La Straniera

On this CD:

1. La Straniera, opera
Composed by Vincenzo Bellini
Performed by Enrico Campi, Renato Cioni, Maurizio Mazzieri, Glauco Scarlini, Renata Scotto, Domenico Trimarchi, Elena Zilio
Conducted by Nino Sanzogno

2. La Sonnambula, opera Oh!...Se una volta sola
Composed by Vincenzo Bellini
Performed by Sicily Symphony Orchestra with Renata Scotto
Conducted by Ottavio Ziino

3. La Sonnambula, opera Ah! non credea mirar
Composed by Vincenzo Bellini
Performed by Sicily Symphony Orchestra with Renata Scotto
Conducted by Ottavio Ziino

Tracks:

Oh Nobile Esempio - Chorus Of The Rome Opera
A Te Nell'ora Infausta - Chorus Of The Rome Opera
Sciagurata! Hai Tu Creduto - Ruggero Raimondi
Tutta Tremante Ancor - Anna Di Stasio
Salve Maria! - Renata Scotto
Vieni! Gia Posa Arvino - Mario Rinaudo
E Dunque Vero! - Chorus Of The Rome Opera
O Madre Mia... La Mia Letizia Infondere... Como Poteva Un Angelo - Luciano Pavarotti
E Ancor Silenzio - Hermit
Sei Tu L'uom Della Caverna? - Umberto Grilli
Stolto Allah! - Chorus Of The Rome Opera
La Bella Straniera - Chorus Of The Rome Opera

Tracks:

O Madre Dal Cielo - Renata Scotto
Gerusalem! Gerusalem! - Hermit
Dove Sola M'inoltro... Teco Io Fuggo - Renata Scotto
Che Vid'io Mai? Si! Del Ciel Che Non Punisce - Umberto Grilli
Qui Posa Il Fianco - Renata Scotto
Qual Volutta Trascorrere - Renata Scotto
Componi, O Cara Vergine - Chorus Of The Rome Opera
In Cielo Benedetto - Luciano Pavarotti
Qual Prodigio... Non Fu Sogno! In Fondo All'Alma! - Renata Scotto
O Signore, Del Tetto Natio - Hermit
Al Siloe... Quali Voci! - Renata Scotto
Guerra! Guerra! - Chorus Of The Rome Opera
Questa E Mia Tenda - Umberto Grilli
Te Lodiamo - Chorus Of The Rome Opera

Customer Reviews:

Great for Pavarotti fans but the rest....?.......2006-08-16

Mediocre sound, not as good as some other contemporary Opera d'Oro releases, makes listening to this a bit of a trial and despite a thrilling performance from Pavarotti, the other two major singers are a mixed bag. Some of the supporting roles are frankly poor ( though Grilli's Arvino is neat and pleasing on the ear). Scotto displays astonishing technical skill and her coloratura is exciting but the fundamental quality of her sound is glaring and shrill, while Raimondo is rather dull and "woofy". The conducting is good, as is invariably the case with that seasoned campaigner, Gavazzeni. I prefer to stick with the clear sound of the Philips early Verdi edition conducted by Gardelli; Raimondi is clearer and more dramatic here, the young Domingo is in fine voice and Deutekom, despite some odd mannerisms, no more irritating or less accomplished than Scotto.

Good performance at low cost.......2005-01-11

Source: Live performance in Rome, 1969.

Sound: Pretty good for a live recording made 35-plus years ago. The audience is generally quiet. Coughs are muffled and outbursts of enthusiastic applause do not excessively overlap the music.

Format: Disc 1, Act I and most of Act II, 12 tracks, approximately 56 minutes. Disc 2, conclusion of Act II, Act III and Act IV, 14 tracks, approximately 67 minutes. Opera d'Oro is at its most perverse here. A single track, less than 11 minutes in length, starts off disc 2 with the end of Act II. Why it is not included on disc 1, where there is plenty of space to accommodate it, I cannot fathom.

Documentation: No libretto. Nothing on the performers, conductor or circumstances of the recording. Two short pages on the history of the opera and two pages devoted to a summary of the plot by act. The track listing does not identify who is singing, nor does it give timings.

