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Bellini: La Sonnambula – De Marchi, Bartoli, Florez (FLAC) (2009)

Bellini: La Sonnambula - De Marchi, Bartoli, Florez  (FLAC) (2009)
Bellini: La Sonnambula – De Marchi, Bartoli, Florez (FLAC) (2009)
EAC Rip | Flac(image) – cue – log | 568 MB | 2 CD | Full Scans
Genre: Classical

Composer: Vincenzo Bellini
Performer: Ildebrando DArcangelo, Cecilia Bartoli, Juan Diego FlN?rez
Conductor: Alessandro De Marchi
Orchestra/Ensemble: Scintilla Chamber Orchestra, Zurich La Scintilla Orchestra

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CeciliaBartoli continues her Maria Malibran homage with one of the historicmezzos most famous roles. She is joined by Deccas other big operastar, Juan Diego FlN?rez, and they make a striking pair. He is all vocalfireworks and liquid tone, she luxurious of voice, dramatically intense.A treat for Bellini fans and how often can you say that nowadays

– Gramophone [2/2009]

BELLINILa sonnambula ? Alessandro de Marchi, cond; Cecilia Bartoli (Amina);Gemma Bertagnolli (Lisa); Liliana Nikiteanu (Teresa); Juan Diego FlN?rez(Elvino); Ildebrando dArcangelo (Rodolfo); Peter K?±lman (Alessio);Javier Camarena (Un notaro); La Scintilla O; ZN?rich Op House Ch (periodinstruments) ? DECCA 001238302 (2 CDs: 134:11 &)

As I wrotein March 2008, There are many recordings of La sonnambula, but none isperfect.? The situation remains unchanged, though this latest recordinghas a great many positive aspects. For a start, it is complete, withdecorated second verses for the cabalettas, and even the duet for twotrumpets before Elvinos aria. An editorial note tells us that the newcritical edition was used, with three transpositions downward (the twoduets for Amina and Elvino and Elvinos aria), which means thatlisteners following with the standard Ricordi score will hear what theysee on the page and not the manuscripts higher keys, unlike the Dessayrecordings which make further transpositions downwards. (For furtherinformation, see my Critics Corner in May 2008.) This is also the firstrecording of Sonnambula using a period? orchestra, though not thefirst Bellini opera. The orchestra plays at 430 Hz, which means that themusic sounds a quartertone lower than what the eye sees on the page.Alessandro de Marchis broad experience of the operatic world stands himin good stead, though his occasional frenetic pacing may seemexaggerated. Curiously, one of the most important instruments in thisversion is the triangle, whose reverberations”reminiscent of Alpinebells”linger after many of the ensembles.

The new recording putsto rest the notion of a Malibran version of the opera, though it isstrange that Adrian Mourbys notes constantly refer to Malibran andPasta as mezzo-sopranos. I would suggest that they conform more to GraceBumbrys description of herself as a singer who uses all of her voice?(to which list one might add Shirley Verrett or Jessye Norman). Andthose extensions up to high D and E are certainly not within the rangeof most mezzos. Bearing all this in mind, Cecilia Bartoli encompassesall the notes but that E, sings Ah non giunge? with a plainer firstverse than written as is now the custom, but lacks the simplicity orcourage to let the music speak for itself. The affectations often get inthe way of communication, whether the confidential breathiness or theneed to literally palpitate while singing the word palpitar.? In thetheater one might react differently, as one is dealing with severalelements and not only the musical execution. Juan Diego FlN?rez matcheshis other performances in both expressivity and technique, though thetone itself is monochromatic. Ildebrando dArcangelos Rodolfo isoccasionally stentorian, but that may also be a question of microphoneplacement. Gemma Bertagnollis Lisa makes the most of her two littlearias, occasionally emulating Bartolis breathiness in her first aria.Liliana Nikiteanus Teresa, like many another singer of this role, isslightly troubled at the higher reaches but is otherwise sympathetic inher defense of her daughter.

For the first time, here is what theFrench would call an almost philologically? correct performance ofSonnambula, but it is more than just that as it is full of life,whatever criticisms one may have of individual elements. It certainlybelongs at the top of the list of recorded versions, with a strongrecommendation of the Bernstein/Callas recording, however awful thesound, however hard the chorus struggles with the conductors tempos,but Callas is clearly the role model for Amina, and she and Bernsteinare absolutely demented in the cabalettas. Cesare Vallettis tenor ismore limited than that of FlN?rez (few high notes), but he achievesgreater tonal variety.


