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Giuseppe Patane, Orchestra del Teatro alla Scala, Montserrat Caballe, Jose Carreras - Verdi: La forza del destino (2011)

Posted By: ArlegZ
Giuseppe Patane, Orchestra del Teatro alla Scala, Montserrat Caballe, Jose Carreras - Verdi: La forza del destino (2011)

Giuseppe Patanè, Orchestra del Teatro alla Scala, Montserrat Caballé, José Carreras - Verdi: La forza del destino (2011)
NTSC 4:3 (720x480) | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | (Dolby AC3, 6 ch) | 192 min | 5,68 Gb+7,16 Gb (2xDVD9)
Classical | Label: Hardy Classic | Sub: English, Francais, Espanol, Italiano | Recorded: 1978

Montserrat Caballé as Leonora is precisely what one would hope for. The voice is in near-pristine shape–the occasional attack on a loud high note early on can be vicious, but she sings with unusual commitment (not that the role has many nuances), glorious tone, and her entire arsenal of tricks: long-breathed phrases, diminuendos, high, floated pianissimo, grand chest voice. She even sings most of the words, rarely relying on “ah” sounds for high notes. The sound is huge and major-league and her comportment–acting is the wrong word–is regal. She sings the “Vergine degli angeli” with her back to the audience and the sound is as ethereal as you ever wanted it to be.

Riccardo Muti, New Philharmonia Orchestra - Verdi: Un ballo in maschera (1997)

Posted By: ArlegZ
Riccardo Muti, New Philharmonia Orchestra - Verdi: Un ballo in maschera (1997)

Riccardo Muti, New Philharmonia Orchestra - Verdi: Un ballo in maschera (1997)
EAC | FLAC | Image (Cue & Log) ~ 568 Mb | Total time: 49:28+78:05 | Scans included
Classical | Label: EMI Classics | # 5 66510 2 | Recorded: 1975

Betrayal and forgiveness are the themes of this complex opera: Amelia's betrayal of her husband, Renato (she is having an affair with Riccardo. governor of the Massachusetts Bay Colony), and the betrayal and assassination of Riccardo by a group of conspirators. The libretto is better integrated than most of Verdi's operas written before Otello and Falstaff. It was originally about an historic incident, the assassination of King Gustav III of Sweden, but Roman censors, nervous about royal assassinations, forced the absurd relocation of the opera to colonial Boston. The music is prime middle-period Verdi, less spectacular than Il Trovatore, Rigoletto or La Forza del Destino, but it is warmly, richly expressive.

Nello Santi, Chor und Orchester der Wiener Staatsoper - Giordano: Andrea Chenier [2005/1981]

Posted By: Vilboa
Nello Santi, Chor und Orchester der Wiener Staatsoper - Giordano: Andrea Chenier [2005/1981]

Nello Santi, Chor und Orchester der Wiener Staatsoper - Giordano: Andrea Chénier [2005/1981]
NTSC 4:3 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | (Dolby AC3, 5 ch) | 7.64 Gb (DVD9) | 139 min
Classical | Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese

Out of all Italian verismo operas, Umberto Giordano's Andrea Chénier is one of the few of lasting popularity that is still performed regularly on major opera stages worldwide. This 1981 production features a stellar Plácido Domingo in the title role and a classic staging by Otto Schenk, making for one of the finest readings of the opera. Andrea Chénier was an overwhelming success when premiered at La Scala in 1896 and first performed in Vienna in 1926, returning to the stage whenever a truly great tenor was available to tackle the demanding title role. Gabriela Benacková and Piero Cappuccilli lead a strong supporting cast in this tragic love story set during the times of French Revolution.