"I Lombardi alla Prima Crociata" is Verdi's fourth opera and the follow-up to his great success with "Nabucco." It achieved considerable acclaim and became the first of his operas to be performed in the United States. His second opera, the excellent, Donizetti-inspired comedy, "Un giorno di regno." had inexplicably failed. For his fourth attempt, he took inspiration from a far more powerful composer, one G. Verdi. While "I Lombardi" is very much "Nabucco-lite," it is on the path that leads straight through "Ernani" to reach its apotheosis in "Il trovatore." Verdi, himself, was not happy with this opera. Years later he came back to it for a major re-write with a new libretto in French, creating "Jerusalem," which comes close to being an entirely separate work.

This set provides a good performance of "I Lombardi" by the Rome Opera. It features Renata Scotto, who offers the sort of all-out soprano assault on the Verdian heights that was common up to the end of the sixties and all too rare now. My wife thinks Scotto lets her vibrato get away from her in some of the harder-driving passages. I can't say that it bothers me at all.

Luciano Pavarotti was just about at his vocal prime when this recording was made and his voice is well-captured. For those unfamiliar with "I Lombardi," be forewarned that his character, Oronte, appears first in Act II and dies in Act III, thus leaving half the opera Luciano-free. His performance is basic Pavorotti 101. He sounds like a superstar tenor firmly placed downstage to stand and deliver. For all of you who love Luciano Pavorotti, this is just the sort of thing you'll adore. For myself, I prefer a tenor who can provide the impression that he might have some notion of the plot of the opera in which he is singing, but that is a matter of personal taste.

The third principal singer is Ruggero Raimondi, far the best of the three in this performance. His big, full, dark, focused voice is dramatically dead-on from beginning to end and he provides the backbone of the whole affair.

The orchestra and chorus are good enough, but not as well-captured sonically as the lead singers.

Gavazzeni's conducting is brisk and offers the kind of snap and crackle that fits this early Verdi work.

This is a good performance of "I Lombardi" at a bargain price and worth five stars to anyone not over-concerned with bells and whistles.

Should also have been recorded in studio!.......2002-08-07

I Lombardi may not be early Verdi's best opera but it certainly has some exciting moments. All studio recordings have flaws in my opinion. The Phillips Gardelli for example has Deutekom, whose vibrato is not always pleasing, and Domingo who is strong but not ideal for early Verdi operas. The more recent Levine recording is probably a safer choice but Pavarotti, though still impressive, has aged.

This live recording has everything one could ask for. A great conductor and three famous artists, all in their prime (1969). Many thought that this repertoire was too heavy for Scotto's instrument but she proved to be ideal! Her high notes are perfectly pitched and the audience certainly enjoys them! Moreover, she can be expressive and moving when needed. The young Pavarotti shines. I've also heard Carreras in the same role and I find Jose's interpretation warmer but Luciano with his high notes is also a miracle. Raimondi, with his authentic italian sound is a pleasure to listen to.

The sound quality is great. This is one of the ODO recordings defenitely worth having! Of course don't expect libretto or indication of time for each track...it's ODO, remember? Just enjoy this wonderful, legendary performance.

Marvelous company.......2001-09-10

It is rather difficult to find an opera with more tangled libretto. Offered interpretation is really miracle: You hear magic voices and cannot think about the subject. I am sure, it is impossible to image Giselda the best then Scotto. Dimitrova's performances of this party were very nice, but such sharmant and beauty are unavoidable for her voice. Scotto is great and I have not got any other comments for his masterpieces work. Pavarotti shows one of the best example of his vocal. Raimondi is marvellous as well. The best argument of my statements is terzetto in Finale III. It cannot be described. It is necessary to listen.
Gavazzeni is one of my favourite conductors and this performance is an excellent example of his style. It is a great pity he has not repeated his achievement in studio.

Bellini: La Straniera / Scotto, Signor, Trimarchi

Average customer rating:

Respectable performance of a lesser Bellini opera
A beautiful sample of bel canto!
Great music ...