1. La sonnambula by Vincenzo Bellini
Performer: Ildebrando DArcangelo (Bass), Cecilia Bartoli (Mezzo Soprano), Juan Diego FlN?rez (Tenor)
Conductor: Alessandro De Marchi
Orchestra/Ensemble: Scintilla Chamber Orchestra, Zurich La Scintilla Orchestra
Period: Romantic
Written: 1831; Italy

01. Atto I. Introduzione
02. Scena 1. Viva! Viva Amina! (Coro)
03. Tutto e gioia, tutto e festa (Lisa, coro)
04. Viva Amina! (Coro, Alessio, Lisa)
05. Care compagne, e voi, teneri amici (Amina, coro)
06. Come per me sereno oggi rinacque il di! (Amina, tutti)
07. Sovra il sen la man mi posa (Amina, tutti)
08. Io piu di tutti, o Amina, teco mi allegro (Alessio, Amina, Lisa, Teresa)
09. Perdona, o mia diletta, il breve indugio (Elvino, Amina, coro, notaro)
10. Prendi: lanel ti dono (Elvino, Amina, coro)
11. Ah! vorrei trovar parola (Amina, Elvino, Teresa, Alessio, Lisa, coro)
12. Domani, appena aggiorni, ci recheremo al tempio (Elvino, Amina, Rodolfo, Lisa, coro)
13. Vi ravviso, o luoghi ameni (Rodolfo, Lisa, Elvino, coro)
14. Contezza del paese avete voi, signor (Elvino, Rodolfo, Teresa, Lisa, coro)
15. A fosco cielo, a notte bruna (Coro, Rodolfo, Teresa, Amina, Elvino, Lisa)
16. Basta cosi (Rodolfo, Teresa, Elvino, coro)
17. Elvino! E me tu lasci (Amina, Elvino)
18. Son geloso del zefiro errante che ti scherza (Elvino, Amina)
19. Ah! costante nel tuo, nel mio seno (Amina, Elvino)
01. Scena 2. Davver, non mi dispiace dessermi qui fermato (Rodolfo, Lisa)
02. Che veggio Saria forse il tremendo fantasma (Rodolfo, Amina, Lisa)
03. Oh ciel! che tento (Rodolfo, Amina)
04. Osservate: luscio e aperto (Alessio, coro)
05. E menzogna (Elvido, Lisa, Amina,coro)
06. Dun pensiero e dun accento rea non son (Amina, Elvino, Alessio, Teresa)
07. Non piu nozze (Elvino, Amina, Lisa, Alessio, Teresa, coro)
08. Atto II. Introduzione
09. Scena 1. Qui la selva e piu folta ed ombrosa (Coro)
10. [Larghetto maestoso]
11. Reggimi, o buona madre (Amina, Teresa)
12. Vedi, o madre, e afflitto e mesto (Amina, Elvino)
13. Viva il Conte! (Coro, Elvino, Amina, Teresa)
14. Ah! perche non posso odiarti (Elvino, coro)
15. Scena 2. Lasciami: aver compreso assai dovresti che mi sei noioso (Lisa, Alessio)
16. Lisa e la sposa… (Coro, Lisa, Alessio)
17. De lieti auguri a voi son grata (Lisa, Alessio, coro)
18. E fia pur vero, Elvino, che alfin dellamor tuo degna mi credi (Lisa, Elvino, Rodolfo, Alessio, coro)
19. Signor Conte, agli occhi miei negar fede non possio (Elvino, Rodolfo, Lisa, Teresa, coro)
20. (Lisa mendace anchessa!) (Elvino, Teresa, Lisa, Rodolfo)
21. Signor… chi creder deggio (Elvino, Rodolfo, Teresa, coro)
22. Oh! se una volta sola rivederlo io potessi (Amina, Rodolfo, Teresa, coro)
23. Ah! non credea mirarti si presto estinto, o fiore (Amina, Elvino)
24. No, piu non reggo (Elvino, Amina, Rodolfo, tutti)
25. Ah! non giunge uman pensiero al contento ondio son piena (Amina, Elvino)



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