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Well this is not just the best 'all-rounder' in its ability to please....it is demonstration class! I'm not a Pavarotti fan, though I give him his due. Domingo's my hero. Freni, with her girl-next-door-of-a-voice reputation was never a voice I'd chase down, though I regarded her as a 'safe' bet. Well here they SHINE! Freni kisses every note and sends it floating or flying with charm, vulnerability, pride, love....such emotion but all with a very genuine HUMAN feel. I have NO difficulties hearing her either. Pavarotti, as was said by another reviewer, sings here, rather than shouts (which he can do sometimes). Again, his emotions are so human...even the very, very light grate in his voice sometimes. Believe me, it was totally convincing. I pictured a man who lives for the present but for whom thoughts of the future are an emotional drain. After these few moments, he continues to display a clear and beautiful tone as the mood later changes....and I'm not one disposed to rationalising anything on Pavarotti's behalf. Full marks to him for texturing.

And the rest? Well, I'll confess my biases here: Christa Ludwig (I'm tempted not to say any more; the name speaks for itself!). I'll limit myself to one word: sumptous. From her millings around in the background in Act 1 to her endearing prayers at the beginning of Act 2 to the despair and tragedy of the trio at track 5 in Act 3, her performance seems to say "I care; with all my heart, I care deeply". Robert Kerns, with whom I'd been previously unfamiliar, is a very warm and well-sung Sharpless. Deep and sombre-toned, without being too sonorous. The effect is that it feels less theatrical and, again, more human.

Michel Senechal as Goro is a joy to listen to. His tenor is less noble that Pavarotti's Pinkerton, as it should be. In fact, there is not a badly sung role in all of this, and Wolfgang Schneider as Uncle Yakuside is a spiteful fright without sounding ugly! The chorus sounds lovely. Now and again you get hear the voice of one or two matronly (but NOT overly fruity) voices among the mezzos ( "O Kami! O Kami!" Act 1, track 12) and this just adds to the endearing quality of what is already a beautiful score. The only petty quibble I can think of would be Freni's "Tu? Tu?..Piccolo Iddio!" which was a little less ravishing than I might be acustomed to (e.g.; the breath in between "...fiso," and the very next word "fiso..." weakened the aria) but that's verging on being pedantic. After all, Butterfly was about to die. Even so, it was still well done.

As for von Karajan? Well he's always been my kind of conductor....from Tosca (Price/di Stefano) to Parsifal (Hoffmann/Van Dam/Moll etc.) to Boris Godunov (Ghiaurov etc.) I have lauded his dexterity, passion and devotion to depicting not just music, but the aura of the music. He has NEVER indulged in the music too much for my taste. Too much beauty?? Is there such a thing???? Listen to the birds at the beginning of Act 3. The warm flood of the strings of the Wiener Philharmoniker are a testament to Herbert von Karajan's mastery, whether they bear you away in amorous rapture or sweep you on tidal waves of high emotion.

This IS an essential recording. Puccini's beautiful melodies here present another tear-jerker, but with more colour and depth than La Boheme.

23 of 25 found the following review helpful:

Simply fabulousJul 08, 1999

As other listeners have noted, this is an opera that stands or falls on its heroine. With this in mind, Karajan's recording must be ranked among the best. Pavarotti's Pinkerton, recorded during his prime, is fresh and youthful, and Christa Ludwig's Suzuki brings a lieder-singer's attention to the text (although Teresa Berganza on the Sinopoli recording outdoes her). But the reason for hearing this set is the magnificently sung Butterfly of Mirella Freni. While she may not have the sharpness or intensity of Renata Scotto, this is, bar none, the best-sung Butterfly on records. Butterfly's Entrance will never be better done than it is here (that high D-flat at the end is a little slice of paradise), and there are other moments that make the heart stand still. The recorded sound is ravishing, and Karajan conducts with soul and passion. Don't hesitate about the extra cost of this set -- it would still be a bargain at twice the price.

18 of 19 found the following review helpful:

A STUDY IN DETAILMay 15, 1999
By Shawn Chua
The success of Madama Butterfly rests on the shouders of the soprano, more so than any other opera. While a well-sung Pinkerton, Suzuki or Sharpless are appreciated, it is the title role that people think of first. In this aspect, Mirella Freni has excelled. Her performance of Cio Cio San is almost legendary and this recording is a summation of her understanding and interpretation of the role and character. From the passion and love in the duet with Pinkerton to the wrath and despair of the finale, Freni shows us how plaiable her voice can be. Light and dreamy for one, and heavy and dramatic for another. Her "Dormi amor mio" sends chills down spines with its paralysing beauty. Pavarotti sings with ardent brilliance and splendour. His tone as always bright and ringing creates a Pinkerton that does not seem at at that heartless. Ludwig's sensitively potrayed Suzuki complete with the "voice" lend to the work an asset. Karajan, more so than for his recording with Callas, takes a leisurely and unhurried stroll down the trial and tribulations of Cio Cio San, giving a most beautifully performed Butterfly. One point to note however, is that the CD is on three discs and thereby, is dearer. However with such a recording, the extra disc is worth every cent.

