O Sono De Dolores [Import]

1. O Sono De Dolores

2. Por Causa De Voce

3. Jurei

4. Praca Maua

5. Empresa Teu Sorriso

6. A Fia De Chico Brito

7. Madrugada E Amor

8. Ela Disse-Me Assim

9. Morena Brasileira

10. Ate Formar Um Corpo So

11. Se E Por Falta De Adeus

12. Caymando (Samba Que E Samba)

Tracks:

La Pastorella
Belta Crudele
Il Trovatore
La Regata Veneziana
Mi Lagnero Tacendo
Il Risentimento
La Grande Coquette
Ariette A Lancienne
L'orpheline Du Tyrol
La Legende De Marguerita
Nizza
L'ame Delaissee
Canzonetta Spagnuola
Giovanni D'arco

Customer Reviews:

A young Bartoli sings rarely heard Rossini songs beatifully - a treasure of a disk.......2006-01-03

This is a treasure of a disk that you should purchase right now. You will not only enjoy it deeply many times, but thank me for pointing you to beautiful music that is not often perfromed and sung by a voice that is absolutely perfect for the music. Let me provide a bit of background.

Gioacchino Rossini was born to a family of musicians in 1792. He began writing music at 15 and by 1829 he had written nearly 40 operas and had been the toast of society. He had early success in 1813 with "Tancredi" and in 1816 with "The Barber of Seville" (under the title of "Almaviva"). And while he wrote some songs and sacred works along the way, he won the world over with his operas and concluded with "Guillaume Tell" (William Tell) in 1829. Thereafter, he wrote sacred works and small works for his own delight that he shared with his friends at soirées in his home (they were regular and sought after events between 1857 until his death in 1868). He wrote hundreds of these pieces and would play the piano (he called himself a pianist of the fourth class) for the singers. Rossini referred to these short songs, pieces for small ensembles, and solo pieces as his "Sins of Old Age" ("Péchés de viellesse"), however he never printed them and, in fact, many of have yet to be printed (but should be).

This disk was recorded in 1990 just before Bartoli's twenty-fourth birthday. Her voice is so beautiful and flexible with many rich colors that each piece sounds like a jewel. Yes, she is a very young singer and her voice has become even richer as she has matured, but this is a glorious disk and something you will want to listen to repeatedly. Some of the songs are short, others are a bit longer, and there is the big finish with the full cantata "Giovanna d'Arco" ("Joan of Arc") from 1832 (but first publicly performed in 1859). It was composed as a gift for Olympe Pellisier, who became his second wife in 1847.

Enjoy!

Rossini really could write; Bartoli really can sing.......2005-08-31

I was surprised that no one had commented on this fine recording before. It's been around for quite a while, I've owned it for ten years and it is still one of my favorite Rossini recordings.
Cecilia Bartoli made her mark early as an interpreter of Rossini's work and this album gives ample evidence that the buzz surrounding her early career was more than just hype. While she is known as today's pre-eminent mezzo-soprano, she was a virtual unknown when she recorded this.
Her technique and voice type are perfect for these songs but it is her obvious love for, and command of, the Rossini repetoire which set this CD apart from most.
The three installments of "La regatta Veneziana" may be the best on record, but buy this for "Giovanna D'Arco." This is masterful work, particularly from such a relatively young and, at the time, inexperienced singer.
While Cecilia' maturity and confidence in her abilities have, of late, made her performances sometimes seem almost effortless, the exuberance of a young Cecilia makes this set irresistable.

Average customer rating:

An entertaining, live "Straw Hat"
The benefit of the doubt
Junk, not worthy of even One Star

Rota: Il cappello di paglia di Firenze

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Nino Rota: Chamber Music
Rota: Symphony No. 3, Concerto festivo, Le Moliere imaginaire
Rota: L'Oeuvre pour piano; Concerto soirée; Fantasia "Don Giovanni"
Donizetti: Caterina Cornaro
Paisiello - Socrate Immaginario / Marchi · Auyanet · Schillaci · Campanella · Castiglioni · Colaianni · Christophoros Stamboglis · G. di Stefano

ASIN: B0006VXLOA
Release Date: 2005-01-04

Tracks:

Introduction
Posso Entrar?
Distaccate Il Cavallo Dall'Attacco!
Tra Un'Ora Saro Sposo
Entri Pure Con Coraggio!
Tutto A Monte!
Elena!
Ma Che Bella Situazione... Signora, Venga Fuori... Tutto A Monte!
Svelto Vola Vola L'Ago... Signora Modista, Ho Fretta
O Mia Cara Baronessa
Permesso, Signore?... Visconti, Baronesse
Caro Signore, Lei Mi Deve Scusare
Un Garofano D'Inverno?
Maestro, Il Concerto Se Volete
Tra Cinque Minuti Me La Svigno Col Capello
La Baronessa!... Un Cappello Nero?
Minardi!

