This Rigoletto, filmed live at the Zurich Opera House in 2006, has three strong leads to recommend it. In the title role, Leo Nucci fully represents all of Rigoletto’s character traits and range of emotions—the hunchback’s lancing wit, fearfulness, and self-loathing when we first meet him and later, his obsessive need for revenge. Both Rigoletto’s sense of righteous triumph when he believes he’s got the Duke dead in the bag and his inconsolable grief at the drama’s end are palpable.
Kottke's sixth official album is a dazzling array of pieces, some wistfully romantic ("Mona Ray"), others savagely witty ("When Shrimps Learn to Whistle"), and still others downright folksy ("Bill Cheatham"), with accompaniments of varying shapes and types, from dobro to synthesizer and piano.
Mudlark rates highly on many a Kottke fan's favorite list. This was Kottke's Capitol Records debut, and his solo instrumental sound is augmented with the addition of studio sidemen (bass, drums, piano). His playing is superb (no surprise there) and full of youthful vigor – a fusion of high-speed picking, brash slide work, funky folk, acoustic rock, and melodicism. Most importantly, Mudlark marked the debut of Kottke as a singer, an indication that Capitol was trying to shoehorn him into the singer/songwriter genre. Kottke himself has made disparaging remarks about his own vocals, but they add personality to his virtuosic guitar chops.
The world has not yet fully discovered the riches of the impressive music libraries and archives of Portugal. They testify to the often complex trajectories followed all over Europe by a repertoire of splendid pieces, many of them showing the extent to which the Italian style had taken root in eighteenth-century Portugal. The superb mass by Pergolesi recorded here is a highly characteristic example. But the ensemble Turicum wanted to go even further in their exploration of this repertoire, accompanying the mass with performances of works by composers now totally (and unjustly) unknown, such as Antonio Gallassi and David Perez, not to mention Leonardo leo, acknowledged in his own time as a supreme master of sacred music.
This is a good record, though not the Leo Kottke album to start with, as it is not representative of his usual work – it's mostly a vocal record, and a very country-flavored record at that, with Kottke's baritone, reminiscent in some ways of Leonard Cohen (and even moving into what one might consider Jim Morrison territory), serving as the dominant instrument on six of the ten tracks. His flashy 12-string playing and Cal Hand's Dobro do come to the fore on "Tilt Billings and the Student Prince." Tom T. Hall and Ron Elliott of the Beau Brummels are among the songwriters represented. Among the intrumentals, "A Good Egg" is just the kind of light-fingered, light-textured virtuoso piece that one buys a Leo Kottke album expecting to find, and much of the rest shows off his talents in some unexpected directions. The sound on the One Way label CD reissue is first rate as well.