Mefistofele (Intégrale)

Arrigo Boito

Released on 02/05/2011 by Naxos
Main artists: Stefano Ranzani
Genre: Opera

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It's rare to have to pan a modern recording purely on the basis of the sound quality, but such is the case with Naxos' release of this live 2008 performance of Boito's Mefistofele made at Teatro Massimo in Palermo. It's clearly a very rough recording, poorly miked and plagued with an extraordinary level of stage noise, and there is little evidence of any engineering solutions applied to the raw material to ameliorate its defects. Admittedly, Boito's sprawling work is a bear to capture on recording, with its multiple offstage choruses and instrumental ensembles added to the traditional operatic forces, combined with the composer's sometimes eccentric orchestration. The nearly 25-minute Prologue in Heaven is the hardest section to pull off with any kind of sonic integrity, and it's the weakest part of this recording, with the offstage performers sounding remote and pallid, a persistent, buzzing electric organ tone, and an inordinate amount of stomping around on-stage that continues and worsens into the first act. Listeners who can make it through the Prologue and into the middle of the first act will find the sound of the remainder of the performance gets somewhat better, but the stereo separation throughout is annoyingly erratic. It's all a shame, because bass Ferrucio Furlanetto delivers an exceptional performance in the title role. He has made a name for himself in larger-than-life roles like Boris Godunov and King Philip in Don Carlos, and Mefistofele is tailor-made for a singing actor of his authoritative presence, dramatic range, sterling musicianship, and dark, powerful voice. His is a riveting presence and this show belongs to him. Giuseppe Filianoti has a large, pleasing tenor and he can hold his own in his duets with Furlanetto. His Faust is appealingly and strongly drawn, but this performance lacks vocal discipline and he, too, often resorts to swooping and bleating. Dimitra Theodossiou brings a powerful but nuanced soprano to the roles of Margherita and Elena of Troy and touchingly portrays their vulnerability. Margherita's death scene with Faust and Mefistofele is one of the highlights of the performance. The Orchestra, Chorus, and Children's Chorus of Teatro Massimo are led by Stefano Ranzani, who keeps the forces moving; the orchestra's sound is generally solid, if strangely balanced, and the chorus generally sounds feeble, but the vagaries of the recording make it difficult to assess whether faults lie with the performance or with the engineering, or lack thereof. Furlanetto is likely the most distinguished Mefistofele of his generation; one can only hope that his memorable portrayal will be recorded under more favorable circumstances.
© TiVo

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Mefistofele (Intégrale)

Ferruccio Furlanetto

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Mefistofele (Arrigo Boito)

Prologue in the Heaven: Prelude