amore o grillo,” is striking for its lyrical beauty, where her timbre, shimmering with the fervor of youth, intertwines seamlessly with Gigli’s mellifluous tenor. Gigli’s interpretation of Pinkerton embodies a youthful bravado, particularly evident in his “Addio, fiorito asil,” where he demonstrates a nuanced approach to phrasing and emotional depth. The organic legato he employs throughout the performance is a testament to his technical mastery, even as he approaches fifty.
The collaboration between Dal Monte and Gigli is further enhanced by Oliviero de Fabritiis’s conducting, which eschews the bombastic tendencies seen in more modern interpretations. De Fabritiis’s restraint allows the orchestra to act as a narrative voice, its colors shifting from impressionistic at moments to starkly dramatic as the opera unfolds. For example, the humming chorus and the interlude of Act Two are portrayed with delicate clarity, contrasting sharply with the emotional climaxes of the final act, where the orchestral outpouring complements Cio-Cio-San’s ultimate despair.
The sound quality of this Naxos release merits particular commendation. Ward Marston’s engineering preserves the integrity of the original RCA Victor shellac pressing with remarkable fidelity, allowing listeners to appreciate the vibrant tonal qualities of Dal Monte and Gigli. While slight traces of hiss are present, they serve as a reminder of the recording’s historical context rather than detracting from its enjoyment. The clarity and warmth of the sound are striking, creating a rich auditory experience that is often lacking in many remastered historical recordings.
This edition also features eight solo recordings by Toti Dal Monte, which serve to contextualize her artistry and illuminate her transition from a coloratura soprano to a more dramatic role. The arias from Donizetti and Bellini showcase her technical agility and lyrical grace, while the selections by Verdi and Mascagni reveal her capacity for emotional depth. These tracks, though perhaps less known than her Butterfly, further affirm her significance in the operatic canon.
The 1939 recording of “Madama Butterfly” stands as a crucial document, not merely for its historical value but for its artistic achievements. The interplay between Dal Monte’s delicate portrayal and Gigli’s vibrant tenor, underpinned by de Fabritiis’s insightful conducting, creates an interpretation that resonates with emotional authenticity and dramatic nuance. This recording is not only a testament to the singers’ prodigious talents but also a reflection of a bygone era in opera, one that continues to influence interpretations to this day. A vital acquisition for any serious operatic collection, it offers profound insights into the artistry of its time and the enduring power of Puccini’s tragic masterpiece.
