Riccardo Zandonai: Francesca Da Rimini

Francesca da Rimini, opera
Composed by Riccardo Zandonai
with Harlan Foss, Placido Domingo, Matteo Manuguerra, Raina Kabaivanska
Conducted by Eve Queler

Riccardo Zandonai: Francesca Da Rimini,Riccardo Zandonai,Eve Queler,Raina Kabaivanska,Placido Domingo,Harlan Foss,Matteo Manuguerra,Standing Room Only,Classical,Italian 20th/21st Century Opera,Opera,Opera / Operetta / Oratorio

Average customer rating:

Superb and almost forgotten composer
Ligabue is a wonderful

Zandonai: Francesca da Rimini

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001DMWWA
Release Date: 2004-02-24

Customer Reviews:

Superb and almost forgotten composer.......2007-04-03

Zandonai is one of the most underrated of opera composers. His Conchita Conchita, Giulietta e Romeo, I Cavalieri di Ekebu I Cavalieri Di Ekebu / Barbieri Sings Arias, and the incomplete Il Bacio all have many lovely passages, but his Francesca da Rimini was his claim to fame and quite deservedly so. From start to finish, the opera is overflowing with beautiful music. Temporarily revived by the Met's production with Placido Domingo and Renata Scotto, it would be very refreshing to see this opera reappear in our opera houses. This live recording from 1976 is a real find. The sound quality is good. Ilva Ligabue (Francesca) has a wonderful instrument and is a fine interpreter of the style. Nello Santi is in his element conducting, keeping the orchestra well balanced with the voices and in tune. The only shortcoming is that there is no libretto, only a small booklet of notes. After the conclusion of the opera the recording includes bonus tracks from Verdi's "I Masnadieri", which are out of place stylistically but certainly welcome. The sound quality is fair to poor (with plenty of audience coughing and some unpleasant grunts) but the cast of Ilva Ligabue, Boris Christoff, Renato Bruson, and an uncredited tenor (Arminio) under direction of Gianandrea Gavazzeni is very good.

Ligabue is a wonderful.......2004-11-18

Zandonai's Francesca da Rimini has been recorded several times.
The best recording is probably a 1984 TV/Radio broadcast from the Met with Levine conducting. It boasts a fabulous Paolo in Placido Domingo and a riveting Gianciotto from Cornel MacNeil.
Renata Scotto is the Francesca and although she is completely in the role and thrilling at times, the top of her voice is hardly beautiful and at times quite shrill. The recording is available on DVD, but has never been issued on CD.

That brings us to the underrated and under recorded Ilva Ligabue in this French radio production. She simply is the best Francesca to have recorded the role. She is also completely in the role and has the pipes to handle it. She's a true spinto in the Tebaldi tradition. Scotto was more of a lyric soprano who pushed her way through some of the more dramatic roles. Bondino and Protti don't measure up to their Met rivals, but they are more than adequate. Santi's conducting is reliable and the orchestra and other soloists are quite good. Francesca require a committed ensemble and the cast here does not disappoint. Recorded sound is quite good also.

At Gala's bargain price this is a must for opera lovers.

Average customer rating:

Fascinating - but not Corelli at his very best
Amazing Corelli Rarities!
Another masterpiece from Franco CORELLI
Another masterpiece from Franco CORELLI
Thank You Decca

The Singers: Franco Corelli

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005NY7C
Release Date: 2001-09-18

Tracks:

Otello: Gia Nella Notte Densa - Franco Corelli/Teresa Zylis-Gara
La Gioconda: Ma Chi Vien?/Laggiu Fra Le Nebbie Remote - Franco Corelli/Remo Cambiati/Renata Tebaldi
Manon Lescaut: Tu, Tu, Amore? Tu? - Franco Corelli/Renata Tebaldi
Tosca: Dammi I Colori!/Recondita Armonia - Franco Corelli
Tosca: E Lucevan Le Stelle - Franco Corelli/Alfredo Mariotti
Francesca Da Rimini: No, Smaragdi, No!/Inghirlandata Di Violette - Franco Corelli/Renata Tebaldi/Les Chors Leman
Faust: Rien!... En Vain J'interroge - Franco Corelli/Nicolai Ghiaurov/Ambrosian Opr Chor
Faust: Quel Trouble Inconnu/Salut! Demeure Chaste Et Pure - Franco Corelli

Customer Reviews:

