Boito Mefistofele

Arrigo Boito's treatment of the Faust legend is imaginative yet also faithful to Goethe's original conception, and the score is memorable for its rich orchestral sounds, beautifully punctuated with lyrical passages and choral interludes. Robert Carsen's sumptuous, post-modern production of Mefistofele is a gloriously decadent and theatrically stunning realisation, and the San Francisco Opera's performance has been unanimously acclaimed in both Paris and San Francisco. Samuel Ramey, in the title role, has won both critical and overwhelming popular approval.

This is considered Arrigo Boito's masterpiece. Some consider it a semi-masterpiece, but it is definitely the masterpiece among the few operas that Boito composed. I do agree with those who think this opera is a less than ideal masterpiece. I will start the review by discussing the opera's virtues and faults. Cesare Siepi is in glorious voice and characterizes Mephistopheles very well. Mario del Monaco is also in excellent voice.
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No one in my opinion outdoes Samuel Ramey in sheer power and diabolical delight in singing Mefistofele. The same can be said for Placido Domingo as Faust and Eva Marton as Margarita. Although not well known outside of Hungary, the other women recorded here sing well and provide a good foil to Ramey and Domingo – who are by far the stars and, at times, scene stealers.

Best-known today as the librettist of Verdi’s final Shakespearean masterpieces, Otello and Falstaff, the multitalented Arrigo Boito was also a fine composer in his own right. Hugely ambitious in scope, and some 20 years in the making, his first (and only completed) opera, Mefistofele, sets out to encompass nothing less than the whole of Goethe’s vast poetic drama Faust (parts I and II), and is considered the very central work of his phase between Verdi and Puccini. Making his debut at the Bayerische Staatsoper, director Roland Schwab (a protégé of the legendary Ruth Berghaus) plays devil’s advocate by setting the opera in a nightmarish atmosphere. The exceptional cast features Rene Pape, Joseph Calleja, Kristine Opolais, and Karine Babajanyan.

Boito’s resplendent retelling of Goethe’s Faust, a monumental work of "choral grandeur and melodic richness" (The New York Times) in one of the most impressive productions ever seen at the War Memorial Opera House. The cast includes Ramón Vargas, a tenor "in ravishing voice" (Financial Times), as the philosopher who sells his soul to the Devil; the "luminous, compelling" Patricia Racette (Washington Post) as the woman he desires; and, in the vividly menacing title role, the "seductively malevolent" bass-baritone Ildar Abdrazakov, a "fullbodied bass-baritone" renowned for his "wonderfully evil portrayals" (The New York Times).

These are a product of DECCA/Mexico for the local market , Victor Suzan, label manager at Universal Music Mexico ,he resurrected 50 recitals from DECCA´s and PHILIPS´ vaults that have NEVER been released on cd ANYWHERE!!!!

The war over, the Milanese set about the immediate rebuilding of the bombed La Scala. By 1946 the work was complete in time for Toscanini to return – by public demand – to his old house to direct the opening concert, a truly legendary occasion now at last officially available on CD in tolerable enough sound to enjoy its many virtues. Chief among them are the old maestro’s inimitable, indeed unique way of inspiriting singers and orchestra to perform Rossini and Verdi as perhaps never before or since.