In 1864, Arrigo Boito – who later wrote the libretti for Verdi’s last two operas, Otello and Falstaff – wrote in his short-lived magazine Figaro about I vespri siciliani:
“It would take a long time to enumerate all the graces and the strength of this solemn opera, for one would have to stop and admire every piece.”
Although I vespri siciliani has enjoyed something of a renaissance recently, with new productions at major houses such as Covent Garden, Teatro alla Scala, and Opernhaus Zürich – as well as productions of the original French version Les vêpres siciliennes at the Bayerische Staatsoper and Deutsche Oper Berlin – it was only sporadically performed for some decades and did not attract much attention from recording labels. For that reason, most of the available recordings are older live performances, often with poor sound quality. Even so, many feature musical performances strong enough to let listeners enjoy the opera at its best. In this article, I present ten essential recordings of I vespri siciliani, listed in no particular order.
Erich Kleiber / Orchestra del Maggio Musicale Fiorentino [Warner]
Despite the poor audio quality, Erich Kleiber’s live recording from Florence in 1951—the earliest available of the work—offers a performance full of power and energy. Maria Callas, in one of her first officially released recordings, gives a highly personal interpretation of Elena, sung with intensity and dramatic urgency. The rest of the cast is excellent too, especially Boris Christoff, whose Procida carries great authority.
Tullio Serafin / Orchestra del Teatro di San Carlo [Bongiovanni]
Another fine live performance surviving in bad sound is Tullio Serafin’s recording from Teatro San Carlo di Napoli in 1955. The cast is remarkable, led by Giangiacomo Guelfi, whose baritone has the depth and richness Montforte demands. Mario Filippeschi brings brightness and force to Arrigo, while Anna De Cavalieri’s dark, warm soprano suits Elena beautifully. Giulio Neri makes a sincere and authoritative Procida.
Mario Rossi / Orchestra Sinfonica Nazionale della RAI [Preiser Records]
Mario Rossi’s RAI radio performance from the 1950s survives in acceptable audio quality. Anita Cerquetti, whose career was tragically short, gives one of the finest Elenas on record, her creamy and intense soprano combining richness with agility. As in Kleiber’s 1951 performance, Boris Christoff is an imposing Procida, full of authority and gravity. Carlo Tagliabue and Mario Ortica as Montforte and Arrigo are respectable, though without fully reaching the dramatic potential of their roles.
Tullio Serafin / Orchestra del Teatro Massimo [Andromeda]
Serafin’s second recording, a live performance from Palermo in 1957, could almost be a “first choice” version of I vespri siciliani if only the sound quality were better. Serafin gives a deeply idiomatic interpretation of Verdi’s score. Antonietta Stella sings a passionate Elena with a warm, beautiful tone, and Mario Filippeschi makes a determined, stylistically pure Arrigo. The less-known Polish bass Bernard Ladysz offers a solid Procida, while Giuseppe Taddei crowns the cast with his expressive baritone, combining dramatic power with warmth.
Antonino Votto / Orchestra del Teatro Lirico Giuseppe Verdi di Trieste [Bongiovanni]
Antonino Votto’s live recording from Trieste in 1959 is another great performance let down by its audio quality. Pier Miranda Ferraro, known for heavier roles such as Alvaro, Radamès, and even Otello, creates one of the most dramatic Arrigos on record. Margherita Roberti sings a nuanced, lyrical Elena, while Aldo Protti and Plinio Clabassi deliver earthy, robust portrayals of Montforte and Procida.
Gianandrea Gavazzeni / Orchestra Sinfonica del Teatro dell’Opera di Roma [Nuova Era]
Gianandrea Gavazzeni was a true master of Italian opera, and his live Rome performance from 1964 proves it, even through weak sound quality. Leyla Gencer gives one of the finest Elenas on record—passionate and intense, yet sensitive. Gastone Limarelli, though not a large-voiced tenor, uses his resources cleverly as Arrigo. Nicola Rossi-Lemeni sings Procida with commanding presence, while Giangiacomo Guelfi is as vocally strong as he was in Serafin’s 1955 version.
Thomas Schippers / Orchestra Sinfonica di Roma della RAI [Myto]
Thomas Schippers, who died tragically young at 47, was a truly great Verdi conductor and his live 1970 Rome recording, preserved in relatively good sound, proves it. Gianfranco Cecchele stands out, singing Arrigo with endless power and passion. The rest of the cast is less remarkable, but Martina Arroyo (Elena), Sherrill Milnes (Montforte), and Ruggiero Giaiotti (Procida) all give solid performances. Arroyo and Milnes are in fact more convincing here than in the later Levine studio version.
James Levine / New Philharmonia Orchestra [RCA]
For orchestral brilliance, James Levine’s 1973 studio recording on RCA is unmatched. He offers a luxurious reading of the score, combining drama with discipline, and the New Philharmonia Orchestra and John Alldis Choir are excellent. Plácido Domingo’s Arrigo is among his finest recorded roles, his voice sounding fresh and unrestrained. Unfortunately, the rest of the cast—despite big names like Sherrill Milnes, Martina Arroyo, and Ruggero Raimondi—feels underwhelming, never truly bringing their characters to life.
James Levine / Metropolitan Opera Orchestra [Myto]
Levine’s second recording, a 1974 live performance at the Metropolitan Opera, has a stronger cast though inevitably weaker sound quality. Nicolai Gedda, not an idiomatic Verdi tenor, still sings Arrigo with beauty and a secure, fresh upper register. Montserrat Caballé brings her trademark elegance and floating high notes to Elena, offering more beauty than bite. Sherrill Milnes is far more convincing here than in the studio, while Justino Díaz makes a passionate Procida.
Riccardo Muti / Orchestra del Teatro alla Scala [Warner]
Riccardo Muti, a true Verdi expert, made a fine live composite recording from La Scala in 1990. His interpretation blends tradition with innovation, full of theatrical spontaneity and disciplined energy. The little-known tenor Chris Merritt makes a respectable Arrigo, though lacking some dramatic weight. Cheryl Studer sings a radiant Elena with ringing clarity, while Giorgio Zancanaro and Ferruccio Furlanetto give strong portrayals of Montforte and Procida.
Bonus
Although I personally always prefer Verdi sung in Italian, Mario Rossi’s 1969 Opera Rara recording of Les vêpres siciliennes with the BBC Concert Orchestra holds a special place in the discography. It preserves the original French version, premiered at the Paris Opéra in 1855, with a decent cast led by Jacqueline Brumaire, Jean Bonhomme, Neilson Taylor, and Ayhan Baran.