Fascinating - but not Corelli at his very best.......2007-06-13

There is always a special thrill in the inimitable tones of Franco Corelli, and I would sooner hear him at not quite his best than many another tenor at his peak, but there's no denying that the items from 1972, four years before his retirement, present him in slightly clumsy voice, with a slight beat intruding in his top notes, more sense of effort than we are used to hearing in his best recordings and the incipient lisp more apparent. Tebaldi, too, in her pre-retirement mezzo phase following her vocal crisis, is well past her best and often rather acid but still capable of providing heft and ample tone. The "Manon Lescaut" in particular is especially dramatic, sung, as it is here, by two real stage animals, and it is a double pleasure to hear Corelli tackle at least a part of that elusive "Otello" he never sang when partnered by the lovely, under-rated, Teresa Zylis-Gara. The mid-1960's items capture Corelli at his most convincing and more familiar best, fairly execrable French in the "Faust" notwithstanding.

I particularly loved the "Francesca da Rimini" excerpt as this is an opera I would cite as inexplicably neglected - perhaps because we don't have singers capable of doing justice to its visceral verismo melodies. (If you want this wonderful opera complete, try the late Olivero/Del Monaco version -two more great singers in the twilight of their careers, singing their hearts out. Tebaldi, in any case, gives Olivero a run for her money in terms of tender expressiveness.) I withold a star only because this is not the disc to present either Corelli or Tebaldi at their greatest - but it's still essential for their legion fans.

Amazing Corelli Rarities!.......2002-12-15

The real of joy of this recording, and what makes it different than most other Corelli recordings, is that it is largely material that he never performed live on stage. So while it's a joy to listen to it, one can't help but be sad by the fact that he never chose to perform these roles live.
On this disc, only Tosca and La Gioconda were in Corelli's repetoire, and they are well represented here. The disc opens with the famous love duet from Otello in which Corelli is partnered with the excellent Teresa Zylis-Gara. The audience goes wild- and no wonder why! All the elements are there- the romance, the passion, the heroism. Without a doubt, Corelli would have been an incredible Otello!
He is partnered with Renata Tebaldi, past her prime, in two duets. The first, from Manon Lescaut, finds Tebaldi trying to keep up with Corelli. There is, however, magic when the two of them sing together. The second is the challenging, but beautiful duet from Zandonai's Francesca da Rimini. Listen to Corelli's diminuendo when he sings "Francesca" at the end! You will have goosebumps.
He is heard also in Faust. Though his French was less than ideal, he still creates an excellent Faust and is well partnered by Nicolai Ghiarouv.
All in all, this disc is a must for any Corelli fan, or any opera fan.

Another masterpiece from Franco CORELLI.......2002-06-24

It is always a great pleasure hearing Franco Corelli singing, specially because he will never record again. Whatever we can find out recorded by him, studio or live performances, is wellcome. Once Franco Corelli stated that his live performances recording were far better than studio recording, which I absolutely agree with him. On live performances one can feel and hear how Franco Corelli set himself FREE when singing. In my modest opinion, there is no other opera singer like him. His voice, the way he performed when singing is absolutely outstanding. The beautiful pianissimos he introduced on his singing will assure to him and to everybody that he will never be forgotten for that achievement. No comparison with anyone else. He is unique. He changed the way Opera use to be sang and performed. Although no one is perfect, Franco Corelli did his best and made all the efforts possible to be almost perfect in what he was great: singing for us, all those who enjoy Bel Canto, Canto Lirico. Highly recommended.

Another masterpiece from Franco CORELLI.......2002-06-24

Thank You Decca.......2001-09-27

Franco Corelli fans should be so grateful. At last a recording company is releasing some wonderful classical material. Along with several of Franco Corelli's most loved arias this CD is a fabulous remastering of some of Franco Corelli's best (and least often heard) singing. There was, and never will be, a more exciting and thrilling tenor voice. I thought I had at least one example of every song that Maestro Corelli had recorded, but here is a fabulous duet from Francesca da Rimini - magnificent. The pairings with Renata Tebaldi sear the soul and heart as well as the ears. We will not hear voices like this again. The "Gia nella notte densa with Zylis-Gara has been restored beautifully and is a sad reminder of what we missed when Corelli chose not to record this Verdi masterpiece.

With some fairly unusual track selections, this is not the CD to buy if you are going to have only one Corelli recording. However, as NO ONE ever has just one Corelli recording, go get this as quickly as possible. The price is amazing considering this is an "enhanced" CD with a photo gallery, discography and other feature included.

