Puccini: Madama Butterfly

“Callas's view, aided by superbly imaginative and spacious conducting from Karajan, gives extra dimension to the Puccinian little woman, and with some keenly intelligent singing too from Gedda as Pinkerton this is a set which has a special compulsion” Penguin Guide, 2010 edition ***

“Gheorghiu somehow conveys not only the depth of Butterfly's love but also her inner knowledge that, in fact, her belief in Pinkerton's devotion is hopeless. This is a mature interpretation which suggests strength above all, so that the touches of vulnerability are added with subtlety. ...Jonas Kaufmann is an ardent Pinkerton... Enkelejda Shkosa is a vivid Suzuki and Fabio Capitanucci the sympathetic Sharpless. ...Antonio Pappano takes a less driven and melodramatic way with the score than Karajan in his three recordings; it's nearer in mood to Barbirolli... though there is no lack of passion at the great climaxes - just listen to the spine-tingling moment of the sighting of the ship.” Gramophone Magazine, March 2009

“A highly polished performance of Puccini's sublime masterpiece made in Rome over 12 days in the old slow-burn, multi-take style. It is very impressive in many respects, not least because of the ideal clarity and warmth of the sound engineering. Antonio Pappano conducts the Santa Cecilia Orchestra with red-blooded passion, never letting the pace slip but remaining attentive to the finer orchestral detail on the way.” The Telegraph, 2nd March 2009

“You can't fault her diligence, nor the rest of the cast's dramatic flair. Jonas Kaufmann's husky Pinkerton is excellent; if he skimps on ardour, that's because Butterfly's fake husband is more in lust than love. Enkelejda Shkosa contributes a moving Suzuki; Fabio Capitanucci a more spontaneous and less censorious Sharpless than usual. But Pappano is the icing on the cake.” The Times, 6th March 2009 ****

“In many respects Gheorghiu's singing reminds me of Callas's: in Act I they both adopt a 'little girl' voice, and in Act II they both sound more mature… so that by the tragic climax they present a strong personality in full possession of her destiny. This is Gheorghiu's greatest achievement on disc. Jonas Kaufmann as the winning, faithless Pinkerton is on tremendous form, too...” BBC Music Magazine, April 2009 ****

“A German tenor might have been a controversial choice for the caddish Lieutenant Pinkerton in Puccini’s Japanese tragedy, but Kaufmann’s dark, ringing tenor gives greater substance than usual to this shadowy, unsympathetic role, and his Italian is idiomatic.” Sunday Times, 9th August 2009

“...an epoch-making performance from Jonas Kaufmann as Pinkerton - psychologically the most complete on disc...Antonio Pappano stresses the tense, irresolute quality of the score by following a dangerously erotic account of the first act with an implacably bleak performance of the second. It won't be to everyone's taste, though Kaufmann is essential listening.” The Guardian, 13th March 2009 ****

“Jonas Kaufmann makes Pinkerton an attractive creature of instinct and youth rather than a callous egotist.” Classic FM Magazine, May 2009 *****

“a resounding success. Pappano's natural feeling for the phrasing and dynamic shading of Puccini's great melodies is here enhanced by having an Italian chorus and orchestra...Un bel di has rarely been so richly or securely sung in a complete Butterfly...[Kaufmann] seems totally comfortable in the Italian text and, like Gheorghiu, brings out many detailed subtleties...an excellent choice in a very competitive field.” Penguin Guide, 2011 edition

“A classic 1954 interpretation with a complex geisha from de Los Angeles, a suave Pinkerton from di Stefano and a memorable consul from Gobbi. Gianandrea Gavazzeni conducts as to the manner born.” BBC Music Magazine, May 2006 *****

“The performance has many advantages over the later, stereo version. De los Angeles's tone is even more beautiful, Di Stefano is a more ardent Pinkerton, and Tito Gobbi. unexpectedly cast as a rugged Sharpless, uses that small role to point some of the set's most memorable moments...The Regis mono transfer is kind to the voices, which are given a full presence.” Penguin Guide, 2010 edition ***

“Tebaldi is at times an unconvincing geisha in her second exploration on disc though she's well supported by Bergonzi's lieutenant and Sordello's consul.” BBC Music Magazine, January 2013 ***