Meyerbeer: Gli Ugonotti

On this CD:

1. Les Huguenots, grand opera in 5 acts
Composed by Giacomo Meyerbeer
Performed by Joan Sutherland, Giovanni Antonini, Giuseppe Bertinazzo, Maddalena Bonifacio, Virgilio Carbonari, Nicolai Ghiaurov, Franco Corelli, Fiorenza Cossotto, Clara Foti, Vladimiro Ganzarolli, Alfredo Giacomotti, Enzo Guagni, Walter Gullino, Silvio Maionica, Angelo Mercuriali

Tracks:

Gli Ugonotti: Atto Uno: Scena 1: Preludio
Gli Ugonotti: Atto Uno: Scena 1: Nei bei di di giovinezza
Gli Ugonotti: Atto Uno: Scena 2: Qui sotto il ciel della Turrena
Gli Ugonotti: Atto Uno: Scena 2: Piacer della mensa
Gli Ugonotti: Atto Uno: Scena 2: Versate in abbondanza
Gli Ugonotti: Atto Uno: Scena 2: Non lungi dalle torri.....
Gli Ugonotti: Atto Uno: Scena 3: Qual mai strana figura - io comparir qui veggo?
Gli Ugonotti: Atto Uno: Scena 3: Ma che? ben osservando, mi ricorda
Gli Ugonotti: Atto Uno: Scena 3: Piff, paff, piff, paff!
Gli Ugonotti: Atto Uno: Scena 4: Del Castello al Signor
Gli Ugonotti: Atto Uno: Scena 5: L' avventura e singolare
Gli Ugonotti: Atto Uno: Scena 6: Scoglier si dee l'imen
Gli Ugonotti: Atto Uno: Scena 7: Nel mio Castel...Salute, o Cavalieri
Gli Ugonotti: Atto Uno: Scena 7: Talor soverchio merto anche importuna!
Gli Ugonotti: Atto Uno: Scena 8, 9, 10: Lieuto suol della Turrena
Gli Ugonotti: Atto Uno: Scena 8, 9, 10: Che la lotta fatal dell'empie sette
Gli Ugonotti: Atto Uno: Scena 8, 9, 10: Chi giunge qui?...deh, vedi
Gli Ugonotti: Atto Uno: Scena 11: Egli vien, egli vien!
Gli Ugonotti: Atto Uno: Scena 12: Raul, la vostra fe
Gli Ugonotti: Atto Uno: Scena 12: Scender nel mio petto
Gli Ugonotti: Atto Uno: Scena 13: Signora! Ancor qui siete, Urbano?
Gli Ugonotti: Atto Uno: Scena 14: Onore alla piu bella!
Gli Ugonotti: Atto Uno: Scena 12: Per l'onor, per la fe

Tracks:

Gli Ugonotti: Atto Terzo: Scena 1: Ecco il giorno di festa
Gli Ugonotti: Atto Terzo: Scena 1: Vergin del Cielo
Gli Ugonotti: Atto Terzo: Scena 1: Su, venite, siamo qua
Gli Ugonotti: Atto Terzo: Scena 1: Per compire un voto di pieta
Gli Ugonotti: Atto Terzo: Scena 2: Tornate alla vostra magion
Gli Ugonotti: Atto Terzo: Scena 3: Nell'orror di cupa notte
Gli Ugonotti: Atto Terzo: Scena 3: Ah l'infido! quest' anima amante
Gli Ugonotti: Atto Terzo: Scena 3: Tu m'intendesti?...Addio...
Gli Ugonotti: Atto Terzo: Scena 4: Su, su, Marcel...se in tempo giungerem
Gli Ugonotti: Atto Terzo: Scena 4: Alto la!... Oh tradimento!
Gli Ugonotti: Atto Terzo: Scena 5, 6: Alt, ola! rispettate
Gli Ugonotti: Atto Quattro: Scena 1, 2: Alfin son sola, sola col mio dolor
Gli Ugonotti: Atto Quattro: Scena 3: Di Caterina un cenno tutti
Gli Ugonotti: Atto Quattro: Scena 3: La causa e santa e in petto
Gli Ugonotti: Atto Quattro: Scena 3: Su vuoi fidar puo il re?
Gli Ugonotti: Atto Quattro: Scena 4: E voi che rispondete
Gli Ugonotti: Atto Quattro: Scena 5: Gloria a Dio vendicatore
Gli Ugonotti: Atto Quattro: Scena 6: Raul...ove vai tu?
Gli Ugonotti: Atto Quattro: Scena 6: Stringe il periglio
Gli Ugonotti: Atto Quattro: Scena 6: Non ascolti un suon funebre?

