Carlo Franci, Chorus and Orchestra of L'Accademia di Santa Cecilia Rome. LIM XR24 018.
Italian composer Giuseppe Verdi (1813-1901) wrote mostly operas, some of the most well-known operas ever penned. Those operas contained their fair share of choruses, and record companies and conductors over the years have been quick to put collections of them down on shellac, vinyl, and silver disc. The collection of choruses under review here derives from a 1964 Decca recording, brought up to today's audiophile standards by the folks at LIM (Lasting Impression Music).
Maestro Carlo Franci and the Orchestra and Chorus of L'Accademia di Santa Cecilia Rome, do their best to make the nine choruses on the disc come to life on their own, apart from their native contexts. While choruses in general do not necessarily offer the best material for extended listening at a single sitting, they make downright thrilling listening for those brief periods of time when a person just wants a quick sonic lift-me-up or when trying to impress friends and neighbors.
The program begins where we might expect it to begin, with the biggest chorus of them all, the "Grand March and Ballet Music" from Aida. Franci never rushes it, yet never lets it become lax, either; instead, he captures all the grandeur and august splendor of the music on the largest possible scale. If you enjoy rival versions from the likes of Karajan on Decca, DG, or EMI, Franci's performances are on that kind of plane, resplendent in every way.
After that, we get "Vedi! le forche" from Il Trovatore, which also will not disappoint. The opening bars seem a trifle more hurried than I'd like, but there is no denying the excitement Franci generates with his tempos whisking away.
The next two selections come from Nabucco: "Gli arredi Festivi" and "Va pensiero," although printing errors reverse their order on the packaging. Franci affords both of them a proper solemnity, and they come across with a touching sincerity.
Next, we return to Il Trovatore with "Squilli echeggi," followed by "O Signore dal tetto natio" from I Lombardi, "Giuriam d'Italia" from La Battaglia di Legnono, the Prelude and Introduction from Attila, and "Fuoco di gioia" from Otello. These are distinctive, polished, freshly appealing interpretations, traditional to be sure, yet radiating a good deal of tension and beauty. They are as good as you'll find, matching Claudio Abbado's equally refreshing accounts for DG and recorded even better.
LIM producer Winston Ma says in a booklet note that he considers the Verdi recording "to be one of the most challenging discs to any sound system and acoustic environment due to its gigantic soundstage and the complexity of music: huge choral groups and layers of orchestral passages and human voices, all taxing the system and the listening room to the furthest extremes, not only of the sound spectrum but also of micro and macro dynamics and transient contrasts." He goes on to say that "the recording requires top-notch engineering to ensure premium production. Whether it is the nuance of a single violin or piano, or the huge soundstage and immense complexity of the orchestration and human voices, these recordings demand competent reproduction from a system with high resolution capability and a balanced acoustic room environment. Any deficiency in these qualities will render the music not involving and subject to sound to smearing."
Aside from Winston's not-so-subtle hint that if his recording doesn't sound good to you, it's the fault of your playback system, not his record, what he says is pretty much what every audiophile believes. For a good recording to sound really good, you do need a good stereo system to reproduce it. That said, I found most of what I heard very good, indeed, through my VMPS RM40's, though perhaps not to the extent that Winston suggests. There is a dash of brightness in the upper midrange-lower treble during loudest passages that could bother some listeners. That aside, there is nothing but good I can say about the sound.
We hear a pleasant ambient bloom everywhere, the acoustic lending to the epic atmosphere of the recording. The chorus, slightly bright as I say, never sounds smeared, and, in fact, the forward quality of the sonics lends an extra degree of clarity to the affair. Besides, one does not notice the added edge in softer moments, which are just as numerous as the bigger ones.
The brasses ring out gloriously. There is pinpoint accuracy in the stereo spread, imagery, and depth that helps the overall verisimilitude of the proceedings. Extended highs ring out clearly and sweetly, while bass is more than adequate to hold its own. Transparency is outstanding; dynamics are wide; impact is strong; transient response is quick; and it is only those fleeting moments of upper-frequency edge that may cause a minor distraction (although to be fair to LIM, I remember the original LP having the same forward edge, the LIM release simply retaining, as it should, what was already there). Otherwise, this LIM remaster provides beautifully full, well played, realistically recorded accounts of Verdi's music.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For over 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me--point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, as of right now it comprises an Onkyo C-7030 CD player, Legacy Audio High Current preamplifier, AVA FET Valve 550hc or Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
Readers with polite, courteous, helpful letters may send them to firstname.lastname@example.org.
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to email@example.com.