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Joyce DiDonato|Rossini: Colbran, the Muse (opera arias)

Rossini: Colbran, the Muse (opera arias)

Joyce DiDonato/Orchestra dell' Accademia Nazionale di Santa Cecilia, Roma/Edoardo Muller

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Many opera fans are perfectly happy to enjoy Rossini's operas without ever visiting the facts of his personal life beyond that which can be read in a program booklet. As the old saying goes, however, behind every great man there is a woman, and in Rossini's case it was Spanish diva Isabella Colbran, whom he worshiped from afar before the two became an item around 1817 -- he was 25, she 32 -- and subsequently married in 1822. Not long after they married her voice went into sharp decline; this is documented in a number of unflattering reviews from both Italy and London. Nevertheless, this did not occur before Rossini had the chance to write his most challenging and involved roles for her, and this part of his legacy is what is explored on Virgin Classics' Colbran, the Muse. Mezzo-soprano Joyce DiDonato is not your ordinary diva; mere months before Virgin Classics' Colbran, the Muse was released, DiDonato made the headlines when she broke her leg during a performance of Il Barbiere di Siviglia, yet finished the performance on crutches. This helped cement DiDonato's reputation as a trouper, but it is the diva -- not the trouper -- that we hear on Colbran, the Muse. While recording companies do not routinely concern themselves with exploring the legacies of singers no one can reasonably hear, to her credit DiDonato takes this project quite seriously and does her best to channel Colbran through music Rossini wrote for her. There is some controversy as to whether Colbran was a soprano or a mezzo; however, there certainly isn't anything in her music that DiDonato can't handle; moreover, she does so not only with accuracy and respect for the model but also with no small amount of sheer star power and charisma. Rossini tends to be less harder on the orchestra than on singers, and this can lead to a certain underpowered "house style" with Rossini, especially in Italy. Not so here, as Edoardo Müller and the Orchestra dell'Accademia Nazionale di Santa Cecilia approach every bar of their music with attentive dedication and a scrupulous sense of ensemble dynamics. Likewise, the chorus doesn't sound like it's in the next province, yet never covers the star of the show and is well drilled by Müller. Virgin Classics' Colbran, the Muse is a terrific star turn for DiDonato and an especially fine tribute to an artist whose voice gave way more than 50 years before Thomas Edison developed the technological means to capture it. This quirky idea succeeds so well that opera fans might regard it as a privilege.
© TiVo

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Rossini: Colbran, the Muse (opera arias)

Joyce DiDonato

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1
Armida, Act 2 Scene 2: No. 10b, Finale, "D'amor al dolce impero" (Armida, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:07:37

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Lawrence Brownlee, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Marcovalerio Marletta, Director - Corrado Amici, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

2
La donna del lago, Act 1 Scene 2: No. 1b, Cavatina, "Oh mattutini albori" (Elena)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:04:42

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

3
La donna del lago, Act 2 Scene 7: No. 13, Rondo e Finale, "Tanti affetti in tal momento" (Elena, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:04:16

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Marcovalerio Marletta, Director

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

4
La donna del lago, Act 2 Scene 7: "Fra il padre e fra l'amante" (Elena, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:04:06

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Marcovalerio Marletta, Director

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

5
Maometto secondo, Act 1: "Giusto ciel, in tal periglio" (Anna, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:03:37

Gioachino Rossini, Composer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus, MainArtist - Edoardo Muller, Conductor, MainArtist - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Parlophone Records Limited, a Warner Music Group Company

6
Elisabetta, regina d'Inghilterra, Act 1 Scene 2: No. 2b, Cavatina, "Qant'è grato all'alma mia" (Elisabetta, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:06:50

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Marcovalerio Marletta, Director

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

7
Semiramide, Act 1 Scene 9: No. 5, Coro e Cavatina, "Serena i vaghi rai" (Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:03:15

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer - Marcovalerio Marletta, Director

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

8
Semiramide, Act 1 Scene 9: "Bel raggio lusinghier" (Semiramide, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:06:09

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer - Marcovalerio Marletta, Director

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

9
Otello, Act 3 Scene 1: No. 10a, Scena, "Ah! … Dagli affanni oppressa" (Desdemona, Emilia)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:03:36

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer - Roberta De Nicola, Soprano Vocals, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

10
Otello, Act 3 Scene 1: No. 10a, Canzone del Gondoliere, "Nessun maggior dolore" (Il Gondoliere)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:01:48

