Donizetti: Anna Bolena / Sutherland, Ramey, Mentzer, Bonynge
933354
Donizetti: Anna Bolena / Sutherland, Ramey, Mentzer, Bonynge is a 1987 Decca recording starring Joan Sutherland in the leading role of Anna Bolena. Richard Bonynge leads the Orchestra and Chorus of the Welsh Opera. Besides all the lyrics, the booklet also contains well written music notes and photographs of the performers from the time of the recording. Sutherland is magnificent in the role of Anna Bolena. Truly an impressive performance. Highly recommended. 5/5.
1379241
This is a very fine production and wonderful performance of 'Don Giovanni' back in 1999.
Riccardo Muti has conducted a number of Da Ponte's Mozart operas in Vienna, and this, together with the 1996 'Cosi fan tutte', are musical winners through and through.
The reason is simple - the casts in both productions are GREAT.
In this 'Don Giovanni', for once, we have a Spanish 'Don'. Carlos Alvarez - who is both a fine actor and good baritone, though most of the time, he got 'muffled' in costumes and wigs that are not really becoming the Don. Visually he could have fared much much better had a more sensible art director been around.
He handled the vocal parts with aplomb, though the 'Serenade' could have been a bit more sweet and alluring. But generally speaking, he has the vocal prowess to depict a roguish Don, and the looks to convince that this Don is a real charmer and seducer.
As the 'counterpart' to the Don, D'Arcangelo is a funny and lithe Leporello, so rarely found in terms of comic capacity. HIS costumes are surprising effective, and he makes good use of his capabilities in this important role. The Catalogue Aria is a real winner.
The ladies are all very good, with the vocal crown to Adrianne Pieczonka, whose Donna Anna blows the listeners away through and through, though visually more stolid. Anna Caterina Antonacci is very convincing as Donna Elvira. While her earlier entrance isn't that 'fiery' as the role demands, in the latter two Acts she is able to conjure up all the sympathy for this role.
While the soubrette role of Zerlina is being sung by Austrian mezzo Angelika Kirchschalger instead, hers is both a vocal and acting winner. The Massetto is Lorenzo Regazzo, who has since built up a major baritone career. And even the Commendatore is none other than Selig!
This production offers wonderful chance to see ALL these big operatic names in their youthful state, and with Muti at the pit, nothing can go wrong!
3959095
It is impossible to expect an unimaginative or uninvolved performance from Concerto Italiano. Alessandrini and his 2 marvelous divas perform both Stabat Maters with white-hot passion and fervour. Gemma Bertagnolli and Sara Mingardo nead not fear comparisons with anyone, both of them have great voices and know very well what they are singing. Even  the recent Bonney/Scholl recording on DECCA comes in second place to this OPUS111 offering.
2479856
Dame Joan Sutherland did some fine things in the last decade of her career, but this isn't foremost among them.  Rodelinda was Sutherland's first new role after the 1959 Lucia which brought her to international fame.&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/A-crackly-recording-of-that-first-Rodelinda/dp/B000QQYIRY/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">A crackly recording of that first Rodelinda</a>&nbsp;exists, though the sound is very bad indeed.  Sutherland's only other portrayal of the role (also recorded live) occurred in 1973 in the Netherlands.  Yet Decca waited until 1985 to record it in the studio.

By far the best thing about this recording is Samuel Ramey's irresistibly virile Garibaldo.  His style may not be entirely appropriate, but his agile base voice is nevertheless a sheer delight.

The next best thing is the past prime Sutherland.  She still has it, though the voice is far older than the 1959 recording (which was so ravishing!).  A solid, well-felt performance, but again so far past prime that only her fans will listen more than once.

It's sad to hear Huguette Tourangeau, who did so much excellent work with Sutherland in the 70s, sounding as she does here.  She sang Bertarido in 1973, but is demoted to the bit part of Unulfo.  Even a smaller role, however, does not disguise how much her voice had deteriorated by 1985.

Curtis Rayam is an annoying Grimoaldo.  Much of his voice is very beautiful, but little cracks in technique leave one thinking more about the singer than the music.  Alicia Naf sings a good if not great Bertarido.

Richard Bonynge's conducting is all right, but barely enough to satisfy me, much less a Baroque purist.  The orchestra indulges in funny ornamentation that sound fine when singers do it, but contrived with the entire orchestra does it.  Only Sutherland and Ramey are able to really "sell" their embellishments as natural additions to the music.

