10/26/2022 0 Comments Deh vieni non tardar pdf![]() ![]() Solti's conducting was on balance disappointing. Kurt Moll's Bartolo was sung with "remarkable sonority" but unimaginatively, and Robert Tear's rather nasal voice, while good at conveying Basilio's oiliness, was not very pleasant to listen to. The best of the remainder of the cast was Giorgio Tadeo, "solid" as the gardener, Antonio. ![]() As Figaro, Samuel Ramey was "ideal" - "vigorous, dynamic and youthful sounding, characterizing the role with the right combination of cunning and defiance". Thomas Allen took Jellinek by surprise: as well as presenting the Count with the "right kind of imperious elegance", he brought a vocal weight to the role which the critic had imagined to be beyond his resources. As Marcellina, Jane Berbié sounded "frayed". As Susanna and Cherubino respectively, Lucia Popp and Frederica von Stade were "perfectly in character and admirably vocalized", although, again because of Solti, von Stade's "Non so più" lacked the appeal and expressiveness with which she usually invested it. The Countess's climactic declaration of forgiveness in Act 4 was "thrown away" by the manner in which Georg Solti conducted it. Kiri Te Kanawa's Countess, he wrote, was "exquisite, though with a subdued quality that does not project a strong enough profile for the role". George Jellinek reviewed the album on LP in the "Best Recordings of the Month" pages of Stereo Review in January 1983. Lorenzo da Ponte painted by Samuel Morse, circa 1830 ![]() The cover art shared by the LP, cassette and CD editions of the album is The Gardens of the Villa d'Este at Tivoli by Jean-Honoré Fragonard (1732-1806), a painting in the Wallace Collection, London. The album was digitally recorded in June and December 1981 in the Kingsway Hall, London. The opera is performed with non- period instruments. Marcellina's and Basilio's arias, sometimes dropped, are both included. In accordance with the musicological consensus that held sway at the time of its making, the recording follows the traditional ordering of the numbers in the opera's third act, with the Countess's aria "Dove sono" placed after the sextet "Riconosci in questo amplesso". ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |