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Gioachino Rossini Edition 50 CDs [Part 7] - L'assedio di Corinto, Le Comte Ory (2018)

Posted By: ArlegZ
Gioachino Rossini Edition 50 CDs [Part 7] - L'assedio di Corinto, Le Comte Ory (2018)

Gioachino Rossini Edition 50 CDs [Part 7]: Thomas Schippers, London Symphony Orchestra, Beverly Sills, Shirley Verrett - L'assedio di Corinto; Vittorio Gui, Glyndebourne Festival Orchestra - Le Comte Ory (2018)
EAC | FLAC | Image (Cue & Log) ~ 977 Mb | Total time: 52:14+42:07+66:41+56:27+56:23 | Scans included
Classical | Label: Warner Classics | # 0190295611156 | Recorded: 1956, 1974

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary.
Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

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.