A Generous Helping of Some Vintage Gigli

Giordano: “Andrea Chenier.” Beniamino Gigli, Maria Caniglia, Gino Bechi, Giuseppe Taddei, Italo Tajo, Giulietta Simionato; La Scala orchestra, chorus, Oliviero de Fabritiis, conducting. EMI, CDHB 69996 (2 compact discs).

Mascagni: “Cavalleria Rusticana” and tenor arias. Beniamino Gigli, Bruna Rasa, Bechi, Simionato; La Scala forces, Mascagni conducting. EMI, CDHB 69987 (2 compact discs).

Puccini: “Madama Butterfly.” Toti Dal Monte, Gigli, Mario Basiola; Rome Opera orchestra, chorus, Oliviero De Fabritiis conducting. EMI, CDHB 69990 (2 compact discs).

Verdi: “Un Ballo in Maschera.” Caniglia, Gigli, Bechi, Fedora Barbieri, Elda Ribetti, Tancredi Pasero;, Rome Opera forces, Tullio Serafin conducting. EMI, CDHB 69993 (2 compact discs).

These performances, recorded between 1940 and 1943, find their raison d’etre in the participation of Beniamino Gigli (1890-1957), considered by many to be the successor to Enrico Caruso. Even late in his career, his honeyed tone was of a quality virtually unknown today. Some of the tenor’s saccharin mannerisms, the gulps and sobs, seem a bit vulgar, but they are a small price to pay for such generally resplendent singing.

Moreover, the quality of ensemble performance in Italy as World War II began is faithfully mirrored here. Such stylistic cohesion makes today’s jet-age casting seem shabby in comparison.

Caniglia is completely convincing as Maddalena and Amelia, despite her sometimes strident top. She was a true dramatic soprano. Bechi as Alfio and Renato, although occasionally rough and unsubtle, was rightfully considered the leading Italian baritone of his time. A special treat is the 22-year-old Barbieri’s bravura Ulrica. Dal Monte--a famous light-voiced Lucia, Rosina and Amina--was a controversial Butterfly, wonderfully right for the 15-year-old of the first act, ultimately lacking vocal heft for the succeeding scenes. Curiosity seekers will relish such soon-to-be-stars as Simionato, Taddei and Tajo in comprimario roles.

De Fabritiis was an underrated conductor in complete command of the “Butterfly” and “Chenier,” while the great Serafin offered a cleverly crafted “Ballo.” Both showed that they could exercise dramatic pulse and control while still offering considerate understanding for the singers’ needs. The only disappointment is “Cavalleria,” ploddingly conducted by its then-aged composer.