Bellini: La Straniera / Scotto, Signor, Trimarchi
Vincenzo Bellini , Ettore Gracis , Renata Scotto , Domenico Trimarchi , Francesco Signor , Elena Zilio , Maurizio Mazzieri , and Florindo Andreolli
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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ASIN: B0000516T1
Release Date: 2000-11-14

Tracks:

Act One: Intro: Voga, Voga, Il Vento Tace
Act One: Ne Alcum Ritorna?... Oh Cruda, Dolorosa Incertezza!
Act One: Giovin Rosa, Il Vergin Seno Schiudi Appena Al Ciel Sereno.
Act One: Oh Tu Che Sai Gli Spasimi Di Questo Cor Piagato.
Act One: Intro: E Questo Il Loco
Act One: Qual Suon!... Essa E Alaide
Act One: Alaide!... Che Miro Iin Queste Soglie
Act One: Ah! M'odi: Io T'offesi, E Vero, E Vero
Act One: Ah, Se Tu Vuoi Fuggir Il Mondo E Il Suo Splendor
Act One: Odi... Qual Suon!... Si Adunano I Caccuatori Intorno
Act One: Campo Ai Veltri... Il Cervo E Uscito
Act One: Ti Trovo Alfin... Tu Di Me in Traccia?
Act One: Eccola!... Cielo!
Act One: No: Non Ti Son Rivale: Non Io Ti Tolgo Lei
Act One: Che Mai Penso? Un Dubbio Atroce Mi Rimane

Tracks:

Act One (Cont'd): Ah! Non Partir: Gia Stende Oscura Notte Il Velo
Act One (Cont'd): Qual Rumor!... Che Vegg'io?
Act One (Cont'd): Un Grido Io Sento... Suonar Per L'onda
Act Two: Udimmo. Il Tuo Racconto Avvalora I Sospetti.
Act Two: Ti Appressa... E Il Ver Rispondi.
Act Two: Si, Li Scioglieste, O Giudici, Non Avvi Il Lor Delitto
Act Two: Meco Tu Vieni, O Misera, Lunge Da Queste Porte
Act Two: A Tempo Io Giungo... Ei Non Parti, Qui Trasse La Sofferente.
Act Two: Sulla Salma Del Fretello T'apri Il Passo
Act Two: E Dolce La Vergine Qual Luna Modesta
Act Two: Che Far Vuoi Tu? Rammenta I Giuramenti Tuoi.
Act Two: Sono All'ara... Barriera Tremenda Fra Noi Sorge
Act Two: Pari All'amor Degli Angioli, Nume, E Il Lor Casto Affetto
Act Two: Or Sei Pago, O Ciel Tremendo... Or Vibrato E Il Colpo Estremo.

Customer Reviews:

Respectable performance of a lesser Bellini opera.......2006-05-31

Source: Live performance from the Teatro la Fenice, Venice, January 7, 1970.

Sound: The soundscape of this set is such that I presume it was originally a pirate recording taken at a point approximately mid-theater in La Fenice. The singing voices are distant but in fairly decent balance with the equally distant orchestra. On the other hand, a horny-handed enthusiast is located immediately adjacent to the microphone. For an Italian audience, the crowd at La Fenice was remarkably quiet and self-disciplined.

Overall sound quality is very like an old AM radio broadcast, compressed and a bit thin by current standards, but still capable of providing pleasure.

Cast: Alaide, the foreign woman - Renata Scotto; Valdeburgo, her protector - Domenico Trimarchi; Arturo, a lovestruck chump - Beniamino Prior; Isoletta, his very badly used fiancee - Elena Zilio; The Prior - Maurizio Mazzieri; Montolino - Francesco Signor; Osburgo - Florindo Andreolli. Conductor: Ettore Gracis with the Orchestra and Chorus of La Fenice.

Documentation: No libretto. Otherwise, there is a typically grim Od'O package in which the always hard working Bill Parker attempts to impart the history of the opera and summarize its lunatic plot in the inadequate couple of pages allotted to him. The track list identifies the main soloist singing but omits timings.

Bellini's reputation rests on three hit operas, "I Puritani," "La Sonnambula" and, of course, evergreen "Norma." "La Straniera" is an earlier work, Bellini's fourth opera, dating from 1829. Like its predecessor, "Il Pirata," "La Straniera" achieved popular success at its premiere, but faded away to a mere operatic footnote by the end of the Nineteenth Century. With the great mid-Twentieth Century bel canto revival, it has been granted occasional performances, but "La Straniera" is far from being a standard repertory work.

"La Straniera" is written in typical Bellini-esque idiom but it lacks that indefinable zing that makes the big three operas stand out. Bellini used a simple musical vocabulary which in "La Sonnambula" and "Norma," at least, is best displayed in a series of exquisite and extraordinary duets. The plot of "La Straniera," an improbable pot-boiler based on a once popular and now justly forgotten novel, a series of wildly unlikely occurrences that makes one long for the Aristotelian unities of "Il trovatore," simply does not allow space for great duets.