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, MainArtist - Lawrence Brownlee, Tenor Vocals - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer - Roberta De Nicola, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

11
Otello, Act 3 Scene 1: No. 10a, "Oh come infino al core" (Desdemona, Emilia)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:02:57

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer - Roberta De Nicola, Soprano Vocals, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

12
Otello, Act 3 Scene 1: No. 10b, Canzone del salice, "Assisa a' piè d'un salice" (Desdemona, Emilia)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:07:49

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Roberta De Nicola, Soprano Vocals, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

13
Otello, Act 3 Scene 2: No. 10c, Preghiera, "Deh calma, o ciel, nel sonno" (Desdemona)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:02:35

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Roberta De Nicola, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

14
Armida, Act 3 Scene 9: No. 15, Finale, "Se al mio crudel tormento" (Armida, Rinaldo, Ubaldo, Carlo)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:05:39

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Lawrence Brownlee, Tenor Vocals, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Recording Producer - Carlo Putelli, Tenor Vocals - Corrado Amici, Tenor Vocals, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

15
Armida, Act 3 Scene 10: "Dove son io? … Fuggi" (Armida)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:04:33

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Lawrence Brownlee, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Corrado Amici, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

16
Armida, Act 3 Scene 10: "È ver … gode quest'anima" (Armida, Chorus)
Orchestra dell'Accademia Nazionale Di Santa Cecilia
00:02:20

Gioachino Rossini, Composer - Alain Lanceron, ExecutiveProducer - Joyce DiDonato, Mezzo-soprano Vocals, MainArtist - Lawrence Brownlee, MainArtist - Coro dell'Accademia Nazionale di Santa Cecilia, Chorus, MainArtist - Edoardo Muller, Conductor, MainArtist - Michel Pierre, BalanceEngineer - Orchestra dell'Accademia Nazionale di Santa Cecilia, Orchestra, MainArtist - Laurence Heym, Producer - Marcovalerio Marletta, Director - Corrado Amici, MainArtist

© 2009 Erato/Warner Classics, Warner Music UK Ltd. A Warner Music Group Company ℗ 2009 Erato/Warner Classics, Warner Music UK Ltd

Album Description

Many opera fans are perfectly happy to enjoy Rossini's operas without ever visiting the facts of his personal life beyond that which can be read in a program booklet. As the old saying goes, however, behind every great man there is a woman, and in Rossini's case it was Spanish diva Isabella Colbran, whom he worshiped from afar before the two became an item around 1817 -- he was 25, she 32 -- and subsequently married in 1822. Not long after they married her voice went into sharp decline; this is documented in a number of unflattering reviews from both Italy and London. Nevertheless, this did not occur before Rossini had the chance to write his most challenging and involved roles for her, and this part of his legacy is what is explored on Virgin Classics' Colbran, the Muse. Mezzo-soprano Joyce DiDonato is not your ordinary diva; mere months before Virgin Classics' Colbran, the Muse was released, DiDonato made the headlines when she broke her leg during a performance of Il Barbiere di Siviglia, yet finished the performance on crutches. This helped cement DiDonato's reputation as a trouper, but it is the diva -- not the trouper -- that we hear on Colbran, the Muse. While recording companies do not routinely concern themselves with exploring the legacies of singers no one can reasonably hear, to her credit DiDonato takes this project quite seriously and does her best to channel Colbran through music Rossini wrote for her. There is some controversy as to whether Colbran was a soprano or a mezzo; however, there certainly isn't anything in her music that DiDonato can't handle; moreover, she does so not only with accuracy and respect for the model but also with no small amount of sheer star power and charisma. Rossini tends to be less harder on the orchestra than on singers, and this can lead to a certain underpowered "house style" with Rossini, especially in Italy. Not so here, as Edoardo Müller and the Orchestra dell'Accademia Nazionale di Santa Cecilia approach every bar of their music with attentive dedication and a scrupulous sense of ensemble dynamics. Likewise, the chorus doesn't sound like it's in the next province, yet never covers the star of the show and is well drilled by Müller. Virgin Classics' Colbran, the Muse is a terrific star turn for DiDonato and an especially fine tribute to an artist whose voice gave way more than 50 years before Thomas Edison developed the technological means to capture it. This quirky idea succeeds so well that opera fans might regard it as a privilege.
© TiVo

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