Riccardo Zandonai: Francesca da Rimini
Average customer rating:

Enchanting Music.......Vile Plot

The Only Commercial Recording

Riccardo Zandonai: Francesca da Rimini

Manufacturer: Fonit
ProductGroup: Music
Binding: Audio CD

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ASIN: B000062UVM
Release Date: 2002-02-26

Customer Reviews:

Enchanting Music.......Vile Plot.......2005-01-15

I will say first that the murder scene in Francesca da Rimini makes Otello look like child's play. Two are murdered out of jealousy!

Yet the most distinctive aspect of this set is that all the voices are as enchanted as the music itself. Caniglia is in calm and reflective voice for a change, rich of tone. She acquires, in this set, a Tebaldi-like finesse, very unusual for this emotional prima donna. I must say, a famous book made the case that "high notes were not her glory", perhaps because they are wildly produced, yet she is NOT short on top at all, though many would repeat that phrase just because they read it. Prandelli is a tenor I really enjoy for his ardent singing and ability to modulate his tone. He is perfect for the young love atmosphere of this opera.

Yet the interest is in the sonorities of Zandonai's exotic, Asian like music with its pentatonic and whole tone scales. It is a relaxing piece.

I don't find the conducting memorable at this point, neither is the mastering superb (as in the Caniglia/Prandelli Fedora), Caniglia may be a tad too powerful for the ideal lover (she was a Taurus), and the music itself is more impressionist while the text implies realism and gut wrenching romanticism.

The whole experience of Francesca da Rimini is an enigma, especially to those less poetic than the Italians, but I found the experience, shall we say.....transcending!

See for yourself!

The Only Commercial Recording.......2003-11-25

Although not one of the most popular operas, "Francesca da Rimini" has been a worthy vehicle of Italy's dramatic sopranos. Here we have Maria Caniglia who owned the role in the 1940s and 50s. He voice is a bit worn and she is not convincing as a young woman involved in an adulterous affair but she can give dramatic punch when needed - her "lo bacio` in bocca" at the end of the Third Act is such a moment.
Giacinto Prandelli does not have the heroic squillo that subsequent Paolos have but he is incomparable in the more tender moments. Carlo Tagliabue gives himself heart and soul into the role of Gianciotto.
The remastering of this recording has brought out the beauty of the orchestra under Antonio Guarneri. Details which are lost on live recordings of this role are in strong evidence here despite occasional balance problems.
The opening of the final scene is cut (as it usually is in Italian performances) and the libretto is only in Italian but these are small deficiencies in the only commercial recording ever made of this opera.

Average customer rating:

Two of the greatest
A Legendary Partnership
Interesting but not what it could have been
Not Quite Their Best, But Still a Treasure

Tebaldi and Corelli: Great Opera Duets

Manufacturer: Decca
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ASIN: B000174LYI
Release Date: 2004-04-13

Customer Reviews:

Two of the greatest.......2005-10-21

I had the honor to see these two greats perform in Adriana, that performance got my American-born wife hooked on opera.
I am convinced that both of them are in heaven singing with the angels at this time.

A Legendary Partnership.......2005-05-04

I give this recording 5 stars knowing full well that it captures these two legendary artists in the twilight of their careers. Both were past 50 when this disk was recorded; and more significantly, both had been singing for nearly thirty years. The latter fact is all-too evident at times.

Yet what other famed duo--past or present--could have recorded so late in their careers and pulled off a performance with such elan as to suggest grandeur, even if only rarely actually producing it? I can think of none. Here, Tebaldi and Corelli are still Grand Opera personified. If time and attrition are evident in virtually every note and phrase these two sing, equally evident are the ear-markings of the sovereign performer, the consummate artist. Always there is the glimmer of the past. The old thrill. And THAT warrants 5 stars any day.

Interesting but not what it could have been .......2005-04-02

The Tebaldi-Corelli partnership was one of the most electrifying in the operatic world. Their ringing Italian voices brought down any theatre and people who've experienced them live say that recordings have never been able to capture the size of their voices and the effect they had in the theatre. Even on recordings however, their Italian squillo voices have always excited me and the fact that they never recorded a complete opera together in studio is certainly a shame.