Bruno Bartoletti, Orchestra della RAI Radiotelevisione Italiana, Franco Corelli - Giordano: Andrea Chenier (2005/1973)

Posted By: Vilboa
Bruno Bartoletti, Orchestra della RAI Radiotelevisione Italiana, Franco Corelli - Giordano: Andrea Chenier (2005/1973)

Bruno Bartoletti, Orchestra della RAI Radiotelevisione Italiana, Franco Corelli, Piero Cappuccilli - Giordano: Andrea Chénier (2005/1973)
NTSC 4:3 (720x480) VBR | Italiano (Dolby AC3, 1 ch) | 6.89 Gb (DVD9) | 110 min
Classical | Hardy Classic | Sub: English, Francais, Italiano

“This is something of a find – a production produced in Milan's television studios in 1973 that does more than justice to Giordano's verismo work about personal conflicts at the time of the French Revolution. It's directed, with considerable imagination, by the Czech Vaclav Kaslik, at the top of his profession in the 70s. In realistic period sets he unerringly creates the milieu of a degenerate aristocracy in Act 1 and of the raw mob-rule of the Revolution in the succeeding acts. The only drawback is the poor lip-synch. Conductor Bruno Bartoletti makes certain we're unaware of the score's weaker moments and releases all the romantic passion in Giordano's highly charged writing for his principals.

Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Luciano Pavarotti - Bellini: I Puritani (1987)

Posted By: ArlegZ
Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Luciano Pavarotti - Bellini: I Puritani (1987)

Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Luciano Pavarotti - Bellini: I Puritani (1987)
EAC | FLAC | Image (Cue & Log) ~ 794 Mb | Total time: 174:09 | Scans included
Classical | Label: Decca | 417 588-2 | Recorded: 1975

Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma…The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies…with Sutherland, Bonynge and all on electrifying form.

Herbert von Karajan, Berliner Philharmoniker - Verdi: Don Carlo (2008/1986)

Posted By: Vilboa
Herbert von Karajan, Berliner Philharmoniker - Verdi: Don Carlo (2008/1986)

Herbert Von Karajan, Berliner Philharmoniker - Verdi: Don Carlo (2008/1986)
PAL 4:3 (720x576) VBR | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 2 ch) | 7.44 Gb (DVD9) | 178 min
Classical | Sony Music | Sub: Deutsch, English, Francais

Herbert von Karajan was head of the Berliner Philharmoniker from 1956 until his death in 1989. In addition to countless orchestral recordings, he created some immortal opera recordings: '' Don Carlos '' is one of these opera recordings that have since become historically significant: In 1986, the Salzburg Easter Festival was staged by an internationally top-class soloist duo (José Carreras, Agnes Baltsa, Ferrucio Furlanetto and Piero Cappuccilli ) on legend Karajan with the Berliner Philharmoniker and the Salzburg Concert Choir.

Renata Scotto - Legendary performances: 7 complete operas [14CDs] (2007)

Posted By: ArlegZ
Renata Scotto - Legendary performances: 7 complete operas [14CDs] (2007)

Renata Scotto - Legendary performances: 7 complete operas [14CDs] (2007)
EAC | FLAC | Image (Cue & Log) ~ 3.55 Gb | Total time: 14:25:17 | Scans included
Classical | Label: Bravissimo | # BRV 9910 | Recorded: 1966, 1967, 1970,1973

Renata Scotto (born 24 February 1934) is an Italian soprano and opera director.
Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.
Since retiring from the stage as a singer in 2002, she has turned successfully to directing opera as well as teaching in Italy and America, along with academic posts at the Accademia Nazionale di Santa Cecilia in Rome and the Juilliard School in New York.

Thomas Schippers, London Symphony Orchestra, Beverly Sills, Carlo Bergonzi - Donizetti: Lucia di Lammermoor (2002)

Posted By: ArlegZ
Thomas Schippers, London Symphony Orchestra, Beverly Sills, Carlo Bergonzi - Donizetti: Lucia di Lammermoor (2002)

Thomas Schippers, London Symphony Orchestra, Beverly Sills, Carlo Bergonzi - Donizetti: Lucia di Lammermoor (2002)
EAC | FLAC | Image (Cue & Log) ~ 683 Mb | Total time: 70:03+76:50 | Scans included
Classical | Label: Westminster | # 471250 | Recorded: 1970

This Lucia was recorded in 1970, when Beverly Sills was at the peak of her vocal and dramatic powers. She had been singing the role of Lucia on stage for six years, and she knew the character. Here is a manic-depressive who is slightly crazy from the start, and Sills's embellishments to the vocal line (and there are tons of them; hardly a line is left as written), mostly composed especially for her, are always at the service of the drama. She is a far cry from the chirpy Pons and Peters (and even Sutherland, whose just-plain-singing of the role is unmatchable, but who was never all that interested in building character) and comes closer to Callas, but without the great Greek soprano's huge palette of colors or, for that matter, vocal limitations. Sills is gloriously fluent in the coloratura, the high notes are impeccable, and her reading of the words is truly involved and involving.