Tracks:

Gli Ugonotti: Atto Quattro: Scene 1 & 2: Sei tu, mio buon Marcel
Gli Ugonotti: Atto Quattro: Scene 1 & 2: Non vedi tu che a speme il cor si appresta?
Gli Ugonotti: Atto Quattro: Scene 1 & 2: Nell' unir vostre man
Gli Ugonotti: Atto Quattro: Scene 3: Chi va la?
Gli Ugonotti: Bonus Track: Non lungi dalle torri...
Gli Ugonotti: Bonus Track: Piff, paff, piff, paff!
Gli Ugonotti: Bonus Track: Lieuto suol della Turrena - che la lotta fatal dell'empie sette
Gli Ugonotti: Bonus Track: Raul...ove vai tu?
Gli Ugonotti: Act 2: Duo: O ciel, ou suis - je?
Gli Ugonotti: Act 2: Preux doit vivre sa belle
Gli Ugonotti: Act 2: Ah! Si j'etais coquette
Gli Ugonotti: Act 4: Grand Duo: O ciel! Ou courez - vous?
Gli Ugonotti: Act 4: Tu l'as dit!
Gli Ugonotti: Act 4: Plus d'amour! Plus d'ivresse!

Customer Reviews:

Breathtaking.......2006-02-17

This is a magnificent performance that was luckily captured on recording. My only quip is that the thunderous ovation following the big Corelli/Simionato duet (which has to be heard to be believed) was cut. This is live La Scala at its most exciting. You should not buy this recording for an accurate, complete realisation of Les Huguenots. It is sung in Italian and is heavily cut and it is glorious!

Unbelievably Glorious Singing.......2005-06-23

First of all, I CANNOT believe all of the caterwauling that these ignorant reviewers have bestowed upon this historic evening of singing. Did you fools LISTEN to this recording??? Who cares that the score is cut (my God, Hugenots uncut is over 4 hrs. long!) This is passionate, glorious opera singing that I shall probably never hear the likes of in a live performance during my lifetime. And to those who are complaining about the sound: this is NOT a studio recording! The sound is very acceptable for a live perfomance from the 60's. In short, buy this!

Musically inaccurate to the max.......2004-08-13

I concede that Sutherland, Corelli et al are in excellent voice, but what they sing is a heavily-cut, slowed-down performance of the music. Corelli, who never had a high D, also avoids the C in the Act II duet...not that I "only" listen to music for high notes, like some folks do, but Meyerbeer wrote those notes in for dramatic purposes so they are part of the score. Sutherland herself was so upset with this performance that she finally made a complete recording of the opera (at proper tempos) two years later with her husband, Richard Bonynge, conducting.

I would, however, recommend the cut but terribly exciting Nicolai Gedda performance over this one, or Sutherland's commercial recording. The Gedda-Tarres-Shane performance is unbelievably intense!

