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Nino Sanzogno, RAI Orchestra & Chorus 'Alessandro Scarlatti', Mirella Freni - Alessandro Scarlatti: La Griselda (2001)

Posted By: ArlegZ
Nino Sanzogno, RAI Orchestra & Chorus 'Alessandro Scarlatti', Mirella Freni - Alessandro Scarlatti: La Griselda (2001)

Nino Sanzogno, RAI Orchestra & Chorus "Alessandro Scarlatti", Mirella Freni - Alessandro Scarlatti: La Griselda (2001)
EAC | FLAC | Image (Cue & Log) ~ 551 Mb | Total time: 118:29 | Scans included
Classical | Label: Opera D'oro | # OPD-1308 | Recorded: 1970

Alessandro Scarlatti was both the most celebrated vocal composer of his day, and one of the most prolific to ever live. In his lifetime (1660-1725) he composed nearly 700 cantatas and 66 operas. He was also far more famous then than his son Domenico, whose harpsichord sonatas today have all but completely eclipsed his father's works.

Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Teresa Berganza - Handel: Alcina (1992)

Posted By: ArlegZ
Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Teresa Berganza - Handel: Alcina (1992)

Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Teresa Berganza - Handel: Alcina; Giulio Cesare [highlights] (1992)
EAC | FLAC | Image (Cue & Log) ~ 0,98 Gb | Total time: 211:29 | Scans included
Classical | Label: DECCA | # 433 723-2 | Recorded: 1962

Joan Sutherland first sang the role of Alcina in 1957 and continued to sing it until 1983. The role allows her to display her technical agility, the breath control on long phrases and her stunning trill. It must be admitted that her diction is not clean – but what glorious singing. Teresa Berganza as Ruggiero is Sutherland's equal throughout the entire opera. Her approach is less overtly spectacular but her "Verdi prati" is an object lesson in classic vocalism. With a glorious contralto voice, Monica Sinclair attacks the role of Bradamante with gusto. The three octave scale which concludes her Act 1 aria is not stylistic, but it is exciting. In the shorter roles Mirella Freni and Graziella Sciutti are excellent. Freni was at the beginning of long and glorious career. The male roles are of less importance in this opera but they are very well sung by Luigi Alva and Ezio Flagello.

Mario Rossi, RAI Orchestra «Alessandro Scarlatti» & Chorus, Naples - Cimarosa: Le astuzie femminili (2002)

Posted By: ArlegZ
Mario Rossi, RAI Orchestra «Alessandro Scarlatti» & Chorus, Naples - Cimarosa: Le astuzie femminili (2002)

Mario Rossi, RAI Orchestra «Alessandro Scarlatti» & Chorus, Naples - Cimarosa: Le astuzie femminili (2002)
EAC | FLAC | Image (Cue & Log) ~ 514 Mb | Total time: 60:18+51:49 | Scans included
Classical | Label: Opera D'oro | # 1365 | Recorded: 1959

Le astuzie femminili (Feminine wiles) is an dramma giocoso in four acts by Domenico Cimarosa with an Italian libretto by Giuseppe Palomba (it). The opera buffa premiered at the Teatro dei Fiorentini in Naples, Italy, on 26 August 1794. The opera was subsequently performed in Barcelona in 1795, Lisbon in 1797, Vienna in 1799, Paris in 1802, and London in 1804, remaining popular during the first quarter of the nineteenth century. Although not performed often today, the opera is still occasionally revived and a number of recordings have been made.

Jean-Pierre Ponnelle, Claudio Abbado, Orchestra del Teatro alla Scala - Rossini: Il barbiere di Siviglia [2005/1972]

Posted By: Vilboa
Jean-Pierre Ponnelle, Claudio Abbado, Orchestra del Teatro alla Scala - Rossini: Il barbiere di Siviglia [2005/1972]

Rossini - Il barbiere di Siviglia (Claudio Abbado, Herman Prey, Teresa Berganza, Luigi Alva) [2005/1972]
NTSC 4:3 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 6 ch) | 7.80 Gb (DVD9) | 140 min
Classical | Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese

Claudio Abbado’s youthful Beatle­cut marks the age of this film‚ still one of the better screen Barbieres if not absolutely the best. Jean­Pierre Ponnelle based it on his Scala stagings‚ but filmed it‚ as he always preferred‚ in studio and in lip­sync – more successfully than most. As a result‚ it looks and sounds very much fresher on DVD than contemp­orary videotapes.