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Verdi: Macbeth

Luciano Pavarotti

Classical - Released January 1, 1993 | Decca Music Group Ltd.

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Verdi: Macbeth

Europe Galante

Opera - Released November 16, 2018 | Glossa

Booklet
A vivid demonstration of how widely Fabio Biondi’s musical imagination runs comes with his new recording of Giuseppe Verdi’s work of genius, Macbeth. It is the original Florentine 1847 version of the work, shorn of the Paris revisions more typically found on record, which Fabio Biondi has opted to conduct, the director believing in its greater dramatic and stylistic coherence. Verdi was of the opinion that the Shakespearean tragedy was “one of the greatest creations of the human spirit” and set himself the task of rendering the fire of its drama into music during and following a period when his physical health had broken down. With its scenes of murder, battle and sleep-walking, brindisi and witches’ choruses all creating a sombre atmosphere drenched with paranoia and a lust for power, the dramatic flow of the opera places vast demands on the soloists, notably upon the unhappy title-role couple. Fabio Biondi’s version comes with baritone Giovanni Meoni, a leading Verdi specialist as Macbeth whilst the larger-than-life role of Lady Macbeth is taken by a noted present-day Salome, Médée (and Medea), the soprano Nadja Michael. Bass Fabrizio Beggi assumes the part of Banquo, both when alive and as a ghost. Important also in the work (and as described by Stefano Russomanno in his accompanying essay) is the chorus, a leading protagonist for the composer, and here the Podlasie Opera and Philharmonic Choir. Critical also is Verdi’s orchestral writing for Macbeth, introducing rare and radical tonal colourings and Fabio Biondi, directing his Europa Galante from the violin, is just the radical, challenging musical spirit to breathe new life into Verdi’s masterpiece and its search for dramatic truth. © Glossa
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Verdi: Don Carlo

Luciano Pavarotti/Samuel Ramey/Riccardo Muti/Daniella Dessì/Luciana d'Intino/Paolo Coni

Classical - Released January 1, 1994 | Warner Classics

EMI's release of this 1992 live performance of the standard four-act version of Don Carlo at La Scala makes a strong addition to the catalog. Riccardo Muti's dramatically charged conducting and the energy that comes from live performances play a large part in making this such a compelling version. Muti gives full reign to the grand passions and dramatic contrasts of Verdi's panoramic score, making this one of the most theatrically urgent recordings available. The orchestra of La Scala plays with fiery intensity, and with better intonation and more finesse than in some of its live recordings. The production was clearly organized around Luciano Pavarotti's Don Carlo, and he delivers a performance that's notable for its restraint. This is very much an ensemble opera, and Pavarotti's contribution is that of a team player rather than a superstar scrambling for the spotlight. That being said, his performance is fully and appropriately committed and passionate, and he's in strong voice. The male leads are consistently stellar. Samuel Ramey captures the complexity and conflict of Filippo, and sings with resonance and richness. Paolo Coni had a limited recording career, but he practically steals the show here with the nobility and thrilling vocal power of his Rodrigo. Alexander Anissimov manages to sound both ancient and dangerously powerful, an ideal combination of characteristics for the Inquisitor. Daniela Dessì as Elisabetta and Luciana d'Intino as Eboli are very nearly in the same vocal league as the men. Both have full, penetrating voices, but with an occasional slight edge that keeps their performances from being as fully realized as those of the men. They aren't helped by a recording ambience that's a little too bright. Otherwise, the sound is good for a live recording, with nice balance between the voices and orchestra. Overall, Muti's version is a strong contender in the field of recordings of the opera.© TiVo
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Don Giovanni (Intégrale)

Hans Rosbaud

Full Operas - Released July 19, 2007 | INA Mémoire vive

Booklet Distinctions 4 étoiles du Monde de la Musique
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The Great Puccini

Jonathan Tetelman

Classical - Released September 29, 2023 | Deutsche Grammophon (DG)

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Talk to opera aficionados, or at least to Deutsche Grammophon's indefatigable army of publicists, and one will hear the name of rising tenor Jonathan Tetelman frequently. A bit of listening to The Great Puccini, his sophomore release, will confirm why: his voice has the effortless quality that was once associated with Luciano Pavarotti. It seems to issue forth from his vocal apparatus as a force of nature, lacking the tension in the high notes that one naturally expects. One might, it is true, accuse Tetelman of undertaking unambitious programming with a debut album of aria hits followed by a Puccini album, but this is not quite fair. Tetelman includes not only the evergreen "Che gelida manina" and "Nessun dorma" but selections from the lesser-known early Puccini operas. Sample "Toran ai felici di" from the very first Puccini opera, Le villi, which Tetelman boldly chooses as his finale. It sounds like a million bucks here, and this is reason enough to keep an eye on this young tenor. He doesn't always have the gift of stepping fully into a character and modulating the voice to match, but this will come with time and age and, perhaps, with a plum part in a full opera, which one hopes is on Deutsche Grammophon's agenda. Until then, listen and enjoy, along with all the others who put this release on classical best-seller charts in the autumn of 2023.© James Manheim /TiVo
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Verdi: Don Carlos

Luigi Roni

Opera - Released January 1, 1979 | Orfeo

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Mozart: Don Giovanni, K. 527