Really!.......2004-04-18

Last night I wanted to buy a CD of Sutherland in this opera, I have a Gedda live recording which I like. So I came to this and read a lot of the reviews. Sounded pretty impressive and the price was right. It also ran a bell, so I went to the rack and found I already have this recording (duh). Okay. For two nights and days I've been listening to it. To begin with, it sounds as though it were being sung through a cell phone. The Gedda is better. Sutherland's voice is pretty, but I prefer her in other things. The review by Catharina Kuefstein is so fierce, so passionate and so well written that I love it. In fact, I like it so much that I don't want to disagree with it. But alas I do on at least one point. She says that opera (singing) is more than just vocal tricks. Well, I like vocal tricks, gymnastics, coloratura. (By the way, have you ever noticed that Gruberova (my darling operatic discovery when she first came out, what a waste) has an enraging idiosyncrasy of sliding up to her final high notes instead of leaping to them, making a clean break? Clearly she could jump if she wanted to (why doesn't she want to?), it bothers me so much that (sigh) I got rid of almost all her recordings that I had, keeping only a few Donizetti rarities that no one else has sung that I know of. Caballe, on the other hand (another one I won't listen to unless I have no choice, again on rare live Donizetti recordings) doesn't end up at all, she goes up and then drops!) But back to the opera at hand. The music is beautiful, of course, I don't think anyone in it is so ecstatically brilliant as most of these manic reviewers proclaim, the high octane cast notwithstanding, and I think most of these other reviewers would be better off if they knew a little less about music and a little more about English grammar. (Even Kuefstein, whose review I admire so much, slips.)

A review plus corrections.......2004-02-10

Here comes my review but first I want to correct several ignorant reviews here. First of all, what's this fight about the numbers of high notes? I think it's childish, immature and stupid. Who CARES about the number of high notes, this is OPERA and not a vocal tricks fest! Also, spell it right, it's VERISMO!

"I am the biggest fan of the tenor of not only this Century but of all time...going back to the era of Rubini. Franco Corelli is the emperor of tenors and he kills Bjoeling, Caruso, and Gigli."

Good lord, what's this? He never even heard Rubini and the notion that Corelli "killed" Caruso, a singer with a greater technique, more style and grandeur is just ridiculous. I love Corelli but he wasn't the greatest tenor ever.

"I'm not out to exaggerate. But these two highlights are miraculous. Sutherland, in 1962 voice with super squillo and gigantic high notes(high C's,D's,E'sand even Fs are easy for her)These notes are the size of Nilsson's, and they left me with my jaws hanging and breathless. La stupenda simply attacks every terrifying notes of Marguerite's taxing coloratura and adds her own even more difficult embellishments. Tossing trills and fiorituri, here, there, and everywhere, making even the most arduous coloratura unsingable to all other divas seem like child's play. She trills and trills all through her great scene, high above the staff and taking 64th notes as if it's nothing. Her rendition of O beau pays and its even more taxing cabaletta is just a stroll in the part for her. Sutherland's exquisite super squillo, especially the notes above the staff makes all other sopranos take up pottery or needle-point(take your pick), her trills-both high and low are what legends are made of, to shame the flute, and the fioritura so fast that the orchestra has to catch up with her, we're talking 64th notes that cover 20 seconds at a time through two octaves. Sorry, this one must be heard to believe the scope of Dame Joan's power when she was in her prime. This is bravura singing in the style never heard since the days of Malibran!"

Never in my life have I read anything like this. A) Opera is more than high notes, tricks etc. What does Sutherland do with the text? The role? Is her phrasing and diction idiomatic, how is her vocal colouring, is her style coherent and Meyerbeer-like? B) Plus Sutherland's bell like voice has nothing in common with Malibran who was a soprano sfogato. Read Stendhal's writing (He heard Malibran) or Kesting's book on the times of Bellini and Donizetti.

"If corelli is the Emperor, she is his emperess, and we know that it's the empress who rules. No wonder she is called the "Voice of the Century!"

She isn't. She's called La Stupenda. Callas was labelled "Voice of the century".

"This is Verisimo singing for the books. And this could be the most awesome live recording of an opera in the last century...Infinitely, and I repeat, infinitely superior to even the Corelli/Price Travatore... and with far superior sound."

