Saturday, November 24, 2012

Another Great Singer of the Week: Bruno Prevedi

Featuring a baritone in the previous post left such a bad taste in my mouth I had to do another.  Here is Bruno Prevedi, whom I have inexplicably only mentioned once before, when he was Pollione in one of a series of Leyla Gencer Norma clips I posted.  Of course we have his Wikipedia bio-blurb here.  One learns from some of the YouTube commenters who claim to have heard him regularly at the height of his career that the peak didn't last very long.  I found clips of various quality, some of which were not dated.  I present clips that I liked, apparently from his short-lived peak, and I will leave it to you, gentle readers, to judge how he sang.  (That's an invitation to leave comments.  In the comment section below.)

This is a remarkable clip featuring Prevedi, Dame Gwyneth Jones, Giulietta Simionato, and Peter Glossop, in the finale of Il Trovatore (1964, ROH I believe):

From Act III of the same production:

There are many audio-only clips on YouTube, including this La Traviata performance with Virginia Zeani at the Met, 1966:

More from Il Trovatore:  Ah si, ben mio coll'essere--this time from a collection of arias.

1 comment:

Anonymous said...

Thanks for posting these examples of Prevedi's art in a major role. The Manrico excerpts show him to be a thoughful singer and good musician, if not much of an actor. The excerpts are also valuable for demonstraing why Dame Gwyneth Jones was so treasured - they show her artistry and the voice before the wobble began to worry her.

Prevedi appears in the 1964 Decca Macbeth (with Taddei and Nilsson, conducted by Schippers) as Macduff. He delivers an idiomatic "Ah, la paterna mano" in heroic but unforced tone, and he is a true presence in the ensembles. Macduff emerges as a true character in the drama, not just as a voice on record. The recording overall is interesting as a document of Nilsson's Lady and Taddei's Macbeth, which is excellent. There are some bothersome cuts.

Prevedi is the Ismaele in the (in)famous Decca Nabucco from 1965, with Gobbi and the challenging Elena Suliotis/Souliotis (the spelling of her name changed from the 1965 Nabucco to the 1970 Anna Bolena, for whatever reason). Again, Prevedi is idiomatic, and there is clearly a character created, not just good singing. Gobbi is his hectoring self, with every word crystal clear as always. Suliotis, in her most touted recording, chews the scenery but delivers a true personification of Abigaille. A very good recording.

Bocca L. Lupo