Shopper's Delight: Ladino in The Music Store ~ Prima Voce: Ruffo

Prima Voce: Ruffo

Average Rating:

out of 1 Reviews

Price: ~~$10.98~~

Sale: $6.86

Manufacturer: Nimbus Records

UPC (Universal Product Code): 710357781025

EAN (European Article Number): 0710357781025

Binding: Audio CD

Label: Nimbus Records

NumberOfDiscs: 1

ReleaseDate Date: 1992-12-02

Description: This CD is an excellent introduction to the voice of one of the greatest singers ever to grace the operatic stage. The transfers are excellent, and I can guarantee that you won't have a `drop out' of the voice here, as happens on some `live' recordings, many of which seem to be done by people holding the microphone under their coats. The sound is what one can expect from the beginning of the century, as far as the accompaniments go. (Yes, they do sound weak and muffled.) The voice is crystal clear, however, and shows why many people think of Ruffo's voice as the greatest baritone of all time.
I personally cannot speak for the era before recording, but any accounts we have of any singers on records shows Ruffo to be unique. Was it the largest baritone voice? I don't know; one critic claims Domenico Viglione Borghese had a larger voice. I have heard a few of Borghese's recordings, and the man had an awesome voice. He also sang in an exciting fashion, with emotion and conviction. However, judging from the recordings, Ruffo had a richer voice, and an almost relaxed mode of singing, which is almost paradoxical when one thinks about it. (Listen to his little song from Verdi's Falstaff.) His Credo from Verdi's Otello, old as it is, reaches out and grabs the listener by the throat. (This is not one of those old recording where you'll barely be able to hear the singer. Ruffo's voice dominates the environment here, and I'm talking about your listening environment. Only Sherrill Milnes, among modern singers, comes at all close to Ruffo's savagery here, and even with a full orchestra backing him, there isn't half the presence. And Milnes had one of the most awesome voices I've ever heard.) That's followed by the Dream, which is a masterpiece of insinuating, serpentine evil, as Iago pours his poison drop by drop into Otello's ear. What follows? The justly celebrated vengeance duet with Enrico Caruso. What power! And what sheer insane anger! Among modern recordings there are only two I've heard which come close: Del Monaco with Leonard Warren (This is from one of the Metropolitan Opera's premiums.) and Jon Vickers with Tito Gobbi from the classic Serafin conducted recording, with Leonie Rysanek as Desdemona.
In Tremin Glinsani from Nabucco, Ruffo takes two parts; Zaccaria, the priest, and Nabucco himself. If anyone out there has heard anyone else come close to Ruffo's singing of Nabucco's aside here, let me know. I've heard Capuccili, Gobbi, and Juan Pons. What about Scarpia's aria from Tosca? The police chief's carnality and evil are on display here, with stunning power.
All'erta Marinar from Meyerbeer's L'Africaine is a showpiece for Ruffo's voice. The full range is on display here, from his rather weak lower voice, to a ringing sustained high A natural that has to be heard to be believed. This aria, in Ruffo's hands, can leave your ears ringing. And it all sounds so easy! The older Ruffo voice is displayed on the only electrical recording available on this CD; Enzo Grimaldo, with the great Beniamino Gigli. This is my favorite version of this duet, even though Ruffo's voice does sound a little worn by the years. Barnaba is an evil man, and one can feel the evil oozing out, as if under pressure. For those who like La Gioconda, there are also Ruffo's O Monumento and Pescator, which are sung in his prime. The richness of tone and variety of color on display here have never ceased to astound me.
Ruffo was not just a loud singer. He had many moments when he sang in half voice, which was very light and tenorish. I would not care to listen to him if he was only a bellower, believe me. Don't expect to be lulled to sleep here however; this man is not Perry Como. Expect to be astounded and moved. For further listening, get the CD's on which Ruffo sings Rigoletto, with Galvany and Pareto, and Ambroise Thomas' Hamlet. Even though the accompaniments sound rather primitive, given the limitations of the horn they had to sing and play into back then, the voices are clear and very exciting. For similar voices? Gino Bechi comes close, in terms of style, and the man is an exciting performer. Mattia Battistini had a similar type of voice (glorious top, small lower notes) and a snarling delivery. If you like Ruffo, and don't know about these two, give them a try. In more recent times, we have the beautiful and awe inspiring voice of Sherrill Milnes. This man sounds a little like Ruffo, with Leonard Warren mixed in. Try his Rigoletto, Iago, and Figaro from Rossini's Barber of Seville for a great deal of gorgeous singing.
Back to Ruffo; if you like his work in opera, try him out in the popular songs of his day. Maria Mari should be heard by anyone interested in the genre.

