In 1988 when this period-instrument Figaro was released, the style was still a novelty, and Ostman gained some notoreity for his rushed tempos as well as the scrawniness of his chamber orchestra, by far the smallest to play this great opera on CD. Yet when I read a glowing review by Andrew Porter in the New Yorker, I immediately bought the performance, shortly discovering that it was a true gem in the extensive Figaro catalog.
By Santa Fe Listener
Ugo Conte di Parigi unfortunately, did not repeat the success of Donizetti’s Anna Bolena, because the Austrian censorship, which in that period was particularly strict and obtuse, requested a series of important changes that compromised its dramatic essence and, after 1846, the work disappeared altogether from the repertoire. Ugo Conte di Parigi really did not deserve such a fate, for it is - especially from the musical point of view - a work worthy of the best Donizetti, rich in moving melodies and compelling concertati.
Auch die zweite Staffel von Opera!, der neuen Opern-Serie von Decca und Deutsche Grammophon, steht wieder für herausragende digitale Gesamteinspielungen der beliebtesten Meisterwerke der Operngeschichte. Legendäre Sängerbesetzungen, große Dirigenten und ein konkurrenzlos günstiger Preis – das Paket, das die beiden großen Opernlabels mit Opera! schnüren, sollte geeignet sein, die Herzen der Fans von Bartoli, Domingo und Co. höher schlagen zu lassen. Zu den Höhepunkten der zweiten Staffel zählen unter anderem Richard Strauss’ Rosenkavalier in einer legendären Einspielung unter Herbert von Karajan, W. A. Mozarts Le nozze di Figaro mit Cecilia Bartoli als Cherubino sowie Donizettis Lucia di Lammermoor mit Cheryl Studer und Plácido Domingo als tragisches Liebespaar.
“Characterful and musically imaginative” The Penguin Guide
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. West coast meets Dutch jazz – in this sweet set that features Bob Cooper on tenor and Conte Candoli on trumpet – both musicians who rose to fame in the LA scene of the 50s, but who still stand plenty strong here with the trio of Rein DeGraaff in the 90s! Cooper and Candoli continued to play often over the years – even after both had lost the opportunity to record much as leaders – and the musicians are in fine form here, with strong backing from Rein's trio that also features Koos Serierse on bass and Erik Ineke on drums.
This recording brings back an obscure session from the long defunct Andex label that was probably recorded around 1956. The emphasis is on Latin jazz with altoist Art Pepper, trumpeter Conte Candoli, tenor saxophonist Bill Perkins, pianist Russ Freeman, bassist Ben Tucker, and drummer Chuck Flores interacting with the percussion of Jack Costanza and Mike Pacheko. With arrangements by Bill Holman, Johnny Mandel, Benny Carter, and Pepper, the music is quite jazz-oriented if a touch lightweight. Worth investigating by fans of the idiom.
Captured live at London’s Royal Opera House, this Barbiere, with its unbeatable cast and the directors’ characteristic wit and intelligence, offers a unique dramatic twist: Joyce DiDonato, who had broken her leg on the opening night, went on with the show. As she said: “Being trapped in the wheelchair was a quite literal way of demonstrating Rosina's huge desire to break free.