VERISMO. Plus Meyerbeer is stylistic French Grand Opera, not VERISMO. Also, Verdi's opera is called "Il Trovatore". To compare these recordings, it's like apples and oranges.

This recording with its overblown high notes, added fioritura, bad Italian translation and totally unidiomatic cast lacks style, finesse, French grandeur and taste. A gathering of opera's big names but completely miscast. None of them had the French style of a Nicolai Gedda, a Ninon Vallin, Alain Vanzo (A SUPERB Raoul) or a George Thill for example. This elegant, stylistic grand opera is torn to pieces, dragged down as a verismo-fest with overblown high notes fights (What you can hold I can hold longer!), senseless unwritten fioritura and acuti and totally wrong style. Then there are PAINFUL cuts.

And for the low trills of Sutherland: Her low notes were never her strength and weak, hollow and mushy. Her glory was her top and her middle.

And to clear up another lie:

"Callas was asked to sing the role of Valentine vs Sutherland's Queen. She chickened out, and smartly so. For if Callas was to confront Sutherland at La Scala, Milan, Sutherland would shame Callas's and she knew it."

Tracks:

Act One: Prld - La Scala Orch, Milan/Gianandrea Gavazzeni
Act One: Nei Bei Di Di Giovinezza - Wladimiro Ganzarolli
Act One: Qui Sotto Il Ciel Della Turenna - Franco Corelli
Act One: Piace Della Mensa - La Scala Chor, Milan
Act One: Versate in Abbondanza - Wladimiro Ganzarolli
Act One: Non Lungi Dalle Torri... Bianca Al Par - Franco Corelli
Act One: Qual Mai Strana Figura - Piero De Palma
Act One: Ma Che? Ben Osservando - Manuel Spatafora
Act One: Piff, Paff, Piff - Nicolai Ghiaurov
Act One: Del Castello Al Signor - La Scala Chor, Milan
Act One: L'avventura E Singolare - Piero De Palma/Antonio Cassinelli
Act One: Scioglier Si Dee L'imen - Wladimiro Ganzarolli
Act One: Vaga Donna Illustre E Cara - Fiorenza Cossotto
Act One: Talor Soverchio Merto - Wladimiro Ganzarolli
Act One: Lieto Suol Della Turenna - Joan Sutherland
Act One: Che La Lotta Fatal - Joan Sutherland
Act One: Chi Giunge Qui - Joan Sutherland

Tracks:

Act One: Chor - La Scala Chor, Milan
Act One: Raul, La Vostra Fe - Joan Sutherland
Act One: Scender Nel Mio Petto - Joan Sutherland
Act One: Per L'onor, Per La Fe Degli Avi Miei - Franco Corelli/Giorgio Tozzi/Wladimiro Ganzarolli
Act Two: Ecco Il Giorno Di Festa - La Scala Chor, Milan
Act Two: Vergin Del Cielo - La Scala Chor, Milan
Act Two: Su Venite, Siamo Qua - La Scala Chor, Milan
Act Two: Per Compire Un Voto Di Pieta - Wladimiro Ganzarolli
Act Two: Tornate Alla Vostra Magion - La Scala Chor, Milan
Act Two: Nell' Orror Di Cupa Notte - Nicolai Ghiaurov
Act Two: Ah! L'infido! Quest' Anima Amante - Giulietta Simionato
Act Two: Tu M'intendesti?... Addio - Giulietta Simionato

Tracks:

Act Two: Su, Su Marcel - Nicolai Ghiaurov
Act Two: Alt, Ola; Rispettate Di Novarra La Regine - Fiorenza Cossotto
Act Three: Alfin Son Sola - Giulietta Simionato
Act Three: Di Caterina Un Cenno - Giorgio Tozzi
Act Three: La Causa E Santa - Giorgio Tozzi
Act Three: Su Voi Fidar Puo Il Re? - Giorgio Tozzi
Act Three: E Voi Che Rispondeste - Giorgio Tozzi
Act Three: Gloria A Dio Vendicatore - La Scala Chor, Milan
Act Three: Raul.. Ove Vai Tu? - Giulietta Simionato
Act Three: Stringe Il Periglio - Franco Corelli
Act Three: Non Ascolti Un Suon Funebre? - Franco Corelli