These duets were recorded a few years before their retirement and the decline in their voices is obvious. Tebaldi is often hard-toned, especially above the staff but the middle register remains distinctly warm and as always firm. Corelli on the other hand can still blast out the high notes but the sound has lost its freshness while his lisp is at its worst here. Having said that, I doubt there are singers today who can deliver the excitement heard here.

La Gioconda and Adriana Lecouvreur were Tebaldi's biggest successes in the '60s and Corelli was her most spectacular partner during those performances. As in the Aida excerpt, in the La Gioconda scene Tebaldi sings the mezzo part for a change and it certainly is a treat. She brings a regal style to these roles, which is most appropriate.

Francesca da Rimini is a role Tebaldi always wanted to perform, and was actually supposed to in '57, but sadly the plans were never realised. The long scene they recorded here is passionate and makes us wish for a full recording of the opera. A tribute to Zandonai who was one of the first who recognised young Tebaldi's potential. I doubt the tenor and soprano ever sang Manon Lescaut together so the long duet gives us and idea of what such a performance could have been.

As part of the battle between recording labels, Phillips desperately tried to resuscitate two other stars by attempting a similar "duets" recording just a few months after this one. Sadly, the results were not good enough to keep the recording on the shelves.

While not what it could have been, seasoned Tebaldi-Corelli fans will still want this recital especially for the rarities.

Not Quite Their Best, But Still a Treasure.......2004-05-15

Remember all those old LP's that maybe your parents or grandparents owned? You were always told not to touch, but you disobeyed the order, and thumbed through the collection. You find a great operatic recording, with the stars on the jacket that seemed larger than life. You take the record out of the jacket, carefully place it on the phonograph, and fall in love with opera. Then of course, you carefully place the record back in the jacket, and few weeks later Mom or Dad, or Grandma or Grandpa listen to the record and can't understand how it got scratched. They know it is you, so you run and hide, but all will later be forgiven when you join them in listening to a Saturday afternoon radio broadcast live from the Metropolitan Opera in New York. Now you're an adult and you remember those great old recordings from opera's golden and know that with all of today's technology and wonderful recording artists, they somehow do not measure up to those of yesteryear? Well, now you can rest assured because someone at Decca must have had the same childhood experiences and has started releasing some of these great recordings in its CLASSIC RECITALS series.

This recording of operatic duets by greats Renata Tebaldi and Franco Corelli was recorded in 1973, when both were beginning to be past prime, yet it is still a gem. There are only five duets, three of which are from operas and roles associated with both performers: Manon and Des Grieux in MANON LESCAUT, Francesca and Paolo in FRANCESCA DA RIMINI, and Adriana and Maurizio in ADRIANA LECOUVREUR. These duets are performed well, as one would expect from singers of their caliber. The treasures are the duets from LA GIOCONDA and AIDA. Normally Tebaldi was the soprano in these operas and exceptional as both Gioconda and Aida. Yet in the duets, her voice is more mezzo and she sings Laura and Amneris respectively.

Tracks:

Francesca da Rimini - Act One: O Donella, c'e il giullare in corte!
Francesca da Rimini - Act One: Come Morgana manda al re Artu
Francesca da Rimini - Act One: Questi giullari et uomini di corte
Francesca da Rimini - Act One: Oime che adesso io provo...Amor le fa cantare!
Francesca da Rimini - Act One: Francesca, dove andrai?
Francesca da Rimini - Act One: Pace, anima cara, piccolo colomba
Francesca da Rimini - Act One: Madonna Francesca!...Chi mi vuole?
Francesca da Rimini - Act One: O Dattero fronzuto, o mio gentile amore
Francesca da Rimini - Act One: Chi ho veduto?
Francesca da Rimini - Act Two: Perla terra de maggio
Francesca da Rimini - Act Two: E ancora sgombra il campo del comune?
Francesca da Rimini - Act Two: Qualcuno sale per la scala
Francesca da Rimini - Act Two: Ah! dove siamo noi
Francesca da Rimini - Act Two: Ecco l'elmetto ch'io ci donora
Francesca da Rimini - Act Two: Ah! Paolo! Paolo! Che mai e questo, o Dio?
Francesca da Rimini - Act Two: Viva!...Per Dio, gente poltrona
Francesca da Rimini - Act Two: Orsu, bisogna manganare una botte grande
Francesca da Rimini - Act Two: Ecco, bevete. E vino di Scio
Francesca da Rimini - Act Two: Bevete Mio cognato
Francesca da Rimini - Act Two: O sciagura, sciagura! Non vedete?