Charles Mackerras

Classical - Released August 27, 1996 | Telarc

Charles Mackerras' 1995 recording of Don Giovanni with the Scottish Chamber Orchestra & Chorus is intriguing largely because it includes both the original Prague version and the revised Vienna version of the middle of the second act. The Prague version ends the second CD and the Vienna version opens the third CD, making it easy for listeners to skip over whichever version they choose, or just play the discs straight through and listen to both. The performances on the whole, though, are not consistently strong enough to make this a particularly competitive reading of the opera. Several roles are very well taken. Bo Skovhus makes a charismatic and roguish Don Giovanni, with the dramatic skills to make the complex character fully convincing. His singing is powerful, and his tone is secure and ringing throughout his range. As Zerlina, Nuccia Focile is a wide-eyed but beguiling innocent, and she acts beautifully with her expressive voice, which is consistently warm and lyrical. Their chemistry makes "Là ci darem la mano" one of the album's highlights. Felicity Lott is dramatically effective as Donna Elvira, but her voice, which sounds marvelous when it's soaring, lacks power and sounds unsupported in its lower register. Christine Brewer's Donna Anna is inconsistent; for some stretches, her voice lacks substance and has a slightly grainy sound, but she persuasively pulls off her big moments. Jerry Hadley as Don Ottavio doesn't always sound entirely in control, and his lower register is often weak, but he handles "Il mio tesoro intanto" nicely. Alessandro Corbelli brings genuine comic gifts to Leporello, but he doesn't have the power necessary and his vibrato sometimes obscures the pitch. The playing of the Scottish Chamber Orchestra is exemplary -- crisp and flexible -- and the use of natural horns and Classical-era trombones and timpani works well with the stylistically sensitive playing of the rest of the ensemble. The sound is vivid, and the discreet use of sound effects is convincing.© TiVo
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Verdi : Ernani (Remastered)

Thomas Schippers

Classical - Released January 1, 1968 | Sony Classical

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Liszt - Freudvoll und leidvoll

Jonas Kaufmann

Classical - Released September 17, 2021 | Sony Classical

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His Lieder are the least known works of that great European polyglot, Franz Liszt. Even so, he left a catalogue of eighty-one Lieder based on poems from five different languages. The composer knew how to choose his poets, starting with Victor Hugo, followed by Heine, Goethe, Pétrarque, Rellstab and Schiller. Liszt has often been criticized for his lack of affinity for the atmosphere of the Lieder, his exaggerated pathos and his over-elaborate piano accompaniment.It takes artists of the calibre of Jonas Kaufmann and Helmut Deutsch to do this music justice. In this compilation, Goethe takes the lion's share, with several versions of the same poem re-interpreted twice, sometimes three times, by the Hungarian composer, no doubt aware of the gaucheness of the earlier versions. "Full of joy and pain is the soul that loves" (Freudvoll und leidvoll) sings the poet, a programme which is the very essence of all poetry that permeates this entire corpus.This selection of some twenty Lieder, including the well-known 3 Sonetti del Petrarca, will no doubt help to bring a better understanding of this aspect, ignored by Liszt. In any case it is the wish of these brilliant performers who, with this studio recording, have in their own way filled the great void. © François Hudry/Qobuz
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Verdi : Le Trouvère (Diapason n°609)

Choeur de L'Opera de Vienne

Classical - Released September 25, 2011 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Verdi : I due Foscari (Live)

Ivan Repušić

Opera - Released July 5, 2019 | BR-Klassik

Hi-Res Booklet Distinctions 5 de Diapason
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Verdi: Luisa Miller (Live)

Marina Rebeka

Opera - Released April 6, 2018 | BR-Klassik

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Luisa Miller marks the end of years of hardship for Verdi who is now in full possession of his own musical language, and he does not owe anything to Bellini or Donizetti anymore. The opera, with a rather complex architecture, starts with a beautiful overture, and is supported by a dramatic direction and an inspired melodic style, with perfectly characterised roles. Recorded during a live version performed in 2017 in Munich’s Prinzregententheater, this new version of Luisa Miller, with its eminently international cast, sounds undeniably appealing. The title role is held by Latvian soprano Marina Rebeka. This great interpreter of Mozart and Rossini made her acclaimed debut in Salzburg, under the direction of Riccardo Muti, and has since sung on the greatest lyrical stages in the world. By her side, Sicilian tenor Ivan Magri as Rodolfo, and Romanian George Petean who asserts himself as one of today’s best Verdian baritones. Croatian conductor Ivan Repušić leads the way with meticulous efficiency, lending a true “italianità” to the Munich Radio Orchestra. © François Hudry/Qobuz
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Verdi: Nabucco

Parma Teatro Regio Orchestra

Classical - Released November 19, 2013 | C Major

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NESSUN DORMA AND OTHER FAVOURITE ITALIAN TENOR ARIAS

Vincenzo La Scola

Classical - Released August 26, 1997 | Naxos

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Les Noces de Figaro (Intégrale)

Huub Claessens

Opera - Released January 1, 2000 | Accent

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Mozart: Don Giovanni, K. 527

Lorin Maazel

Opera - Released January 13, 1987 | Sony Classical

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Giuseppe Verdi : Luisa Miller

Katia Ricciarelli

Classical - Released January 1, 1980 | Deutsche Grammophon (DG)

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Verdi : Stiffelio

Andrea Battistoni

Classical - Released March 25, 2014 | C Major

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Mozart: Don Giovanni - The Sony Opera House

Lorin Maazel

Classical - Released January 13, 1987 | Sony Classical