.The editors' choice for January is L'Amico Fritz. You can listen to one track from this CD on the website of the magazine. It's Suzel, buon di. But there is another aria I like a lot, Son pochi fiori.
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The German magazine Das Opernglas published a review for this CD (live recording from a concert that took place in Berlin in 2008) in the December issue.
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The German magazine Das Opernglas published a review for this CD (live recording from a concert that took place in Berlin in 2008) in the December issue.
.This is the translation of the review, done by Edda. My knowledge of German is limited to "danke, flughafen, Berlin, Munich" and two-three other words. So it's entirely her work. Thanks. And also thanks for the articles.
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A trivial plot stands somewhat in the way of a scenic realisation of Pietro Mascagni's second opera after his successful debut with Cavalleria Rusticana, because it seems difficult to unfold its scenic potential on stage.
Consistently one found in Alberto Veronesi, the entrepreneurial and financially strong musicologist and conductor, the Deutsche Oper Berlin, the Deutsche Grammophon and the opera stars Angela Gheorghiu and Roberto Alagna manpower, who acted literally in concert for the concert performance of the opera and the recording at Berlin's biggest Operahouse in September 2008.
Das Opernglas reported about this in its issue 11/2008, and now the result of the highly topical composite recording is on hand. The recording is well done and corresponds with the reminder of the concert, in which the artists succeeded in animating the enchanting lyrical basic language of the opera score. The voices of the singer are represented in the recording as remembered from the concert.
It very well may be, that the metallic tenor voice of Roberto Alagna sounds in front of the microphone a bit too laddish, and that he, in the heat of the moment and with full blood in an effort to express emotions, almost gave too much. But his fulminant performance, which virtually carries the audience away, stands for the credibility of the lover he portrayed.
For the capricious lyrism the listener may indulce in the auditory enjoyment of the balanced and smoothly shaded, richly coloured singing of Angela Gheorghiu.
That all isn't imaginable in a better way.
A trivial plot stands somewhat in the way of a scenic realisation of Pietro Mascagni's second opera after his successful debut with Cavalleria Rusticana, because it seems difficult to unfold its scenic potential on stage.
Consistently one found in Alberto Veronesi, the entrepreneurial and financially strong musicologist and conductor, the Deutsche Oper Berlin, the Deutsche Grammophon and the opera stars Angela Gheorghiu and Roberto Alagna manpower, who acted literally in concert for the concert performance of the opera and the recording at Berlin's biggest Operahouse in September 2008.
Das Opernglas reported about this in its issue 11/2008, and now the result of the highly topical composite recording is on hand. The recording is well done and corresponds with the reminder of the concert, in which the artists succeeded in animating the enchanting lyrical basic language of the opera score. The voices of the singer are represented in the recording as remembered from the concert.
It very well may be, that the metallic tenor voice of Roberto Alagna sounds in front of the microphone a bit too laddish, and that he, in the heat of the moment and with full blood in an effort to express emotions, almost gave too much. But his fulminant performance, which virtually carries the audience away, stands for the credibility of the lover he portrayed.
For the capricious lyrism the listener may indulce in the auditory enjoyment of the balanced and smoothly shaded, richly coloured singing of Angela Gheorghiu.
That all isn't imaginable in a better way.
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