Customer Reviews:

give it a rest you opera scholars............2006-12-02

These were the last of the titans of opera and we will not see their like again. All the blah blah blather by the opera elitists. What a bore. These are the same 'educated' opera lovers who accused Caruso of being too crude in his lifetime. They just HATE any singing with a temperature over 98.6......

A LIVE DOCUMENT OF A REVIVAL - PERIOD!.......2005-10-29

I am astounded by some of the comments in these postings. To begin with, under the guise of a "kid's review", such sophisticated
aural observations are made? If these are "kids", then the rest of us must have been retards when we were twelve. Secondly, I would like to inform "Madamemusica", or whatever she calls herself, that despite whatever musical education she has had, her comment that those who love Corelli don't know much about music, defies all logic, and defaces whatever she professes to know about music. This performance of "Ugonotti" is a live broadcast of a 1962 performance that took place at La Scala - with the most spectacular cast that could be assembled at the time. The combination of Sutherland/Corelli/Simionato/Cossotto alone is a cause for wonder. The broadcast sound is adequate for the document that it is. This opera would not be performed like this today (to begin with, are there singers to do it?), certainly not in Italian anyway, and nor would it be cut as drastically. Whatever the case, a lot of the singing is involving and the big Corelli-Simionato duet is something to hear. And yes, I happen to admire Franco Corelli tremendously. What a fabulous sound legacy he has left behind, and how vividly I recall the effects he made on opera audiences here in Chicago as well as New York. I am sure that "Madamemusica" has had the same acclaim in her life. People who bash artists in such a fashion reduce music to something on the level of a wrestling match to be seen on late Saturday night television. They should be ashamed of themselves.

Quite frankly, a mess.......2004-08-01

All these great voices in one place...it would be nice if they actually sang the music as written.

Even Sutherland has complained about this performance. Though she was in fabulous voice, the music of the opera was virtually ruined by the sluggish tempi and especially by Franco Corelli's abuse of legato when he should be singing more rhythmically, skipping many of the written high notes, and omitting some cadenzas. Of course, if you are a Corelli fan you probably don't know much about music anyway, so you can just ignore this review and go on adoring his goopy vocal style.

Overall, the finest "Huguenots" is still the famous 1971 Vienna performance with Shane, Tarres, Petkov, Diaz and the superb Nicolai Gedda as Raoul. Marzendorfer conducts with a real sense of purpose and drama, the sound is shockingly superb for so vintage a live recording, and Gedda comes closest to the Meyerbeerian ideal tenor. A shame it is abridged, just as this recording is.

Gli Ugonotti.......2003-12-08

Gli Ugonotti is a grand opera and probely the Grandest of all operas. This CD is the five act version thought edited it is there. The company must have scruded up there. This recording is would be tops if not for the microphone. Sutherland is excelent with the high notes as is Corelli with his. I have been an opera fan for about three years now and I know this is a great recording!!!