This performance strikes me as being respectable, but not much more. The only star is Renata Scotto. While I am not one of her fans, I certainly appreciate that a great many people are. It seems to me that she sang well and in characteristic form on that January evening thirty-six years ago. Her fans would be well-advised to acquire this recording on that basis, alone.

The rest of the cast inhabits that cool grey zone between not bad and not particularly good. They are perfectly adequate and wholly forgettable.

Four stars.

A beautiful sample of bel canto!.......2002-11-08

Let me begin my saying the recording was made in 1970,
therefore, not the greatest of quality sound. It is also a live recording which makes it a bit noisy. However, it adds to the excitement of the performance. The singing is first rate. Renata Scotto is at her best. She sings with great flexibility and emotion. All the other singers are also wonderful. This is one of Bellini's forgotten operas but beautifully melodic. If you are a lover of "Bel Canto" this recording should be in your library.

Great music ..........2002-08-21

Recorded live in Venice January 7 1970 with Renata Scotto (Alaide), Beniamino Prior (Arturo), Domenico Trimarchi (Valdeburgo) and the Orchestra and Chorus of Teatro la Fenice.

No libretto with this 2 CD set -- only 6 pages of brief historical notes and synopsis.

Tracks:

Voga, Voga, Il Vento Tace
Ne Alcun Ritorna?... Ah! Se Non M'ami Piu
Giovin Rosa, Il Vergin Seno
Oh Tu, Che Sai Gli Spasimi
E Sgombro Il Loco
Qual Suon!... Ah!... Essa E Alaide
In Queste Soglie, Sciagurato, Che Cerchi?
Ah! M'odi: Io T'Offesi, E Vero, E Vero
Ah! Se Tu Vuoi Fuggir Il Mondo
Odi... Qual Suon!... Si Adunano I Cacciatori Intorno
Campo Ai Veltri... Il Cervo E Uscito
Ti Trovo Alfin
Eccola... Cielo!
No: Non Ti Son Rivale
Che Mai Penso?

Tracks:

Ah! Non Partir
Qual Rumor! Chi Vegg'io?
Un Grido Io Sento
Udimmo. Il Tuo Racconto Avvalora I Sospetti
Ti Appressa E Il Ver Rispondi
Si, Li Sciogliete, O Giudici
Meco Tu Vieni, O Misera
A Tempo Io Giungo
Sulla Salma Del Fratello
E Dolce La Vergine
Che Far Vuoi Tu?
Sono All'ara
Pari All'amor Degli Angioli
Or Sei Pago, O Ciel Tremendo

Album Description

La straniera (The Foreigner) had a triumphant premiere on February 14, 1829 at La Scala, Milan. Bellini wrote to his librettist Felice Romani that the audience was enthusiastic "beyond belief," and that the success surpassed that of Il pirata (in October, 1827) by far. One of the singers reported the audience reaction so rapturous that "it seemed like a revolution". Nevertheless, by the late nineteenth century La straniera had been all but forgotten Throughout most of the twentieth century, it was one of Bellini's least-known works, seldom heard until the recent revival of interest in the early bel canto type of opera. Opinion of the opera has been steadily rising as more is understood about its requirements, and better performances are heard. La straniera was Bellini's fourth opera (second with the admired librettist Romani), and along with Il pirata is generally taken to mark the beginning of full-blown Romanticism in Italian opera, its passionate music matching the sensational incidents of the plot. Of the great sopranos of her era, Renata Scotto was the acknowledged expert on the music of Bellini, whose intimate lyricism suited her perfectly, and her tremendous performances in La straniera were crucial to reviving interest in it. This live performance from Venice in 1970 preserves a historic moment in the revival of Bellini's operas.