Zoltan Pesko, Orchestra and Chorus of the Arena di Verona - Verdi: Otello (2005)

Posted By: ArlegZ
Zoltan Pesko, Orchestra and Chorus of the Arena di Verona - Verdi: Otello (2005)

Zoltan Pesko, Orchestra and Chorus of the Arena di Verona - Verdi: Otello (2005)
NTSC 4:3 (720x480) | Italiano (Dolby AC3, 2 ch) | 138 min | 7,02 Gb (DVD9)
Classical | Label: Kultur | Sub: English, Deutsch, Espanol, Francais, Italiano, Portugues, Japanese | Recorded: 1982

Otello, Verdi's last tragic opera, was the result of his very successful collaboration with Boito, the librettist who adapted the original Shakespeare play with masterly skill. Otello, a tragic story of love and intrigue, is considered by many to be one of the greatest of all Italian operas. The great singers of the world have always taken part in seasons at the spectacular Arena di Verona. In this recording, Otello is sung by the Russian tenor Vladimir Atlantov, rightly famous for his interpretation of the title role. The role of Desdemona is sung movingly by Kiri Te Kanawa, and the wicked Iago is slyly conceived by leading Italian heroic baritone Piero Cappuccilli. "Vladimir Atlantov, a wild, bold Otello whose thundering voice could have filled twice the space of the Arena." - Il Tempo

Maria Callas, Tullio Serafin, Philharmonia Orchestra and Chorus - Donizetti: Lucia di Lammermoor (1997)

Posted By: ArlegZ
Maria Callas, Tullio Serafin, Philharmonia Orchestra and Chorus - Donizetti: Lucia di Lammermoor (1997)

Maria Callas, Tullio Serafin, Philharmonia Orchestra and Chorus - Donizetti: Lucia di Lammermoor (1997)
EAC | FLAC | Image (Cue & Log) ~ 509 Mb | Total time: 38:57+71:57 | Scans included
Classical | Label: EMI | # 5 56284 2 | Recorded: 1959

In the six years that had passed since 1953, and her first recording of Lucia di Lammermoor, Callas’s voice had maybe become less robust,but her singing had become still more perceptive. As Gramophone said: ‘Mme Callas has refined her interpretation of the role, and made it more exquisite, more fascinating,musically and dramatically more subtle – in a word, more beautiful.’

Herbert von Karajan, Orchestra and Chorus of the Vienna State Opera - Verdi: Il Trovatore (2010)

Posted By: ArlegZ
Herbert von Karajan, Orchestra and Chorus of the Vienna State Opera - Verdi: Il Trovatore  (2010)

Herbert von Karajan, Orchestra and Chorus of the Vienna State Opera - Verdi: Il Trovatore (2010)
NTSC 4:3 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | 151 min | 7,53 Gb (DVD9)
Classical | Label: Arthaus Musik | Sub: English, Deutsch, Francais, Espanol, Italiano, Chinese | Recorded: 1978

Il Trovatore was always one of Herbert von Karajan‘s favourite operas. He conducted it at the very beginning of his career and his first studio recording in 1956 was made in Milan with Maria Callas and Giuseppe di Stefano, but „his“ Trovatore really made its mark in the legendary performances given at the Salzburg Festival in 1962, which formed the basis for this successful revival in Vienna. He once declared in an interview that what he loved about this opera was its archetypal human passions, its compression of highly dramatic situations into the smallest conceivable space and Verdi‘s genius for translating such situations into music. This 1978 performance is steeped in scandal. Franco Bonisolli was originally cast in the lead role but abandoned the cast during a rehearsal where the public had been admitted entry, and, after throwing his sword at the conductor, left the stage in fury, to be later replaced by Plácido Domingo. What this performance makes so special: Karajan not only conducted the opera, but he was also responsible for the stage direction.