Overall, this is a forgettable recording of Handel's lovely opera, Rodelinda.  It's certainly listenable, but conjures up less enjoyment than a recording by artists like Sutherland and Bonynge should.  Those seeking a more historically accurate (and complete) recording should seek out&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Alan-Curtis-s-Archiv-recording/dp/B00097HMSW/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Alan Curtis's Archiv recording</a>.
3034797
I heard Margaret Price at the Met in her debut role of Desdemona and instantly fell in love with her voice.  My companion and I agreed that despite the Otello and Iago being Domingo and Milnes, it was Price's performance that dominated the evening.  So it was natural that I would try to catch her at the Met whenever she performed.  I only managed to see her two more times since she rarely appeared at the Met but the next performance I saw her in was Don Carlo (no "S" when it's sung in Italian, thank you) and she was radiant.  I'll never forget the way she floated the word "Francia" (France) in her 11 o'clock aria "Tu Che Le Vanita."  It took my breath away.  So it was good fortune to learn that there is a recording of her in this role and fortunately, like the Met production, it is the 5 act version, including the opening chorus in the Fontainebleau scene (the Met's current production cuts out those 9 minutes, the bums!).  There's even some music I've never heard before (Quanti fior e quante stelle) which is a prologue to Act III. The scene was cut from the 1883 revision so that would explain why it's not usually performed.  In the scene, there is an important plot point concerning Elisabetta and Eboli trading identities.

The sound on this recording isn't bad for live and probably pirated.  This is most likely a bargain label that is now priced at premium prices, most likely due to the fact that it seems to be out of print and is difficult to find (the price I paid was "ouchee" but not "boing! " and it is in mint condition.

The performances are outstanding.  In addition to the glorious Margaret Price (who once again hits one out of the park in Act V), the Don Carlo is Placido Domingo who practically owned the role at the Met for many, many years (he cancelled the one time I had a ticket to hear him in it).  He has 2 commercial recordings out (1 in Italian, 1 in French) so his Carlo is well documented.  He's been partnered with other formidable Elisabettas, such as Caballe and Freni but all you have to do is listen to the final duet between Carlos and Elisabetta in Act V to know that Price and Domingo work magic together.  What makes this such an amazing opera is that it features so many great roles (5 major ones) and this cast is pretty much A-List all the way. In addition to the 2 already mentioned, there is Elena Obraztsova as Princess Eboli (whose O Don Fatale has to be one of the most exciting ones ever recorded), Renato Bruson as Rodrigo (kudos for his death scene...oops, spoiler alert ) and Yevgeny Nesterenko as Phillip II (Ella giammai mamo is another highlight of the performance).  Add to this the conducting of Claudio Abbado and you really have a first rate production worthy of La Scala.

For me it was worth getting just for Price thanks to the fond memories of her Met Elisabetta, especially the Act V aria, Tu Che La Vanita.  There's also the Act II duet between Carlo and Rodrigo which is delivered with aplomb by Domingo and Bruson.

It's very rare that I would pay an inflated price for a cd set but in this case, it was well worth the money.  Besides, I find so many great bargains on Amazon this becomes a wash.
2010351
The Marriage of Figaro on this DVD is a good one, boasting fine acting and splendid voices.

The production is done at the Opera National de Lyon with its small and intimate stage and is performed before a live audience. Paolo Olmi conducts the orchestra. The sets have an attractive pastel quality without being overdone and the costumes fit the period for which the work was written. Also, the camera angles and video switching is well done.

This opera was one of three where Mozart used Lorenzo Da Ponte for the libretto and with the same results: a plot full of twists, suspense and surprises. Add to the words, the great music of Mozart, and you have a winning combination.

Stellar performances by Giovanni Furlanetto as Figaro, Elzbeta Szymtka as Suzanne, Ludovic Tezier as the count, Janice Watson as the Countessa and Francesca Provvisionato as Cheribino highlight the opera.

Although this cast does not have the blockbuster stars to sing the leading roles, it does have actors and actresses that seem to have a special sexy chemistry with each other that makes for a wonderful presentation. They are young, vibrant, enthusiastic and committed to the roles they are portraying onstage and yet at the same time seem to be having a great deal of fun.

A wonderful production of  "Le Nozze": one you will be happy to have in your collection of great opera.
4901889
Miss Hunter's recital dates from 1977 and might disappoint purists since the Puccini and some of the Verdi are sung (impressively) in English, which after all was Hunter's forte and avowed preference as well as a concession to her UK audience. Admittedly the arias, especially the Verdi, are debased by dumbed-down translations, but the quality of singing with that outsize voice is never in doubt.

