Silvio Varviso - Orchestra e coro Rossini di Napoli
Teresa Berganza: Rosina
Ugo Benelli: Count Almaviva
Fernando Corena: Dr. Bartolo
Manuel Ausensi: Figaro
Nicolai Ghiaurov: Don Basilio
Lossless: Ape (img + cue + log) = 717 mb
Lossy: Mp3 (lame "preset standard") = 206 mb
Artwork @ 300dpi = 24 mb
Total playing time: 66:49 + 68:04 = 144:53
Recorded 1964 | Released 1999
Recording: Conservatorio, Naples, July & August 1964
Decca 455 591-2
Track listing:
1. Sinfonia
2. Atto 1 - Piano, pianissimo
3. Atto 1 - Ecco, ridente in cielo
4. Atto 1 - Gente indiscreta
5. Atto 1 - Largo al factotum
6. Atto 1 - E' desso, o pur m'inganno?
7. Atto 1 - All'idea di quel metallo
8. Atto 1 - Una voce poco fa
9. Atto 1 - Qua, Don Basilio; giungete a tempo!
10. Atto 1 - La calunnia è un venticello
11. Atto 1 - Ah! Che ne dite?
12. Atto 1 - Dunque io son... tu non m'inganni?
13. Atto 1 - Ora mi sento meglio
14. Atto 1 - A un dottor della mia sorte
15. Ato 1, cena 2- Ehi, di casa! ... buona gente!
16. Ato 1, cena 2- Che cosa accadde
17. Ato 1, cena 2- Questa bestia di soldato
18. Ato 1, cena 2- Fredda ed immobile
19. Ato 1, cena 2- Mi par d'essere con la testa
20. Ato 2- Ma vedi il mio destino!
21. Ato 2- Insomma, mio signore, chi lei
22. Ato 2- Contro un cor che accende amore
23. Ato 2- Bella voce! Bravissima!
24. Ato 2- Don Basilio! Cosa veggo!
25. Ato 2- Che vecchio sospettoso!
26. Ato 2- Dunque voi Don Alonso
27. Ato 2- Alfine, eccoci qua
28. Ato 2- Ah! qual colpo inaspettato!
29. Ato 2- Ah! dizgraziati noi!
30. Di sì felice innesto
Reviews:
Gramophone:
Ultimately what makes the set a pleasure is the sheer 'go' of these climaxes. My experience at length makes me feel that here is a Barber which you will go on playing for the accumulating high spirits which conclude scene 2 of Act I and both big finales of Act 2.
Full review (click to enlarge):
Amazon.com (customer review):
I love lower voices. This one has heroic voices in the roles of Figaro (Ausensi), Bartolo (Corena), and Basilio (Ghiaurov). Ausensi lacks the humor I love to hear in Barbiere, though he has a beautiful, full voice. I'd have liked it far better used with imagination and a greater variety of dynamics. The problem seems to be with imagination- Stracciari, Milnes, and Merrill all had more heroic voices than Ausensi, but the sheer fun they had with Figaro bubbles out of their recordings. Still, Ausensi sings fine and certainly does not spoil the recording for me.
Fernando Corena is Bartolo and I doubt if a finer voice ever tried this curmudgeonly role out- and I am thinking of Kipnis as well when I say this. Corena gets across how funny this character is, but never lets us lose sight of one fact- Bartolo takes himself VERY seriously, and he never lets us forget Bartolo's pride. Bartolo is a man, very human, with many foibles and frailties. I do not see him as a villain, just grouchy and irrascible- with a fine seasoning of greed laced in with all the rest.
Nicolai Ghiaurov romps through the role of Don Basilio with elan and an incredible voice. He is one of the reasons I never even mentioned Varviso as a possible cause for Ausensi's over serious approach to Figaro. The big Bulgarian bass was in fine voice during these recording sessions and the sheer fun he had with Basilio (His pomposity, his `clever' villainies, and his friendship for Doctor Bartolo.) is infectious. As much of a fool as Basilio is, one can't help but feel affection for him. I don't think even he feels he is anything but an unscrupulous man, in love with his own cleverness. He's willing to lie, cheat, steal, and so on, but he's kind of honest about it...
...unlike Almaviva, who sees himself as a gift to the world. He's just as willing to use lying to get his way as Basilio, and physical threats (He points a gun at Basilio...), but he sees himself as a morally pristine hero. Almaviva's music is fun to listen to, and his duets with Figaro are priceless Rossini gems, but Almaviva is a man I'm glad never to have met. Benelli does a fine job with a funny part and I doubt if he'll disappoint very many opera buffs. The voice is small and agile, with a sweet tone often missing in leggiero tenors.
Teresa Berganza- a beautiful lady with a fine, mellow mezzo voice. What can I say? She sings Rosina in the original range Rossini wrote it for. Berganza handles the coloratura with confidence, bringing depths to the character many other fine ladies miss. This set is worth it for her alone, if you like mezzo Rosinas. She pulls out a shining, bell-clear pianissimo high note worth dying to hear, in her duet with Ausensi.
The conducting sparkles, making this a must-have Barbiere for those who love a grand approach to this music. The sound is excellent.