Average customer rating:

Johann Strauss I Edition, Vol. 4

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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Johann Strauss I Edition, Vol. 3
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ASIN: B0001Z65DU
Release Date: 2004-06-15

Tracks:

Schwarz'sche Ball-Tanze, Op. 32
Charmant-Polka
Vive La Danse! Walzer, Op. 47
Fortuna-Galopp, Op. 69
Heiter Auch In Ernster Zeit, Walzer, Op. 48
Original Parademarsch: Wiener Burger Marsch No. 1
Das Leben Ein Tanz Oder Der Tanz Ein Leben! Walzer, Op. 49
Launen-Polka
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Venetianer-Galopp, Op. 74
Hof-Ball-Tanze, Walzer, Op. 51
Galopp No. 1 Aus Die Stumme Von Portici
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Bellini - La Straniera / Aliberti, Bello, Frontali, Mingardo, Striuli, Teatro Verdi di Trieste, Masini

Average customer rating:

The Only Studio Recording of La Straniera -
Lucia Aliberti, La Straniera

Bellini - La Straniera / Aliberti, Bello, Frontali, Mingardo, Striuli, Teatro Verdi di Trieste, Masini
Vincenzo Bellini , Lucia Aliberti , Vincenzo Bello , Roberto Frontali , Sara Mingardo , and Carlo Striuli
Manufacturer: Bmg Ricordi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00004798X
Release Date: 1994-11-16

Customer Reviews:

The Only Studio Recording of La Straniera -.......2004-07-19

And its not available! Certainly not at Amazon and its web of sellers (used or otherwise). Not at JPC or Alphamusik in Germany, not at Berkshire Record Outlet, not at Archivmusic, not at Yahoo Shops, not at CD Universe, CD Connection. Not anywhere!

Please, please re-issue this CD, if not for Aliberti's sake, at least for Bellini's sake! It isn't a bad opera! Scotto, Caballe and more recently Fleming have performed it. But only Aliberti has recorded it.

Lucia Aliberti, La Straniera.......2001-07-01

The only uncut Straniera (I think), this fine recording finds Aliberti a bit subdued. Her singing is accurate and tasteful, but not fiery (as it is on a pirate Straniera from Catania where she cuts loose to spactacular effect). Her big double arias in the first and final act are beautifully but introspectively sung -- she solidly delivers the goods. Unfortunately, the tenor, whose role is vital in this opera, is not up to the role. His dry voice, with plenty of vibrato, fails to supply the seductive caress the role (and all other Bellini roles) calls for. Solid conducting. This is a live recording from Trieste, but the audience is amazingly quiet and the few stage noises actually contribute to the dramatic effectiveness of the recording.

Average customer rating:

The Art of the Clarinettist

Manufacturer: Clarinet Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000024Q4G
Release Date: 1995-11-21

Tracks:

I Puritani: Fant on Airs
Le Desir, Op.65
Morceau De Conc: Andante/Polonaise
Morceau De Salon, Op.229
Three Intermezzi, Op.13
Lorito: Caprice
Song Without Words
Solo De Concours
A Mosaic in Ten Pieces
Canto Popolare (In Moonlight)
Idylle Printaniere, Op.17 No.2
Novelette

Tracks:

Andante E Variazs Sopra Un Tema Di Mercadante
Studio Primo
Fant: Andantino Maestoso/Allegretto (With 2 Vars)/Andantino/Vivace
Cujus Animam (Stabat Mater)
Ettore Fieramosca: Dance With Vars
Una Lagrima Sulla Tomba Dell' Immortale Rossini: Adagio Sentimentale
Norma: Duetto Conc
La Traviata: Fant, Op.45
Divert: Allegro/Andante Sostenuto/Allegretto Scherzoso
Romanza Senza Parole

Bottesini: Opera Paraphrases for Double Bass & Orchestra

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Bottesini: Opera Paraphrases for Double Bass & Orchestra

Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005A0IT
Release Date: 2001-02-27

Average customer rating:

Swept AWAY!
The most exiting and wonderful introduction to Bel Canto
Bel Canto at its finest
A coloratura ensemble to die for!
The two greatest singers of all time

The Age of Bel Canto

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music
ASIN: B00000428M
Release Date: 1996-08-13

Tracks:

La buona figliuola: Furia di donna irata
Atalanta: Care selve
Meraspe: Superbo di me stesso
Samson: With Plaintive Notes
Semele: Ires, Hence Away
Astarto: Mio caro ben
Artaxerxes: Oh! Too Lovely!
Rosina: Light As Thistledown
Rosina: When William At Eve
Il re pastore: Voi che fausti ognor donate
Die Zauberflote: O zittre nicht mein lieber Sohn!...Sum Leiden bin ich auserkoren
Die Entfuhrung Aus Dem Serail: Ich baue ganz auf deine Starke
ANGELA: Ma Fanchette est charmante