order Shopper's Delight: Ladino in The Music Store ~ Prima Voce: Ruffo

Customer Reviews

Review Summary: Ruffo- The Voice of the Lion!	Date: 2001-09-14


Details: This CD is an excellent introduction to the voice of one of the greatest singers ever to grace the operatic stage. The transfers are excellent, and I can guarantee that you won't have a `drop out' of the voice here, as happens on some `live' recordings, many of which seem to be done by people holding the microphone under their coats. The sound is what one can expect from the beginning of the century, as far as the accompaniments go. (Yes, they do sound weak and muffled.) The voice is crystal clear, however, and shows why many people think of Ruffo's voice as the greatest baritone of all time. I personally cannot speak for the era before recording, but any accounts we have of any singers on records shows Ruffo to be unique. Was it the largest baritone voice? I don't know; one critic claims Domenico Viglione Borghese had a larger voice. I have heard a few of Borghese's recordings, and the man had an awesome voice. He also sang in an exciting fashion, with emotion and conviction. However, judging from the recordings, Ruffo had a richer voice, and an almost relaxed mode of singing, which is almost paradoxical when one thinks about it. (Listen to his little song from Verdi's Falstaff.) His Credo from Verdi's Otello, old as it is, reaches out and grabs the listener by the throat. (This is not one of those old recording where you'll barely be able to hear the singer. Ruffo's voice dominates the environment here, and I'm talking about your listening environment. Only Sherrill Milnes, among modern singers, comes at all close to Ruffo's savagery here, and even with a full orchestra backing him, there isn't half the presence. And Milnes had one of the most awesome voices I've ever heard.) That's followed by the Dream, which is a masterpiece of insinuating, serpentine evil, as Iago pours his poison drop by drop into Otello's ear. What follows? The justly celebrated vengeance duet with Enrico Caruso. What power! And what sheer insane anger! Among modern recordings there are only two I've heard which come close: Del Monaco with Leonard Warren (This is from one of the Metropolitan Opera's premiums.) and Jon Vickers with Tito Gobbi from the classic Serafin conducted recording, with Leonie Rysanek as Desdemona. In Tremin Glinsani from Nabucco, Ruffo takes two parts; Zaccaria, the priest, and Nabucco himself. If anyone out there has heard anyone else come close to Ruffo's singing of Nabucco's aside here, let me know. I've heard Capuccili, Gobbi, and Juan Pons. What about Scarpia's aria from Tosca? The police chief's carnality and evil are on display here, with stunning power. All'erta Marinar from Meyerbeer's L'Africaine is a showpiece for Ruffo's voice. The full range is on display here, from his rather weak lower voice, to a ringing sustained high A natural that has to be heard to be believed. This aria, in Ruffo's hands, can leave your ears ringing. And it all sounds so easy! The older Ruffo voice is displayed on the only electrical recording available on this CD; Enzo Grimaldo, with the great Beniamino Gigli. This is my favorite version of this duet, even though Ruffo's voice does sound a little worn by the years. Barnaba is an evil man, and one can feel the evil oozing out, as if under pressure. For those who like La Gioconda, there are also Ruffo's O Monumento and Pescator, which are sung in his prime. The richness of tone and variety of color on display here have never ceased to astound me. Ruffo was not just a loud singer. He had many moments when he sang in half voice, which was very light and tenorish. I would not care to listen to him if he was only a bellower, believe me. Don't expect to be lulled to sleep here however; this man is not Perry Como. Expect to be astounded and moved. For further listening, get the CD's on which Ruffo sings Rigoletto, with Galvany and Pareto, and Ambroise Thomas' Hamlet. Even though the accompaniments sound rather primitive, given the limitations of the horn they had to sing and play into back then, the voices are clear and very exciting. For similar voices? Gino Bechi comes close, in terms of style, and the man is an exciting performer. Mattia Battistini had a similar type of voice (glorious top, small lower notes) and a snarling delivery. If you like Ruffo, and don't know about these two, give them a try. In more recent times, we have the beautiful and awe inspiring voice of Sherrill Milnes. This man sounds a little like Ruffo, with Leonard Warren mixed in. Try his Rigoletto, Iago, and Figaro from Rossini's Barber of Seville for a great deal of gorgeous singing. Back to Ruffo; if you like his work in opera, try him out in the popular songs of his day. Maria Mari should be heard by anyone interested in the genre.

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Prima Voce: Ruffo

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Prima Voce: Ruffo