A brief excerpt from the recording I talked about in my last post. Here’s Giuseppe Valdengo, sounding relaxed and collooquial — nonoperatic, in fact — in a short excerpt from his big aria in The Barber of Seville, “Largo al factotum.” From a live performance at the Met in 1950.
And I must say…listening to Valdengo again makes me think better of him than I did when I wrote my last post. Likewise the orchestra, which sounds very scrappy. In a not very good sense, if you listen very closely. (Meaning that they’re not always together.)
But also scrappy in a good way — they’re in the ring with Vadengo, giving a lot of what he’s giving. I think, in what I wrote in my last post, I was judging them too much by how they played the overture.