Bel Air present Don Pasquale, a true masterpiece from Donizetti. It's one of the funniest operas ever composed, but it also shines with Donizetti's trademark touch of gentle pathos and some of his finest music. The production is from the Grand Theatre of Geneva, with soprano Patrizia Ciofi as Norina and baritone Simone Alaimo in the title role.
Dynamic, which has already in its catalogue a few neglected operas by Massenet, has the pleasure to offer another rarity by this composer, this Chérubin recorded live in Cagliari in 2006 year. The old Mozartian Cherubino of Le nozze di Figaro is no longer the young lad in his first naive contacts with women: his age moved on from 13 to 17 years and, of course, takes on more adolescent connotations. Massenet brings these aspects out well as he characterises Chérubin with vocal scoring that favours ample, intensely cantabile phrases, with leaps towards the acute register that give full vent to the lyrical soprano voice, with moments of sudden emphasis and equally rapid disappointments - a real tempest of hormones, light years away from the Voi che sapete of Mozart’s page boy.
…Both Banchini and Bovi deliver exceptionally refined performances throughout the album. Bovi's voice is pure, elegant, and perfectly suited for music of this time. Banchini's tone on the Baroque violin is, appropriately, every bit as vocal and singing as the soprano arias. Taken all together, this album is much more than an ordinary CD that is popped in the player and listened to from beginning to end, but rather, an all-encompassing experience that truly transports listeners to another place and time. Unconditionally recommended.
Donizetti composed Pia de’ Tolomei during the summer and autumn of 1836 in Naples, where he was living at the time. In December he set out for Venice, where the premiere was planned for February the next year at the Teatro La Fenice He travelled via Livorno and Genoa but when he arrived in Genoa he was met by the news that the theatre had been destroyed by fire on the night of 12/13 December. He realized that there was a great risk that the premiere would be jeopardized. However the production was moved to Teatro Apollo and the premiere took place on 18 February 1837 as planned. Fanny Persiani, who had been the first Lucia di Lammermoor a couple of years earlier, took the title role. The opera was not an immediate success and Donizetti reworked it twice. The second time was for Naples in 1838, where the censors enforced important changes and a happy ending. The present production is based on the critical edition published by Ricordi, where the original tragic finale is restored…
This opera marks a turning point in two ways. It sets the direction for Italian opera after Rossini and it's international success leads to Meyerbeer's Paris operas. Indebted to Rossini, yes - but it in a distinct voice - Meyerbeer's. It's a leaner Meyerbeer than Paris - no "effects without causes" here, although the plot is not the finest. Not much action. More about revelations between characters…By Richard (Minneapolis, Mongolia).
In his 2003 production for the Maggio Musicale in Florence, director Jonathan Miller invested the complex relationships between the characters with countless tiny erotic charges and even obvious sexual symbols. The artistic director of the renowned Maggio Musicale festival Zubin Mehta brings out not only the tension and drive of the music but also its harmonic richness. The singers all belong to the international opera scene and not only provide excellent vocal quality but also strong acting skills, which help to tell the gripping story with its many disguises, mix-ups and discoveries: Russian soprano Eteri Gvazava internationally recognised since her sensational Traviata à Paris filming partnering José Cura is wonderful to watch and to hear in the role of the sad but contriving Countess Almaviva. Patrizia Ciofi, the Italian belcanto star is Susanna with all her intriguing acting skills and her pointed vocal intensity. Lucio Gallo who plays the evil character in this plot is one of the foremost Italian baritones. The title role is sung by Giorgio Surian, a bass-baritone who started off on the Italian opera scene, but has since made a steady career on international opera stages.
Of the compilations released to mark the 150th anniversary of Claude Debussy's birth this year, this is the most treasurable. As a survey of the music of perhaps of the greatest 20th-century composer it could hardly be bettered, especially within recordings from a single label, or rather, a single group of labels, for as well as Deutsche Grammophon recordings it also includes material from Philips and Decca, which are all now part of the Universal stable.
With The All-Baroque Box we realize one of our fondest dreams: harnessing the deep catalogue of Archiv Produktion (supplemented on occasion by Decca L oiseau lyre recordings) to create a comprehensive collection of great music from Monteverdi to Bach. The music ranges from huge Baroque (Missa Salisburgensis, Venetian polychoral, Charpentier Te Deum) to intimate Baroque (the Goldberg Variations, Bach cello suites, solo cantatas) overwhelming in its impact and emotional content.