What is truly outstanding here is Miss Hunter's unexpected affinity for operetta bonbons. She includes a fine "One kiss" and a quite perfect "My hero" with its great crescendo to the climax (Hunter pays close attention to dynamics throughout and scales down the big voice to manageable size for the more intimate numbers). I consider her playlist daring, in 1977 terms, for Hunter's inclusion of a clutch of Ivor Novello ariettas (this man is due for a revival). She sings them with a straight face and great tonal beauty, and the rather reserved audience respond most affirmatively. Who knew the great Wagnerian diva was an uncloseted Novello groupie?
2706895
A wonderful collection of arias and scenes from recordings made by the wonderful artists who were Metropolitan Opera regulars in the late 1950's and early 1960's.  All of them recorded for RCA Victor, and this wonderful  vocal bouquet is fairly representative of the singing they did during their  vocal heydays, though a couple of them were a little past theirs at the  time they did these recordings.  Some of the highlights:Jussi Bjoerling's  historic "Nessun dorma" from the wonderful complete  "Turandot" recording; Anna Moffo's fragile "Un bel di"  from the complete recording of "Madame Butterfly"; Birgit  Nilsson, with steel and javelin in her laser-beamed voice, singing a  spectacular "In Questa Reggia" from the "Turandot"  recording noted above; Renata Tebaldi, in exquisite voice, singing  "Signore, ascolta" from the same "Turandot" recording;  Zinka Milanov, perhaps a shade past her best days, nonetheless singing a  beautifully controlled "Visi d'arte" from her complete  "Tosca" recording; Roberta Peters performing the Mad Scene from  her complete "Lucia" recording; Leontyne Price's opulent voice  wrapping itself around "Tacea la notte placida" from her first  complete "Trovatore" recording.  Remaining contributions from  Franco Corelli (a poorly articulated "Flower Song" from  "Carmen, Rise Stevens (well past her prime in the aria from Gluck's  "Orfeo"), and Leonie Rysenek (vocally and dramatically unsuited  to the "Macbeth" scene) are somewhat less auspicious.  Still,  there is much to savor and admire on this recording, and at the mid-line  price, it can't be beat.  Enthusiastically recommended for all opera  people.
4830774
I have seen and heard many performances of Don Giovanni and this is unquestionably the best that I have experienced.  The opera, like almost all of Mozart's operas, rises or falls based on the excellence of the ensemble.  In this performance, the entire cast was outstanding and the singing was uniformly magnificent.  Sergej Kopcak and Paul Groves, as Massetto and Don Ottavio respectfully, both believably played dashing lovers seeking revenge for assaults on their betrothed by the Don.  Renee Fleming was her normal exquisite self in the role of Donna Anna- regal, aggrieved, and in mourning over the death of her father.  Bryn Terfel made a fantastic Don, in turn charming, self-absorbed, and vicious.  Terfel's performance depicted a Don whose evil was beyond redemption.  Watching him exert his "charms" was like watching a train wreck that one cannot keep their eyes off of- a true achievement.  However, for me the most outstanding aspect of seeing this performance was becoming introduced to three singers who I was unfamiliar- Solveig Kringelborn as Donna Elvira, Hong Hei-Kyung as Zerlina, and Ferruccio Furlanetto as Leporello.  Solveig Kringelborn beautifully portrayed a woman who was both in love and had been wronged.  Hong Hei-Kyung did a terrific job playing a naive young woman when encountering a nobleman but then turned into an amorous coquette as she dealt with Masetto's jealousy.  I particularly liked Ferruccio Furlanetto as he acted as the Greek Chorus providing cynical context to the proceedings while maintaining the Don's huge book of female conquests.  Zeferrelli's staging provided additional richness to experiencing this opera.  All in all, this is a fabulous performance and I look forward to enjoying it on a regular basis.
4217331
All three female principals in this opera are fantastic. Netrebko, Garanca and Kulman own the screen. They deliver a performance that will have you glued to your seat. I agree with some of the reviews I've read on Amazon regarding Ildebrando D'Arcangelo and Francesco Meli not being as strong as the part may demand, and I must say I preferred Ildar Abdrazakov as Henry VIII in the Metropolitan Opera's production this year. Ironically, he sang against Netrebko at the Met and was wonderful. It's really a small quibble. D'Arcangelo and Meli deliver world-class performances and they are wonderful voices against Netrebko and Garanca.