Tracks:

Francesca da Rimini - Act Three: E Galeotto sine - Dama, abbiatena peita
Francesca da Rimini - Act Three: Su, levati! NOn hai colpa
Francesca da Rimini - Act Three: O dama, non ti disperate!
Francesca da Rimini - Act Three: Abbiamom i sonatori per la conzone a ballo
Francesca da Rimini - Act Three: Marazo e giunto
Francesca da Rimini - Act Three: Andate in allegrezza per la corte
Francesca da Rimini - Act Three: Benvenuto, signore mio congnatio
Francesca da Rimini - Act Three: Palol, datemi pace!
Francesca da Rimini - Act Three: Inghirlandata di ciolette m'appariest ieri
Francesca da Rimini - Act Three: Paolo, se perdonato vi fu
Francesca da Rimini - Act Three: E Galeotto dice - Dama, abbiatene pieta
Francesca da Rimini - Act Four: Tu m'aizza. Il pensiero di te
Francesca da Rimini - Act Four: Il piu profondo sonno
Francesca da Rimini - Act Four: Torna Malatestino. Io non voglio vederlo
Francesca da Rimini - Act Four: Era tecco la tua mogile?
Francesca da Rimini - Act Four: Malatestino. Vieni!
Francesca da Rimini - Act Four: Liho cola il sonno. Dorme
Francesca da Rimini - Act Four: O Biancafiiore, piccola tu sei!
Francesca da Rimini - Act Four: E cosi vada s e pu mio destino!
Francesca da Rimini - Act Four: Vieni, vieni, Francesca!
Francesca da Rimini - Act Four: Apri, Francesca! Apri!

Customer Reviews:

A recommander.......2005-10-21

Raina Kabaivanska est absolument merveilleuse. C'est une véritable reine de ce répertoire où l'art de la parole dramatique doit s'allier en une parfaite symbiose au goût musical. Kabaivanska, Domingo et Queler sont à leur sommet. A recommander vivement...

A different kind of opera.......2004-07-08

When Zandonai's most famous opera, "Francesca da Rimini," premiered at Turino in 1914 (at the Met in 1916) opera goers were still in the melodic grip of the grand Puccini. Zandonai was quite a surprise. There are no arias, per Puccini, still the lovely aria, "Paolo, Paolo, datemi pace," is such an earnest plea from the tragic Francesca who loved only Paolo, but was in a forced political marriage to his warring brother. The brothers are unique in each part, and run the gamut from menacing to gentle. The women's parts are tender and sweet. The contralto singing the maid servant of Francesca is splendid. It is commonly agreed that the great Raina Kabaivanska is the preeminent interpreter of Francesca. Her amazing pianissimi and complete vocal control are the envy of many, if not most, divas. The thrilling artistic compatability of Kabaivanska and Domingo in "Tosca" and "Il Trovatore," are equalled in this performance. As important as the story line taken from a tale from Dante's "Inferno" is, the hauntingly beautiful harmonies Riccardo Zondonai has interposed throughout the opera are its crowing glory. They, with with the lack of defining arias, set the tone for this innovative and magnificent work. Because you will not hum along with any of this, it is recomended for the listener to know the story, follow with libretto in hand. Seen and heard, this is a heartbreakingly beautiful opera. Heard, alone, may be a challenge, but one well worth the time and effort to understand and appreciate. G.K Brown, DMA, Profesor of Music, Ret.

Great Work--Poor Sound.......2000-12-23

"Francesca da Rimini" is a neglected masterwork. But those approaching the work expecting to hear second rate Puccini will be disappointed. Zandonai's musical idiom, while certainly retaining moments of Italian lyricism, is far more modern than Puccini's and may not appeal to those who dislike, say, the operas of Richard Strauss. But certain passages of "Francesca" are riveting--the "wordless love duet" at the end of act one, with its intensely romantic atmosphere and mysterious off-stage female chorus, and the gripping final scene are but two examples.

Sadly, this release doesn't do all that glory justice. The rather dim live sound, and lack of libretto are serious drawbacks. But, hey, for ten bucks you can't complain. Let's just hope that a better recording WITH libretto shows up soon. Perhaps a better introduction to the work would be the Met video of "Francesca" with Domingo and Renata Scotto.

Pretty boring.......2000-12-21

Zandonai, judged by this work, deserves to be ignored. It is a very unmelodic piece, largely made up of declaratory singing of little musical form, interspersed with rather amorphous but pretentious passages for the orchestra.

