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Bellini: Norma (extraits)

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by: Bellini

November 05, 2002

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Vivaldi - Dorilla in Tempe / Kiehr Elwes Cantor Nirout Caroli Florentin Bezzina

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by: Antonio Vivaldi, Gilbert Bezzina, Maria Cristina Kiehr, John Elwes, Ensemble Baroque de Nice, Choeurs de l'Opra de Nice, Philippe Cantor, Jean Nirout, Consuelo Caroli, Laure Florentin, Corinne Parenti

September 27, 1994

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Handel - Samson / R. Alexander · Venuti · Kowalski · Rolfe Johnson · A. Miles · Scharinger · Harnoncourt

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by: George Frideric Handel, Nikolaus Harnoncourt, Jochen Kowalski, Anthony Rolfe Johnson, Alastair Miles, , Arnord Schoenberg Chor Roberta Alexander, Anton Scharinger, Concentus musicus Wien Angela Maria Blasi

February 08, 1994
*Samson* bids fair to being Handel's most intensely dramatic oratorio. Samson's confrontations with Dalila and Harapha, the great Act II finale in which the Jews and Philistines enter into what amounts to a Baroque "Battle of the Bands," and the Act III recitative interrupted by a "Symhony of Horror and Confusion" represent some of the most remarkably vivid scene-painting in all of music.

Yet this revolutionary work (which inspired Haydn's *Creation*) awaits a recorded performance truly worthy of its astonishing invention. Harnoncourt's version, taken from a live performance with an international cast, can't be accused of being bland, staid or anything less than dramatically effective. As always, Harnoncourt is predictable in ... Read More:

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Search: Oh Maria


*Samson* bids fair to being Handel's most intensely dramatic oratorio. Samson's confrontations with Dalila and Harapha, the great Act II finale in which the Jews and Philistines enter into what amounts to a Baroque "Battle of the Bands," and the Act III recitative interrupted by a "Symhony of Horror and Confusion" represent some of the most remarkably vivid scene-painting in all of music.

Yet this revolutionary work (which inspired Haydn's *Creation*) awaits a recorded performance truly worthy of its astonishing invention. Harnoncourt's version, taken from a live performance with an international cast, can't be accused of being bland, staid or anything less than dramatically effective. As always, Harnoncourt is predictable in ... Read More:

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Bellini - Norma / Maria Callas [Live in Trieste 1953]

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by: Vincenzo Bellini, Antonino Votto, Maria Callas, Franco Corelli, Boris Christoff, Raimondo Botteghelli, Elena Nicolai, Bruna Ronchini

August 29, 2000
*Samson* bids fair to being Handel's most intensely dramatic oratorio. Samson's confrontations with Dalila and Harapha, the great Act II finale in which the Jews and Philistines enter into what amounts to a Baroque "Battle of the Bands," and the Act III recitative interrupted by a "Symhony of Horror and Confusion" represent some of the most remarkably vivid scene-painting in all of music.

Yet this revolutionary work (which inspired Haydn's *Creation*) awaits a recorded performance truly worthy of its astonishing invention. Harnoncourt's version, taken from a live performance with an international cast, can't be accused of being bland, staid or anything less than dramatically effective. As always, Harnoncourt is predictable in ... Read More:

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Rossini - La Pietra del Paragone / Mingardo, Matteuzzi, Spagnoli, Fradilha, Aprea, Festival della Valle d'Itria

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from: Bongiovanni

July 09, 1996
This is one of the rare moments in recorded opera when outstanding musicians and singers create a perfect synthesis that transcends any one's individual abilities. All four principals are in wonderful voice, the direction is exuberant without being overblown, the ensemble singing is particularly wonderful. This is a live performance, so there are coughs, footfalls, and of course the sound of applause, but the setting (at the Martina Franca Festival) feels intimate and warm and you feel you're there. My previous favorite Rossini was the Abbado/Baltsa "Italiana in Algeri" but this may replace it. The names here aren't superstars but no matter--the production glows.

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This is one of the rare moments in recorded opera when outstanding musicians and singers create a perfect synthesis that transcends any one's individual abilities. All four principals are in wonderful voice, the direction is exuberant without being overblown, the ensemble singing is particularly wonderful. This is a live performance, so there are coughs, footfalls, and of course the sound of applause, but the setting (at the Martina Franca Festival) feels intimate and warm and you feel you're there. My previous favorite Rossini was the Abbado/Baltsa "Italiana in Algeri" but this may replace it. The names here aren't superstars but no matter--the production glows.

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Verdi - Stiffelio / Carreras · Sass · Manuguerra · Ganzarolli · ORF Symphony Orchestra and Chorus Vienna · Gardelli

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by: Giuseppe Verdi, Lamberto Gardelli, José Carreras, Sylvia Sass, Matteo Manuguerra, Wladimiro Ganzarolli, Ezio di Cesare, Thomas Moser

September 11, 2001
I fully agree with other reviewers of this item that the protagonists in this recording are nothing short of being sublime.
There are some singers whom we have not heard much of since this recording - Sass and Manuguerra, two wonderful singers and interpretors of Verdi (Manuguerra still have 'Nabucco' recorded for Muti). Sylvia Sass has a beautiful timbre in the league of Mirella Freni, but it does not appear that she enjoyed Freni's longevity in vocal terms. She is absolutely ravishing in this recording.
Manugeurra as Verdian baritone could be said to be on par with Piero Cappucilli, though of course he did not enjoy the latter's fame.
Last but in no way the least, Jose Carreras in the title role.
There are consistent ... Read More: