Tags
Language
Tags
March 2024
Su Mo Tu We Th Fr Sa
25 26 27 28 29 1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30
31 1 2 3 4 5 6

Rossini - La Gazza Ladra (Bruno Bartoletti, David Kuebler, Ileana Cotrubas) [2007]

Posted By: Sowulo
Rossini - La Gazza Ladra (Bruno Bartoletti, David Kuebler, Ileana Cotrubas) [2007]

Rossini - La Gazza Ladra (Bruno Bartoletti, David Kuebler, Ileana Cotrubas) [2007]
NTSC 4:3 (720x480) VBR | Italiano (LPCM, 2 ch) | 7,29 Gb (DVD9)
Classical | Label: Art Haus | Sub: English, Deutsch, Francais, Espanol, Italiano | 182 min | +3% Recovery

“Sets, costumes and acting are all under sensible direction and there are none of those silly diversionary indulgences that have become so habitual in recent years. There are four good vocal performances: by Elena Zilio and Nucci Condò, both sturdy mezzos; by David Kuebler, an accomplished lyric tenor; and by the grand veteran Carlos Feller… Ileana Cotrubas as the heroine sometimes touches the heart but at this stage in her career rarely delights the ear. Bartoletti and his players do justice to Rossini's score, as do the video director and his crew to the events onstage.” Gramophone Magazine, September 2007
“In an odd way, La gazza ladra is as disorientating as Shakespeare's Measure for Measure, which answers the old definition of tragi-comedy as a form of drama bringing characters near to death 'which maketh it no comedy', yet ends happily so that it is no tragedy either. On first acquaintance Rossini's opera semiseria can have you seriously worried. The title, overture and opening scenes induce the sure expectation of a comedy of nothing more serious than errors. The Mayor's dastardly designs upon Ninetta give the framework for a plot and the father's return as a deserter from the wars thickens it; but it still comes as quite a profound shock when Ninetta is sent to prison.
When the court sentences her to death we rub our eyes. They strike up the funeral march and we say 'Oh no!'. But Rossini and his librettist risk a stage further towards tragedy as Ninetta sings her last prayer and is led off to execution out of our sight. Of course other developments are in hand and the musical conventions assure us that what seems now inevitable must take a turn for the better. But there is a distinct element of touch-and-go, which makes the opera a remarkable piece for its time, and for its composer.
It also presents a challenge to the producer and the whole company, a challenge well met here, with the right balance struck, and no undermining of one half by the other.
Sets, costumes and acting are all under sensible direction and there are none of those silly diversionary indulgences that have become so habitual in recent years. There are four good vocal performances: by Elena Zilio and Nucci Condò, both sturdy mezzos; by David Kuebler, an accomplished lyric tenor; and by the grand veteran Carlos Feller, looking rather like Bertrand Russell but endowing the old croaker with a fullbodied and still resonant bass voice. The baritones are sonorous but uneven, while Ileana Cotrubas as the heroine sometimes touches the heart but at this stage in her career rarely delights the ear. Bartoletti and his players do justice to Rossini's score, as do the video director and his crew to the events onstage.” Gramophone Classical Music Guide, 2010

Rossini - La Gazza Ladra (Bruno Bartoletti, David Kuebler, Ileana Cotrubas) [2007]

Performer:
Fabrizio - Carlos Feller
Lucia - Nucci Condò
Giannetto - David Kuebler
Ninetta - Ileana Cotrubas
Fernando - Brent Ellis
Il Podestà - Alberto Rinaldi
Chorus of the Cologne Opera
Gürzenich Orchestra Cologne
Conductor - Bruno Bartoletti
Stage Direction by Michel Hampe