The performers in this live recording probably make as much of the material as can be done. Domingo's voice and delivery is such that he would be intgeresting singing the phone book and he has the ideal tenor voice for this sort of material. Here he is recorded with a rather remote acoustic most of the time but otherwise breathes some fire into these dying embers of Italian opera. Raina Kabaivanska in the title role demonstrates a wide tonal and dynamic range and a good ability to avoid shrieking as much as the music seems to invite. Matteo Managuerra is well contrasted with Domingo and Nuccio Saetta sounds like the unpleasnt villain he is supposed to be. Eve Quiller as conductor appears to work hard with most unpromising material.

A very serious weakness of the set is the lack of libretto. The brief essay and synopsis -- not keyed to the index tracks -- give little indication of what is going on, and the phrases are sufficiently dragged out that one cannot usually spot the words, let alone make sense of the drama. Since drama is about all that this may have going for it, the lack of libretto is even more serious than usual

Tracks:

Francesca da Rimini: Prelude: Allegretto mosso
Francesca da Rimini: Act 1: Adonella, Adonella, c'e il giullare in corte
Francesca da Rimini: Act 1: Meravigliosamente un amor mi distringe
Francesca da Rimini: Act 1: So le storie di tutti i cavalieri
Francesca da Rimini: Act 1: Come Morgana manda al re Artu lo scudo
Francesca da Rimini: Act 1: Or venuta che fue l'alba del giorno
Francesca da Rimini: Act 1: Che fai qui, manigoldo?
Francesca da Rimini: Act 1: Egli era si povero ad arnese
Francesca da Rimini: Act 1: Ohime! Oime! che adesso io provo
Francesca da Rimini: Act 1: Francesca, dove andrai
Francesca da Rimini: Act 1: Verra, in breve anche il tuo giorno
Francesca da Rimini: Act 1: Madonna Francesca! Su, Madonna Francesca
Francesca da Rimini: Act 1: O dattero fronzuto
Francesca da Rimini: Act 1: Portami nella stanza
Francesca da Rimini: Act 1: Per la terra di maggi
Francesca da Rimini: Act 2: E' ancora sgombro il campo del comune?
Francesca da Rimini: Act 2: Paolo! Francesca! - Date il segno
Francesca da Rimini: Act 2: Ecco l'elmetto ch'io vi dono
Francesca da Rimini: Act 2: Questo cimento e il giudizio di Dio
Francesca da Rimini: Act 2: Ah non mi muoio!
Francesca da Rimini: Act 2: Viva! Viva! Viva Messer Giovanni Malatesta!
Francesca da Rimini: Act 2: Orsu, bisogna manganare una botte grande
Francesca da Rimini: Act 2: O sciagura! sciagura!
Francesca da Rimini: Act 2: La botte! La botte!
Francesca da Rimini: Act 3: Prelude - Allegro non troppo
Francesca da Rimini: Act 3: E Galeotto dice: Dama, abbiate ne pieta
Francesca da Rimini: Act 3: Nova in calen di marzo, o rondine
Francesca da Rimini: Act 3: Smaragdi, non torna?
Francesca da Rimini: Act 3: O dama, non ti disperare!
Francesca da Rimini: Act 3: Marzo e giunto, e febbraio gito se n'e col ghiado

Tracks:

Francesca da Rimini: Act 3: Agitato e piu mosso - No, Smaragdi, no!
Francesca da Rimini: Act 3: Benvenuto, signore mio cognato
Francesca da Rimini: Act 3: Paolo, datemi pace!
Francesca da Rimini: Act 3: Inghirlandata di violette m'appariste ieri
Francesca da Rimini: Act 3: Nemica ebbi la luce, amica ebbi la notte
Francesca da Rimini: Act 3: E Galeotto dice: Dama, abbiatene pieta
Francesca da Rimini: Act 4: Perche tanto sei strano?
Francesca da Rimini: Act 4: Mia cara donna, voi m'attendevate?
Francesca da Rimini: Act 4: Torna Maletestino. Io non voglio vederlo.
Francesca da Rimini: Act 4: Era teco la tua moglie?
Francesca da Rimini: Act 4: E se il fratello vede che taluno tocca la donna del fratello
Francesca da Rimini: Act 4, Scene 2: Prelude - Allegretto triste
Francesca da Rimini: Act 4, Scene 2: L'ha colta il sonno
Francesca da Rimini: Act 4, Scene 2: No, no! Non sono io!
Francesca da Rimini: Act 4, Scene 2: O Biancofiore, piccola tu sei!
Francesca da Rimini: Act 4, Scene 2: E cosi vada s'e pur mio destino!
Francesca da Rimini: Act 4, Scene 2: Vieni, vieni, vieni, Francesca!