In addition, the Vienna Opera Orchestra will leave you breathless with this performance. The music took on a dimension I haven't heard with other productions of Anna Bolena, so it was like hearing it anew. Evelino Pid conducted this performance, and I was enthralled at his interpretation. Make sure to play it LOUD!

For my money, if you're an opera lover, this is a not-to-be-missed performance. At $29, you're crazy not to buy it!
4354639
Lucia di Lammermoor is a great opera -- Donizetti's best opera (equaled -- but not surpassed -- only by the finest bel canto operas of Bellini). And Beverly Sills performance of Lucia is definitive -- the finest yet recorded. Sills gives a superb performance, combining the vocal skills of Sutherland with the dramatic intensity of Callas. The rest of the cast is outstanding as is Schippers' conducting. As an added treat THIS IS THE ONLY RECORDING OF THIS OPERA IN WHICH LUCIA IS ACCOMPANIED IN THE MAD SCENE BY A GLASS HARMONICA AS DONIZETTI ORIGINALLY SPECIFIED. The effect is stunning. Please don't miss it.
This recording was originally released on LPs and it has been far too many years before it has finally been released on CDs. Who knows how long it will stay available? If you love bel canto opera, please get this performance while you can.
2231686
It's the answer to a prayer: Tito Gobbi as Falstaff, WITHOUT the nasty overtinselled-operetta-robot!  (As Mr. Spock said, "'Herbert' was a minor official, notorious for his rigid and limited patterns of thought!")  The conductor here, Mario Rossi, performs with feeling, and loses precision just often enough to remind you it's live.

I love Rolando Panerai as much as anyone, but it's nice to hear someone else perform as Ford from time to time!  (How many times did Panerai record the role--four???)  Here we have the versatile Renato Capecchi, a little more subject than Panerai to the trials of the part, but singing well and acting manfully.

Mirella Freni sings in her light-mode here (she also has heavy-mode, as in her performances as Elisabetta in DON CARLO) and she's very nice.  Fedora Barbieri is fine as always, deep and earthy, and Renata Tebaldi brings fine musicality, acting, and celebrity-power as Alice Ford.

It's not a five-star performance, but it sure is nice to be able to listen to Gobbi.
3011881
This performance was out previously (and briefly) on Melodram. It memorializes a truly "great" festival presentation of what is arguably Gasparo Spontini's greatest opera. AGNESE DI HOHENSTAUFEN has had few performances in the last one hundred years, and probably none in its complete, original 5 hour version. Sadly, it has been neglected by the bigger record companies, who prefer to give us another LA BOHEME or TOSCA with sub-par singers.
The 1954 Italian version given at the Maggio Musicale Fiorentino, and presented here by Myto (originally the opera was premiered in German), was a considerably cut edition, and textually appears to differ even some from the 1970 Italian revival (with Monterrat Caballe). I can imagine that a production of the complete 5 hour version would bankrupt almost any opera company!
But what a performance! Here are Franco Corelli, Giangiacomo Guelfi, Lucille Udovich, Anselmo Colzani, and Francesco Albanese in stellar voice, with the very fine Maesto Vittorio Gui at the helm. Gui keeps things moving quite nicely, never letting this difficult and complex score become unravelled. He really has extended care to the preparation of this production. His cast sings as an ensemble, which is critical for this grand opera of choruses, duets, and ensembles. Corelli is in very good voice, his trademark ringing tones and brilliant upper register on full display. Mme. Udovich rivals Caballe in her two big scenes, "Quando la brezza il volto" (Act I) and "O Re di Cieli" (Act II). She is superb, as are the other cast members.
A word about the sound. The old Lps I had were in somewhat opaque sound, although totally listenable. The Myto issue is, to my ears at least, much clearer, better defined, although by no means state of the art, even for 1954. There is some slight congestion in the tutti passages and choral scenes, but I became attuned to that, and was able to listen beyond these imperfections. In particular, Act II sounds better than Act I. And, as for the vocalists, well, they come across generally with decent clarity and presence.  In any case, listening to this epochal performance, one soon puts aside the sonic imperfections---and simply absorbs the beauty and wonder of this phenomenal opera.
Highly recommended.
1167297
Verdi: Don Carlo [New York -- November 11, 1950; Bjorling (Bjoerling), Merrill, Barbieri, Siepi, Hines, Rigal, Amara; Stiedry] [2007 Reissue on Myto] is a 1950 Myto Records recording starring the immortal Jussi Bjorling in the role of Don Carlo. Bjorling is outstanding in the role as Don Carlo and being a fellow Swede I am very proud of his performance. Fritz Stiedry leads the Orchestra e Coro della Metropolitan Opera. Being a recording that is over 60 years the sound quality is very nice. Music notes are included as well as lyrics in English and Italian. A must have for lovers of Verdi and I enjoyed this recording immensely. Highly recommended indeed. 5/5.
3744047
Bychkov did a good job while directing the Cologne Radio Orch. in garnering some plum opera recordings, including Renee Feling's Daphne on Decca and a concert reading of Lohengrin (no doubt budget considerations motivated Decca not to pay for a grander orchestra). Here Profil has recorded a good performance of Elektra that is notable for the conductor's decision to be the anti-Solti. In place of frantic energy, psychopathology, and relentless frisson, he "humanizes" the characters. This approach risks making a deliberately shocking opera into a tame one. I feel that this happens too often. The singing cast acts mildly anxious rather than torn apart by primal angst.