The TRUTH about this recording.......2003-12-06

The sound of this recording is passable, though very imperfect, and the singers don't always "sound" in important moments. If you follow with a score in hand, be prepared to be more than disappointed. Firstly, some of the finest ensemble writing is cut out completely. You will then discover that even though the Tenor (Corelli) and the "Falcon Soprano" (Simionato) sing wonderfully full-bodied performances, neither of them sing any of the written cadenzas (especially the one out of the Act IV duet which requires the tenor to sing wonderfully a line clear up to a high D), and for all Simionato's praised high notes, she really sings very few high C's (less than a quarter of them written, though mind you, Meyerbeer did write lower alternate lines - not just notes - for those parts, which she often sings, and ineffectively, since her voice seems to lose the needed power when doing the lower alternates, fading into nothing). Both understand ITALIAN style well, and yet neither of them has a good legato line. Corelli is to the point where he becomes annoying with his continual need to use the spring-board of the petit note inferior to reach his high notes. The constant aspirates during the famous forth act duet (during the soft part "Ah dillo ancor, Tu m'ami", and it is written PPPP in the score demanding the tenor float the notes, not blast them out) not only spoil the haunting effect asked for in the music, they actually ruin the piece entirely. And what makes it even more glaring is that Simionato sings her repeat with a wonderful legato line. Yes, Corelli is energetic, virile in fact, but he is SLOPPY to the extreme. He may have been the best tenor of the day, with fabulous looks, but it would have been nice to actually hear him sing with proper style.

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The TRUTH about this recording
To clear up lies spread by Corelli fanatics
Get Gedda's recording instead of this one
Bravi, Bravissima for Dame Joan Sutherland
Sutherland was the star

Meyerbeer: Gli Ugonotti

Manufacturer: Living Stage
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B00003O9J4
Release Date: 1999-12-15

Customer Reviews:

The TRUTH about this recording.......2003-12-06

To clear up lies spread by Corelli fanatics.......2003-12-06

The singing in this opera is stupendous all around, even if the tenor is somewhat weak and has a very reedy voice. This tenor (Vrenios) sings the music adequately and includes all the very high notes, which in the live Italian version of this opera Corelli does NOT do (I stress this because if you read the reviews of that recording everyone is going on and on about all his high B's and C's and D's; he sings a few high B flats, one High C, and NO high D flats at all, that is the facts, and all the cadenza. I have heard this tenor in other recordings, and the voice is very different. He does have very powerful high notes in the traditional manner. That makes me wonder if Bonynge was trying to have the tenor sing in accordance to the time the opera was written. High notes from the chest were seldom heard, and tenors sang them either in a full falsetto or in a mixed falsetto middle voice. To my ear, that is the sound he is trying to achieve. It works, though there is some strain, but it is so different from the sound we are used to I am not that sure it comes across that effectively.

Get Gedda's recording instead of this one.......2003-08-21

This recording is not as good as some reviewers would like you to think. It is heavily cut and is in Italian. Meyerbeer's opera sounds better in French. The singers, especially Franco Corelli, sing like they are in a verismo opera rather than a French grand opera. Corelli offends with his scooping and he cuts out the florid bits as well as the most difficult tenor passages. Only Giulietta Simionato and Joan Sutherland are models of good taste. Sutherland, especially, is a great Queen Marguerite with stupendous coloratura and correctly-hit, electrifying high notes. Get Nicolai Gedda's live recording of a cut performance of the opera on Myto instead. Gedda doesn't scoop like Corelli does, and unlike Corelli, Gedda sings the florid parts and the most difficult tenor passages. He is a model of French style and good taste. His Queen Marguerite is Rita Shane, who is almost as good as Sutherland is. Myto's sound is very good, and the recording comes with a French libretto, though no English translation is provided.

Bravi, Bravissima for Dame Joan Sutherland.......2003-05-24

sang all the high notes easily and holds them. Simionato, although a mezzo actually matched many of Corelli's high C's.
But the real star is the coloratura, Dame Joan Sutherland, singing one of the most difficult role in the entire reportoire with such ease as if just opening her mouth. This rediculously impossible to sing written music is sheer child's play for her. Throwing trills, runs, scales, staccato and extremely high notes here, there, and everywhere. All the while maintaining what many consider the most pure and glorious soprano sound of our time. She is the greatest coloratura soprano in the entire operatic heaven. Listen to her and the others in this most difficult opera and be dumbfounding by phenomenal singing.
(unfortunately, Sutherland, especially in the 1980's, when she was way past 50, continue to sing and record operas. Thereby discrediting herself to some extent if a new opera lover had not heard her in her prime period of between 1956-1976 and therefore thought that a 1980 recording of Sonnambula is the true Sutherland sound when that was the period that Sutherland lost at least half her voice and technique. Nevertheless, the great Prima Donna had a massive 30 year spand of spectacular singing career of performing the most fiendishly difficult music ever written for the soprano voice).
P.S. Corelli and Simionato performed the most sensational grand duet on record and ranks as one of the most impressive display of that type of demanding verisimo singing.