Average customer rating:

A(lfano) to Z(andonai). Great Olivero--terrible sound
Alfano's big hit...

Franco Alfano: Risurrezione

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B00009L1UJ
Release Date: 2003-05-27

Customer Reviews:

A(lfano) to Z(andonai). Great Olivero--terrible sound.......2004-10-14

Source: This appears to be an RAI broadcast from Turin dating from October 22, 1971, coupled with hefty chunks of a "Francesca da Rimini" from Milan, June 4, 1959.

Sound: The sad news -- for a recording made in 1971, this is a disgrace. Even considering that it is taken from a live performance, it is still a disgrace. "Risurrezione" sounds as though it were recorded from a clapped-out AM radio for a second-rate eight-track machine. The live audience is well-disciplined and scatters only a few coughs. "Francesco da Rimini" is slightly better recorded--very slightly better. Whoever recorded F da R contrived the extraordinary feat of making Mario del Monaco's foghorn voice sound small and tentative.

Format: Disc 1, Acts I, II and III, 25 tracks, 67m:36s. Disc 2, Act III (conclusion) and Act IV, 18 tracks, plus "Francesca da Rimini," 7 tracks, 66m:38s.

Documentation: No libretto. Summary of the plot is confined to a single paragraph. Brief verbal sketches are provided for Alfano, the opera and Magda Olivero. The track lists identifies the characters who are singing and shows timings.

A single hearing of "Risurrezione" is sufficient to establish that Franco Alfano had the verismo style down cold. The opera is absolutely at home with "Cavalleria Rusticana," "Pagliacci," "Andrea Chenier" and "Tosca." But it is just a little late, just behind the crest of the verismo wave, so to speak. Alfano was a fine craftsman with every tool in the verismo kit, lacking only the ability to craft a hit tune.

"Risurrezione" is based on Tolstoy's 1900 novel, "Resurrection." Despite that blue-blooded literary ancestry, Alfano's version is chock-full of good, low-down, Italianate emotion. For once, Alfano managed to avoid the weak endings that plague "Turandot" and "Cyrano." The opera ends with full-throttle exchanges between the tenor and the soprano that surely would work up any audience.

The unquestioned star of this recording is that prima donna assoluta, Magda Olivero. Would that she were better recorded! Poor as the recording quality is, the youthful Olivero (she was only about sixty at the time) sounds wonderful.

The tenor, Giuseppe Gismondo was a real surprise to me. He sings with a big, powerful, dark voice. As far as I can gather, he sang extensively with the second-tier opera companies in the US during the 1960s. Why he is not better known puzzles me.

Disc 2 is filled out with about twenty minutes of duets from "Francesca da Rimini," featuring Olivero and del Monaco. Olivero, naturally, is terrific. Del Monaco was probably singing quite well, too, but the recording is singularly unflattering to his big voice.

This is a hard one to call. The opera is pretty good. Olivero is always a treat and Gismondo is a pleasing surprise. But the sound is truly wretched--three stars.

Too bad.

****

A Follow-up Note--September 2005.

This performance is available from Opera d'Oro in markedly better sound, although without the Zandonai excerpts.

Alfano's big hit..........2003-08-17

"Risurrezione" was a work of Alfano's youth. He was but 29 when the work premiered in 1904. It was a hit, and was soon being performed at opera houses around the world, becoming a staple of Mary Garden's repertoire in Paris and Chicago, and reaching it's 1000th Italian performance in 1951. "Risurrezione" contains only hints of the complex, impressionist style of Alfano's maturity. It is flooded with the style of Alfano's idol Puccini, though Tolstoy's story has a more spiritual angle to it than Puccini's operas tend to have.

The structure of the opera is splendidly balanced and concise, with offstage choruses, symphonic interludes, and beautiful arias aplenty. The arias deserve special recognition. The famous "Dio Pietoso", a favorite of Garden's, is beautiful and emotional, but it's the love music, along with the two arias sung by the male characters that impressed me the most. Dimitri's "Piangi, si, piangi", and Simonson's third act aria are both filled with not only beauty, but an earnest dignity, that can't help but move the heart.