Click here to download
Teresa Berganza: Rosina
Ugo Benelli: Count Almaviva
Fernando Corena: Dr. Bartolo
Manuel Ausensi: Figaro
Nicolai Ghiaurov: Don Basilio
Lossless: Ape (img + cue + log) = 717 mb
Lossy: Mp3 (lame "preset standard") = 206 mb
Artwork @ 300dpi = 24 mb
Total playing time: 66:49 + 68:04 = 144:53
Recorded 1964 | Released 1999
Recording: Conservatorio, Naples, July & August 1964
Decca 455 591-2
Track listing:
1. Sinfonia
2. Atto 1 - Piano, pianissimo
3. Atto 1 - Ecco, ridente in cielo
4. Atto 1 - Gente indiscreta
5. Atto 1 - Largo al factotum
6. Atto 1 - E' desso, o pur m'inganno?
7. Atto 1 - All'idea di quel metallo
8. Atto 1 - Una voce poco fa
9. Atto 1 - Qua, Don Basilio; giungete a tempo!
10. Atto 1 - La calunnia è un venticello
11. Atto 1 - Ah! Che ne dite?
12. Atto 1 - Dunque io son... tu non m'inganni?
13. Atto 1 - Ora mi sento meglio
14. Atto 1 - A un dottor della mia sorte
15. Ato 1, cena 2- Ehi, di casa! ... buona gente!
16. Ato 1, cena 2- Che cosa accadde
17. Ato 1, cena 2- Questa bestia di soldato
18. Ato 1, cena 2- Fredda ed immobile
19. Ato 1, cena 2- Mi par d'essere con la testa
20. Ato 2- Ma vedi il mio destino!
21. Ato 2- Insomma, mio signore, chi lei
22. Ato 2- Contro un cor che accende amore
23. Ato 2- Bella voce! Bravissima!
24. Ato 2- Don Basilio! Cosa veggo!
25. Ato 2- Che vecchio sospettoso!
26. Ato 2- Dunque voi Don Alonso
27. Ato 2- Alfine, eccoci qua
28. Ato 2- Ah! qual colpo inaspettato!
29. Ato 2- Ah! dizgraziati noi!
30. Di sì felice innesto
Reviews:
Gramophone:
Ultimately what makes the set a pleasure is the sheer 'go' of these climaxes. My experience at length makes me feel that here is a Barber which you will go on playing for the accumulating high spirits which conclude scene 2 of Act I and both big finales of Act 2.
Full review (click to enlarge):
Amazon.com (customer review):
I love lower voices. This one has heroic voices in the roles of Figaro (Ausensi), Bartolo (Corena), and Basilio (Ghiaurov). Ausensi lacks the humor I love to hear in Barbiere, though he has a beautiful, full voice. I'd have liked it far better used with imagination and a greater variety of dynamics. The problem seems to be with imagination- Stracciari, Milnes, and Merrill all had more heroic voices than Ausensi, but the sheer fun they had with Figaro bubbles out of their recordings. Still, Ausensi sings fine and certainly does not spoil the recording for me.
Fernando Corena is Bartolo and I doubt if a finer voice ever tried this curmudgeonly role out- and I am thinking of Kipnis as well when I say this. Corena gets across how funny this character is, but never lets us lose sight of one fact- Bartolo takes himself VERY seriously, and he never lets us forget Bartolo's pride. Bartolo is a man, very human, with many foibles and frailties. I do not see him as a villain, just grouchy and irrascible- with a fine seasoning of greed laced in with all the rest.
Nicolai Ghiaurov romps through the role of Don Basilio with elan and an incredible voice. He is one of the reasons I never even mentioned Varviso as a possible cause for Ausensi's over serious approach to Figaro. The big Bulgarian bass was in fine voice during these recording sessions and the sheer fun he had with Basilio (His pomposity, his `clever' villainies, and his friendship for Doctor Bartolo.) is infectious. As much of a fool as Basilio is, one can't help but feel affection for him. I don't think even he feels he is anything but an unscrupulous man, in love with his own cleverness. He's willing to lie, cheat, steal, and so on, but he's kind of honest about it...
...unlike Almaviva, who sees himself as a gift to the world. He's just as willing to use lying to get his way as Basilio, and physical threats (He points a gun at Basilio...), but he sees himself as a morally pristine hero. Almaviva's music is fun to listen to, and his duets with Figaro are priceless Rossini gems, but Almaviva is a man I'm glad never to have met. Benelli does a fine job with a funny part and I doubt if he'll disappoint very many opera buffs. The voice is small and agile, with a sweet tone often missing in leggiero tenors.
Teresa Berganza- a beautiful lady with a fine, mellow mezzo voice. What can I say? She sings Rosina in the original range Rossini wrote it for. Berganza handles the coloratura with confidence, bringing depths to the character many other fine ladies miss. This set is worth it for her alone, if you like mezzo Rosinas. She pulls out a shining, bell-clear pianissimo high note worth dying to hear, in her duet with Ausensi.
The conducting sparkles, making this a must-have Barbiere for those who love a grand approach to this music. The sound is excellent.
Click here to download
Geen opmerkingen:
Een reactie posten