Sutherland was the star.......2001-11-04

The history of the annals of opera notes that La Stupenda (Joan Sutherland) received 28 curtain calls in a role that has only one big scene for Joan's role - as Marguerite. Sutherland, the queen of coloratura sopranos was awesome. Corelli - known to be a jealous type of singer, never sang with her on stage again. However, Corelli was fantastic - he match Sutheland's huge high notes, but he battles not Sutherland in this opera. His duets are with Simionato. And the two of them are wonderful in the grand duet. Corelli hits a several high D's in this opera. Live sound of 1962, but not bad. This is the most vintage recording in the books by Sutherland, Corelli, and Simionato - who were three of the greatest singers of the 20th century.

Meyerbeer - Gli Ugonotti - Gianandrea Gavazzeni (3 CD Set)

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Meyerbeer - Gli Ugonotti - Gianandrea Gavazzeni (3 CD Set)

Manufacturer: GALA Records
ProductGroup: Music
Binding: Audio CD
ASIN: B000ECU23Y

Product Description

GIACOMO MEYERBEER (1701-1864). GLI UGONOTTI. Opera in quattro atti Opera in four acts. Margherita di Valois - Joan Sutherland, Fidunzata di Enrico - lvetrothed of Henry of Navarre, lid id de Nangis - Franco Corelli, Gentiluomo - protestante/protestant nobleman, Il Conte di Saint-Bris - Giorgio Tozzi, Signore cattoli - catholic nobleman, Valentino - Giulietta Simionato, Sua figlia/his daughter, Urbano - Fiorenza Cossotto, Paggio di - Margherita/Marguerite"s page, Marcello - Nicolai Ghiaurov, Strvo di - Raul/Raoul"s servant, Il C.onte di Nevers - Wladimiro Ganzarolli, Signore cattolicol - catholic nobleman, Tavannes - Piero de Palma, Cosse - Giuseppe Bertinazzo, Thore - Manuel Spatafora, De Retz - Antonio Cassinelli, Meru - Alfredo Giacomotti, Maurevert - Silvio Maionica, Bois-Rose - Walter Gullino, Soldato ugonotto/a - Huguenot soldier. Leonard - Angelo Mercuriali. Servo di il Conte di Neverslvalet of the Count of Nevers, Un arciere - Virgilio Carbonari, A constable, Una dama - Clara Fotti, A maid of honour, Quattro signori - Walter Gullino, Angelo Mercuriali, Four gentlemen - Giuseppe Morresi, Alfredo Giacomotti, Due zingare - Clara Fotti, Maddalena Bonifaccio, Two gipsy girls Tre frati - Enzo Guagni, Virgilio Carbonari, Giovanni Antonini, Three monks. Orchestra and Chorus of the Teatro alia Scala, Dirigent/Conductor: Gianandrea Gavazzeni, Teatro alla Scala, Milan, June 7, 1962.

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Meyerbeer: Gli Ugonotti

Manufacturer: Classic Memories
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
ASIN: B00008FFIP
Release Date: 1994-08-23

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Gli Ugonotti
Meyerbeer , Sutherland , and Simionato
Manufacturer: Great Opera Perform.
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
ASIN: B00008F5P2
Release Date: 1994-01-04

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Gli Ugonotti
Meyerbeer , Lauri-Volpi , Serafin , and Milan
Manufacturer: Arkadia: the 78's
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
ASIN: B00008EOYZ
Release Date: 1995-03-06

Music Track:

Music Track

music track

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