Tracks:

Semiramide: Serbami ognor si fido
La Muette de Portici: Ferme tes yeux
Der Frieschutz: Und ob die Wolke sie verhulle
Beatrice di Tenda: Angiol di pace
Don Pasquale: Tornami a dir che m'ami
Lucrezia Borgia: Il segreto per esser felici
Attila: Santo di patria...Allor che i forti corrono...Da te questo or m'e concesso
La straniera: Un ritratto?...Sventurato il cor che fida
Il Barbiere di Siviglia: Ecco, ridente
Bolero

Customer Reviews:

Swept AWAY!.......2004-01-30

There really isn't much I can say about this GEM except BUY IT! A superb introduction to the glory of belcanto! BRAVA JOAN! BRAVA HORNE!

The most exiting and wonderful introduction to Bel Canto.......2003-05-26

I bought this recording a very long time ago when it came out on record. I was simply fascinated with it. The booklet then was filled to overflowing with photos of the original creators of many of the roles sung. This booklet isn't quite a lovely, nor does it contain as many interesting things about the various operas. Still, it isn't for the booklet anyone would think of buying this recording. It was released in CD before, but not at all complete. It was more a "Joan Sutherland Album." I am so glad the complete album has finally come out.

When one reviewer stated simply, "the Album sings for itself" that is no overstatement by any means. It really does. What you will hear is simply superb singing. For some the light, nearly a cross between falsetto and natural voice of the tenor may seem a bit odd, however, the sound is beautiful, and actually very correct for that style of music (especially if you consider that no tenor at the time this music was "new" sang anything in CHEST voice above the A flat, everything was in what was called "head" voice, or what we would call a very refined falsetto that blended seamlessly into the natural voice). Don't let that put you off, this is not Wagner nor late Verdi, and it is definitely NOT Puccini. The gentle caressing sound of his voice is just perfect for this music. As for Sutherland and Horne, well, with this recording you will see that they are worthy of every bit of praise they receive. Their technical skills are sublime. What I found so interesting when I bought this recording the first time was the variety of music. Much of the music presented I had never heard of before, and many of the composers I was completely unfamiliar with. The result was a lifelong search for interesting music. I have collected many of the scores of the works sung here. Some were modern printings, but some are scores owned by various singers who sang these roles, including their own embellishments. For those who would agree with Maria Callas that we "over embellish" these days, I would say, I don't think so at all. Most of the embellishments used in this recording are actually quite modest compared to those sung by the original artists.

One thing is for sure, it is probably not likely that you will ever hear this music sung so well, with so much style, so true to the feel of its age, as you will find it here. The very first number, though originally written for a castrato, is by far the most exciting piece imaginable to begin a set with. I couldn't imagine a counter tenor ever doing justice to this piece ever. And the ending piece, a Bolero, is one of the most beautiful "show stoppers" for mezzo imaginable. In short, you have two disks filled with music to grab your heart, soul, and mind. You are literally taken away from the very first piece right to the exciting bolero that ends the recording. It is such a pity that these remarkable artists didn't record many of these operas from which this music came in their entirety. After buying the scores, I can assure everyone, they are filled to overflowing with much lovely, and very special music. All they lack are artist capable of breathing joy and life into them. In this recording such wonderful artist were found.

Bel Canto at its finest.......2001-08-24

Buy it, if you can find it, and you will see why it does not need to be praised. It "sings for itself."

A coloratura ensemble to die for!.......1999-10-13

The day they reissued this recording on cd was one of the luckiest ever for opera-lovers. If you haven't heard this set, you haven't heard what perfection sounds like, with many operatic pieces usually not dared to be repeated elsewhere. Sutherland and Horne are the soprano/mezzo combination who were born to sing together; their silky tonal blending in the Semiramide duet turns them into one musical being. Likewise, Richard Conrad can melt his ultra-light bel canto tenor into the softer nuances of the women's voices and create harmonies that are too amazing for words... listen to their stunningly gentle trio in Bellini's Angiol di pace... and Conrad's ethereal love duet with Sutherland from Don Pasquale. Two sounds coming from seemingly one person. The best thing about this set, other than the literal show-off magic of super stars in their prime, is that it features three very distinctive ranges of voice, whose pieces are inter-arranged so thoughtfully that just when you think you've heard the best aria ever from a soprano, you suddenly land into the best aria ever from a mezzo and so on and so on... every piece tops all the others. The selection of material is also not just your usual often-recorded-old-standbys... among the scattered well-knowns are less familiar pieces that rival anything ever written in sheer beauty and melody. My copy is on continual loan -- no one seems to want to return it!!