The character of Katiusha was a great favorite of many verismo sopranos, because there's such a variety of characters in the one. In the first act, she's a naive girl, in the second a disallusioned outcast. By act III, she's become a degraded, souless prisoner, hard drinking and chain smoking. But in the final act she's had a rebirth...the "Resurrection" of the title, and is strong enough to choose service to humanity over marrying the prince of her dreams, heart breaking as it is for her, and for us.

This performance showcases an array of splendid singers--first and formost the legendary Magda Olivero, who was no spring chicken when this recording was made in 1971. But it was never sheer vocal beauty that set her apart, but rather her amazing dramatic instincts, which are always dead on. The Simonson is also really great. There's recently been a new recording of "Risurrezione" released on the Accord label, and available from Amazon's British sister site. It has the advantage of fat modern sound, which far better showcases Alfano's splendid orchestration. It also has a booklet with complete notes and libretto with translation, which this release lacks. But the singers suffer by comparison. Denia Mazzola has a more beautiful voice, but can't compare with Olivero in interpretation, and the new Simonson lacks the power and dignity of the one on the Gala set. My recommendation--buy both.

Tracks:

La forza del destino: La Forza del destino: Solenne in quest ora
La forza del destino: Invano, Alvaro, Tu Celaste Al Mondo
Au Fond Du Temple Saint
La Boheme: In Un Coupe?...O MImi, Tu Piu Non Torni
Francesca da Rimini: Benvenuto, Signore Mio Cognato
La Gioconda: Enzo Grimaldi, Principe Di Santa Fior
I Vespri Siciliani: Sogno, O Son Desto?...Quando Al Mio Sen
Madama Butterfly: Viene La Sera...Bimba Dagli Occhi Pieni Di Malia
Otello: Ah! Mille Vite...Si, Pel Ciel Marmoreo Giuiro!

Customer Reviews:

Duel of the Tenor and the Baritone.......2005-11-19

Placido Domingo was a big star in the RCA label and on this Golden Seal recording (the best) he is prominently featured in various operatic duets with baritone Sherill Milnes and in two duets with the beautiful soprano Katia Ricciarelli. Especially impressive are the duets between Milnes and Domingo, who were paired quite frequently for the magnitude of their combined voices. Sherill Milnes may be criticized for lacking enough character in his renditions of baritone roles but he could never be accused of singing with technical vocal brilliance. His loud, unsubtle voice was perfectly matched with the dramatic top of Domingo's tenor voice. In their duets, we get fiery, intense and furious duels for voice, each trying to beat the other, two alpha males in fearsome vocal combat. When Domingo sings with Ricciarelli, it is lovemaking! Their voices are rich, beautiful and colorfully textured.

Excerpts from La Forza Del Destino: Domingo and Milnes sang a sensational Forza for RCA opposite Leontyne Price. In this recording we are treated to their duets "Solenne in quest'ora" and "Invano Alvaro tu celaste al mondo", truly wonderful! Milnes and Domingo put down their vocal weapons and sing with luxurious abandonment in the more restrained, less tense duet from Bizet's Les Percheurs the ravishing "Au Fond Du Temple Saint". They once again resume the passionate duel of voices in the more dramatic duet in Ponchielli's La Gicanda. With Ricciarelli, he sings a romantic duet from the turn of the century opera Francesca Da Rimini, about the doomed adulterous lovers in Dante's Inferno. Their voices are beautifully meshed. Ricciarelli worked mostly with Jose Carreras, whose chemistry was stronger but I wish she had sung more recordings with Domingo (they would have made stunning Toscas, Trovatores, Madame Butterfly and Traviatas). The love scene at the end of Act 1 of Madama Butterfly is exceptionally sung. Their voices rise and fall with the tide of passion in the music. It's sublime. And this truly golden album culminates with perhaps the most thrilling tenor/baritone duet "The Oath Scene" from Otello "Giuro Per Mare" in which Otello and Iago swear to make justice for the supposed dishonor committed by Desdemona. Their voices are bombastic and inspirational, crowning this recording on a very high note.

Great duets sung by great voices........1999-09-22

This CD contains some fabulous male singing! The duets for baritone & tenor are reason enogh to purchase this CD, because they were recorded when both men were in their prime (early 1970's). The male duets of Verdi, Bizet and Ponchielli are the jewels of that genre. For the price, you should definately snatch this CD for your collection.

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