12 of 13 found the following review helpful:

The Best recorded ButterflyNov 13, 2005
By Daniel G. Madigan
Although Renata Scotto is definitive in this role, this would apply to the stage only. On disc Scotto never came across as well as she should have. Scotto recorded Butterfly twice and they are excellent registrations, esp. the Barbirolli for EMI. But somehow it doesn't fill the soul. Mirella Freni recorded this in 1974 and never sang it on stage, but did record it twice, the second time with Sinopoli, a waste of her time.

This set gets her at her most dramatic and most vocally developed shape.Hear for the first time for her nuances in her recitatives, her limpid codas, her ravishing high notes(the entrace final note..noone does it like this, noone in the entire hiostroy of Butterflys) are all graced with that training she had coupled here with a sublime artistry. There is no comparison on disc to anyone else. Others are excellent, yes, but not like this. I think this is her zenith as a singer, and there are other recordings she did, but nothing on this cale, except Don Carlo and Boheme. But note especially here her entrance ,and later, her Che tua madre, later again, her bianca, bianca and then her flower duet, and her finale..not to mention, going back, the ending of Un bel di..finally a soprano who can hold that note with ease, style, and power. This Butterfly of Freni makes you wonder if this could be the greatest singer of that day..she was not, but this is definitive.

Christa Ludwig is superb--all the expressions are there, note especially the Act II opening prayers, and the languorous sighs at the predicament of poverty and desertion. Also, note the beginning of Un bel di....the piangendo of Ludwig, and Freni's blend into it..Von Karajan has never done so much with a score so worked over and rushed to death.

Pavarotti is excellent, and vulagr as he should be..he has an indiffrence to things Pinkerton should have, and his voice rings out, like a brash America, note the opening arias for this, and then, suddenly, at the end of the opera, you get such imapssioned singing, that somehow makes him utterly pathetic.

The conducting is slow, and that is Von Karajan, but you have not heard a slower Butterfly than the second one with Sinopoli and Freni again, with a much worn out Jose Carreras. It takes time to build to the climaxes of Butterfly, and Von Karajan does with brillance, as in his Turandot with the lovely Ricciarelli. Listen to Butterfly's entrance, the strings, also the Morta, and the piuttosto la mia vita vo' troncar at the close of Che tua madre..Freni is ON, and Von Karajan knows it..she's reached the top and he lets her enjoy all of it, and for us, enjoy and weep.

Buy this quickly. The boxed version w/ libretto is going soon..already the reduced in size version is out, same price, and no libretto, no jewel case..ugly.

8 of 8 found the following review helpful:

The greatest ButterflyJun 04, 2000
By Carsten Stampe Jorgensen
I often wonder why Mirella Freni is said to have a smallish voice, not being big enough for a part like Madama Butterfly. To me she is a clear first choice for the simple reason that she is the only soprano achieving the right innocent timbre, combined with a strong and powerful voice, that never fails to impress. Usually she is compared to Renata Scotto and Maria Callas. Maria Callas clearly has her moments but her problem is that she is unable to sound girlish in huge dramatic outburst. But admittedly she does have a way with the words. As for Scotto, I have never found her interesting. She has neither the qualities of Callas nor of Freni. To hear her sing Madama Butterfly can be very painful. From her first entry to the last, she is battling against the demands of Puccini's great score. Her voice is thin, sharp and uneven, and technically she seems by far inferior to Freni. Puccini's soaring lines suffers greatly from it, and therefore the music fails to move me in the hands of Scotto. Freni on the other hand, is a magnificient Butterfly and her interpretation is so intense and moving that a tear every now and then is unavoidable. Her wonderfully even tone and legato line allows her to concentrate on the interpretation instead of being worried whether or not the next climax will bring her out of control. After all, Madama Butterfly's struggle should never be against Puccini's score!

Pinkerton is undertaken by Pavarotti, and as usual his singing is faultless, but he is not as involved as Bergonzi (Serafin/Decca or Barbirolli/EMI) or Carreras (Sinopoli/DG). Kerns sings well, but is a somewhat dull Sharpless. Turn to Rolando Panerai (Barbirolli/EMI) for a really outstanding performance. As the observant reader has figured out by now, Bergonzi and Panerai makes a vivid pair in Barbirolli's recording. They are simply electrifying in their great duo in the first act. Christa Ludwig is a fine Zuzuki, producing a strong and even tone, but my personal favourite in this part remains Cossotto in the Serafin/Decca recording.

Much have been said about Karajan's conducting of this opera. Personally I think he generates an electricity and power that no other conductor achieves. He may not have the intimite quality of Barbirolli or Serafin, but he makes the great climaxes all the more powerful. This recording is strongly recommended. A second choice would be Sinopoli. Freni is once again a marvellous Butterfly, surpassed only by her younger self and Carreras is an involved an ardent Pinkerton. Sinopoli has a tendency towards very slow tempi, but nevertheless presents a powerful account of the score. But if you want only one recording of this beautiful opera, go for Karajan and Freni. You will not be disappointed.

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