So it was distressing - inf not unbelievable - that the Gramophone chose this as the best Elektra on disc. the claim is absurd, especially in the face of birgit Nilsson's legendary portrayal for Solti, a feat of spectacular heroic singing that even she rarely equalled. If you want a well-sung elektra that stops short of Solti's electroshock treatment, there's Ozawa and Tate. But the lead reviewer has clearly outlined the deficits on this set. Polaski, a soprano with leather lungs but little artistry or personality, was in the later stages of her career. (Her earlier account under Barenboim gives us her best effort.) She is almost never moving, and when paired with a dutiful, doughty Orest, the Recognition Scene generates noise but no pathos. The great "Allein, weh, ganz allein" monologue in the first act barely stirs a hair.

In the supporting cast, the Chrysothemis of Anne Schwanewilms captures this very good Strauss soprano in a signature role, although she doesn't always rise above the voluptuous orchestration (few do). As Klytemnesta, the veteran Felicity Palmer offers a more than gargoylish portrayal, which adds some toxic zest to the proceedings, although it is laid on thick. Another veteran, Graham clark, famous for his Mime, applies his suitably shril, nasty timbre to Aegisth. But when Elektra and Orest aren't riveting, there's a huge hold in the middle of the drama. To love this recording you either have to put all your faith in the conducting or listen with a deaf ear to vocal shortcomings that are obvious at first listen. Compared to Polaski's dull portrayal, those from Gwyneth Jones, Nilsson, Rysanek, Behrens, Alessandra Marc, and the younger Polaski herself are much to be preferred.

Deborah Polaski (Elektra), Felicity Palmer (Klytmnestra), Anne Schwanewilms (Chrysothemis), Graham Clark (Aegisth), Franz Grundheber (Orest)

West German Radio Chorus, West German Radio Symphony Orchestra, Semyon Bychkov
1482692
Some of the recordings lack clear fidelity and in one case, the live performance of Alina, the stage mike was left on so one can hear performers walking, shuffling their feet, moving about, and worse is the recording of Gianni Di Parigi, really loud stage sounds, particularly when the herd of chorus enters or leaves the stage, and often one can hear the prompter,etc. Very distracting. However, it is worth the money just to hear and have some of the more obscure of the Donizetti operas. And I don't know why they should be obscure, like IMELDA DE LAMBERTAZZI, a live performance, but with little distraction, though wonderful performances. Even with the noise, one can enjoy the music and the performance. This, as well as the Bellini collection are a must, each have some pleasant surprises that one may continue to enjoy for ever.
1771623
Here we have the best performance of Don Giovanni I have ever heard or seen.  It is in German, but the translation is good and the singers are fluent.  I did not like Fischer-Dieskau's barking and vehement Don, but all the other singers are outstanding.  Elisabeth Gr&uuml;mmer in particular makes her part, which is a soprano-killer, sound effortless.  There are a few moments of unsteady ensemble, but everything else is in place.  American tenor Donald Grobe is a superb Ottavio, and the young Pilar Lorengar is an impassioned Elvira.  The remaining singers give exemplary performances.  The conducting and orchestral playing are fine; the staging is traditional and a bit dull but still effective.  Conductor Ferenc Fricsay, whose career, like Grobe's, was cut short too early, pulls the work together beautifully and chooses his tempos with care.  Subtitles are available in several languages.  If the German text does not present a problem, this is an excellent choice for Mozart's masterpiece.