The two greatest singers of all time.......1999-09-03

Sutherland and Horne...the two greatest singers of all time for this opera lover. The two most beautiful voices of all time. They blend like two strings of a Stradivarius violin in the Semiramide duet. Sutherland sounds like a mezzo in her middle register, and Horne like a soprano in her upper register. Between the two of them, them brought back the golden age. Listen to "Santo di Patria" from Verdi's Attila ( a true dramatic coloratura cabaletta ), and you'll see why Sutherland earned the nickname La Stupenda.

Sigismond Thalberg: Fantasies on Operas by Bellini

Average customer rating:

"More perfect as a real virtuoso"

Sigismond Thalberg: Fantasies on Operas by Bellini

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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ASIN: B00005K3P8
Release Date: 2001-07-17

Tracks:

Grande Fant Et Vars Sur Des Motifs De La Norma, Op.12
Grande Fant Et Vars Sur Des Motifs De I Capuletti, Op.10
Fant Sur Des Motifs De Beatrice Di Tenda, Op.49
Fant Sur Des Motifs De La Straniera, Op.9
Grande Caprice Sur Des Motifs De La Sonnambula, Op.46

Customer Reviews:

"More perfect as a real virtuoso".......2006-06-27

Sigismond Thalberg's name in today's view of music history is almost exclusively linked with the great pianistic rivalry he shared with Franz Liszt. But Thalberg's life, influence on the composers around him, and the popularity of his music during his lifetime reveals that he had a far more substantial role in music history. Thalberg's peculiar mannerism of sitting at the piano with a firm and motionless composure while playing heavily demanding virtuosic passages led Mendelssohn to believe that Thalberg, "within his more restricted sphere, is more perfect as a real virtuoso." Thalberg's style of performance, however, seems totally incongruous with his own compositions, especially his operatic fantasias, which effuse not only brilliant pianistic effects, but also emotionally expressive music. Apparently, Thalberg studied singing for five years, and it shows in the vocal qualities of his own piano-writing. This Naxos release is a reissue from the Marco Polo label, and I feel it deserves five stars for the special first-recorded content and the excellent interpretations given. The performances by the stupendous Francesco Nicolosi, the president of the Thalberg International Study Center, are marvelous and without defects.

Thalberg's Grande Fantaisie on Bellini's Norma Op. 12 is an exceptional work, and Robert Schumann gave it a positive review in his New Journal of Music. Being familiar with Liszt's Norma Fantasy, I found a lot in common between the two. But while Liszt's dramatic mood far exceeds Thalberg's, the virtuosic thrill and beautiful thematic material makes Thalberg's Fantasy as equally memorable as Liszt's. In his insightful book, From Paris to Peoria: How European Piano Virtuosos Brought Classical Music to the American Heartland, R. Allen Lott observes that in Thalberg's fantasia writing "Instead of merely assembling a string of mechanical variations, Thalberg [molds] the work into a dramatic unity, gradually building toward a grand climax through various restatements of the unchanging theme while the accompaniment [shifts] kaleidoscopically." I concur, especially after relistening to the two Fantaisies on Bellini's I Capuletti and Beatrice di Tenda. These majestic fantasies exude enough emotional ideas from their inherent operatic themes, but Thalberg's cantabile writing and electrifying embellishments somehow enhances the sensationalism of the music.

R. Allen Lott also believes "Thalberg's emphasis on a singing tone and brilliant virtuosic display [coalesces] in his opera fantasias, in which a lyrical melody from an operatic source is surrounded by the most severe technical demands." The Fantaisie on Bellini's La Straniera is a perfect example. Thalberg's innate sense of vocality and aria-like melodic line comes across in his pianistic treatment. Needless to say, Thalberg also works in dazzling embellishments and virtuosic fanfares. It is with the Grande caprice on Bellini's La Sonnambula that I am most taken with, though. The Introduction is full of incredible angst and orchestral sonorities and the subsequent themes from Bellini's opera gush with beauty. Thalberg uses all of his tricks of textured trills, sequenced chords, trickling arpeggios and other decorations. Yet somehow the emotional strength of Bellini's themes is never compromised. With typical Romantic bravura, the piece climaxes with fortissimo restatements and whirling energetic ornamentations. The whole fantasy is a lovely tour-de-force and a strong case for Thalberg's compositions.

