The libretto by the team of Barbier and Carré (Hamlet, Faust, Roméo et Juliette, Les Contes d’Hoffmann) is drawn from the seminal « coming of age » novel by Goethe, Wilhelm Meister’s Apprenticeship. It has the feel of a real performance, and it is a pleasure to hear two such great singers at the top of their game.Īnother 75 minutes of Ambroise Thomas, this time his most famous work, Mignon.

I'm assuming this will matter less to most people than it does to me, so I will finish by saying I really rather enjoy this set. On the other hand Pavarotti's diction is so good you can hear just how bad his French is. Sutherland's diction, though better than on some of her recordings, still leaves a great deal to be desired. There is absolutely nothing authentically French about the enterprise, and, where this might be of less importance in Donizetti than Offenbach, I do miss a genuine French accent. Monica Sinclair, who sometimes overplays the comedy, and Spiro Malas provide excellent support and Richard Bonynge's conducting is alert and nicely sprung. Pavarotti is also at his best, and he executes the top Cs in Pour mon âme with delightfully insouciant ease. As you'd expect she tosses off the coloratura and high notes in spectacular fashion, but also has the ability to convey a deeper vein of pathos when required.

Recorded straight after a run of terrifically successful performances at Covent Garden in 1968, La Fille du Régiment has long been considered one of Sutherland's best studio recordings, and the role of the tomboyish Marie certainly suits her well.

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