Bottom line: The American critic John Sullivan Dwight didn't think there was much profundity in Thalberg's music but made the point that these fantasies "illustrate the possibilities of the piano, in a way to strike and astonish, but above all to please the general ear of music lovers." I think Thalberg's music deserves more credit than this and I believe Francesco Nicolosi proves there is more to this music than mere pianistic display. Nicolosi's robust virtuosity enables him to focus on interpretation, and I think his performances shed new light on Thalberg.

Average customer rating:

Bellini: La Straniera

Manufacturer: Melodram
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000001ZR1
Release Date: 1994-06-28

Tracks:

Atto Primo: Intro - Orch Dell' American Opr Society/Anton Guadagno
Atto Primo: Vaga, Vaga, Il Vento Tace - Chor Dell' American Opr Society/Anton Guadagno
Atto Primo: Ne Alcun Ritorna? - Bianca Maria Casoni
Atto Primo: Io La Vidi - Bianca Maria Casoni/Vicente Sardinero
Atto Primo: Oh Tu Che Sai Gli Spasimi - Bianca Maria Casoni/Vicente Sardinero
Atto Primo: E Questo Il Loco - Amedeo Zambon
Atto Primo: Sventurato Il Cor - Montserrat Caballe/Amedeo Zambon
Atto Primo: Serba, Serba I Tuoi Segreti - Montserrat Caballe/Amedeo Zambon
Atto Primo: Ah, Se Tu Vuoi Fuggir - Amedeo Zambon/Montserrat Cabelle
Atto Secondo: Intro - Chor Dell' American Opr Society/Anton Guadagno
Atto Secondo: Ti Trovo Al Fine - Amedeo Zambon/Vicente Sardinero
Atto Secondo: No, Non Ti Son Rivale - Vicente Sardinero/Amedeo Zambon/Montserrat Caballe
Atto Secondo: Che Mai Penso - Amedeo Zambon/Chor Dell' American Opr Society/Anton Guadagno
Atto Secondo: Ah, Non Partir - Montserrat Caballe/Vicente Sardinero
Atto Secondo: Leopoldo! - Amedeo Zambon/Vicente Sardinero/Montserrat Caballe/Chor Dell' American Op Society/Anton Guadagno
Atto Secondo: Un Grido Io Sento - Montserrat Caballe

Tracks:

Atto Terzo: Udimmo Il Tuo Racconto - Alan Ord
Atto Terzo: Si, Li Cogliete - Vicente Sardinero/Montserrat Caballe/Alan Ord/Chor Dell' American Op Society/Anton Guadagno
Atto Terzo: Meco Tu Vieni - Montserrat Caballe/Bianca Maria Casoni/Amedeo Zambon/Vicente Sardinero/Don Yule/Clifford Billions...
Atto Quarto: A Tempo Io Giungo - Amedeo Zambon/Vicente Sardinero
Atto Quarto: Su, Sulla Salma Del Fratello - Vicente Sardinero/Amedeo Zambon
Atto Quarto: Ne, Alcun Ritorna - Bianca Maria Casoni
Atto Quarto: Ah, Se Non M'ami Piu - Bianca Maria Casoni
Atto Quarto: E Dolce La Vergine - Chor Dell' American Opr Society/Anton Guadagno
Atto Quarto: Che Far Vuoi Tu? - Montserrat Caballe/Bianca Maria Casoni/Amedeo Zambon/Vicente Sardinero/Don Yule/Clifford Billions...
Atto Quarto: Ciel Pietoso - Montserrat Caballe
Atto Quarto: Pari All'amor Degli Angeli - Chor Dell' American Opr Society/Anton Guadagno
Atto Quarto: Or Sei Pago - Montserrat Caballe/Chor Dell' American Opr Society/Anton Guadagno
Nel Furor Della Tempesta - Bernabe Marti/Herman Salerno/Jerry Helton
Tu! Sciagurato! Ah Fuggi - Montserrat Caballe/Bernabe Marti
Eccomi A Te, Gualtiero - 0Montserrat Caballe/Bernabe Marti/Jhon Reardon

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