Tracks:

E Una Cosa Incredibile
Eccola Finalmente!
Chi Mai Ha Avuto... Che Cosa Fa Da La?
Signora Orsu - Dovete Entrar
Mio Suocero!... Eccolo, L'Ho Trovato Finalmente!
Aiuto, Aiuto!
Tutta Parigi Noi Giriam
Ecco Son La Ventitre... S'Avvicina Il Temporale
Ah Giornata Tremenda Infernale!
Psst! Ohi tu, Briccone!
Papa, Gli Voglio Bene
Ah La Milza! La Milza!... Ecco I Regali
E Pazzo Da Legare
Presto Presto Mia Signora... Fermati, Cocchiere!
Qual Rombazzo - Infernale!
Tutto A Posto!

Customer Reviews:

An entertaining, live "Straw Hat".......2007-01-20

SOURCE: Live performance at the Petite Salle in Brussels, March 6, 1976.

SOUND: Details are not provided by the publisher, but this seems to be a true pirate recording. It was clearly recorded from the audience, as demonstrated by the close proximity of a horny-handed, bravo-shouting enthusiast (who, thank heaven, manages to restrain himself until the appropriate moments.) The orchestra is front and center, while the performers are noticeably distant and sometimes overwhelmed by the sounds emerging from the pit. All that notwithstanding, the mono sound isn't all that bad. It is certainly better than many of Callas' live recordings or almost anything emerging from the Salzburg Festival in the 1950s.

CAST: Fadinard, a young, would-be bridegroom - Edoardo Gimenez; Nonancourt, Fadinard's short-tempered father-in-law to be - Gianni Socci; Elena, Fadinard's bride-to-be - Marielle Devia; Anaide, a lady who takes off her hat at intimate moments - Dolores Crivellari; Emilio, Anaide's lover - Manuel Gonzales; Beaupertuis, Anaide's jealous, well-armed husband - Federico Davia; The Baroness of Champigny, a lady with very definite ideas about violinists - Magda Olivero; Uncle Vezet - Augusto Pedroni; The Milliner - Katerina Moesen; Corporal of the Guard/The Viscount of Rosalba - Harmut Schmieder; A Guard/ Fadinard's servant - Jean-Jacques Schreurs. CONDUCTOR: Elio Boncompagni with the Orchestra of Theatre Royal de la Monnaie.

COMPOSER: Nino Rota (1911-1979) was a member of a musical family. His mother was his first music teacher. Toscanini was a family friend and advisor. He was formally trained in both Italy and the United States. In Philadelphia he took classes in the orchestra from Fritz Reiner. Rota is, of course, best known for his film scores but he composed ten operas, five ballets and numerous orchestral pieces.

THE OPERA: "Il cappello di paglia di Firenze" (The Florentine Straw Hat) is based on a famous 1851 farce by Eugene Labiche and Marc Michel called "Un chapeau de paille d'Italie." The great French film director Rene Clair used the story in 1927 for one of the best of the French silent film comedies "An Italian Straw Hat." In 1944, Nino Rota and his mother Ernesta wrote the libretto for "il cappello." Rota worked on the score for a year or more but put it aside unfinished, with no prospect of a performance. In the mid-1950s, at the prompting of a friend who had heard parts of the score, Rota finished the piece and saw it premiered in Palermo in April 1955 with Jonel Perlea conducting.

STORY: "Il cappello" is a farce about misunderstandings. Fadinard begins his wedding day by driving his carriage across Paris to check on the state of his new apartment. While passing through a wooded area, his whip gets entangled. He stops the carriage to retrieve the whip. His horse uses the pause as an opportunity to snack on an attractive straw hat conveniently hanging from a tree. Fadinard returns to be confronted by an indignant and very much married lady and her lover who is very much not her husband. The lady had removed the hat during an intimate moment with her lover. She cannot return to her suspicious husband without her hat. Fadinard, she and her lover insist, must provide a replacement and they will not listen to any trifling quibbles from him about his forthcoming wedding. Produce the hat, they say, or face a duel. The plot is now wound up like a top and ready to go spinning away. The wedding guests approach as Fadinard rushes off to find a replacement hat. Along the way he blunders into many misunderstandings, including one in which he is taken to be a virtuoso violinist, all to the growing annoyance of his prospective father-in-law.

COMMENTARY: "Il cappello" is pretty much what one might expect from a mid-Twentieth Century Italian composer who was a close friend of Stravinsky but who did not buy into either the atonality of that century's music or its icy indifference to the human condition. For a hint of the sound of the opera and the approach it takes, consider the first scene of Puccini's "La Boheme," before the entry of Mimi and the lush melodies she brings in her wake. Extend that over the whole length of the opera and you have something very like "Il cappello."

Although she is in a supporting role, the star of this performance is the great Magda Olivero, still in first youth at a mere 64 years of age. That lady was, and is, everything that an opera star ought to be. The very fine Marielle Devia, impresses as always, even in the too-small part of Elena. Edoardo Gimenez was, I think, one of those performers who is a delight to see, but one, alas, not blessed with a beautiful voice. On CD, he offers a workmanlike job. The rest of the cast is competent. The conducting and orchestra seem perfectly satisfactory in this not very heavily orchestrated work.

I was drawn to this "Il cappello" by the negative Amazon reviews. Frankly, I wondered how any performance that boasted of both Olivero and Devia could possibly rate a single star. To tell the truth, I am still puzzled by Mr. Dowling's obviously honest and heartfelt disdain. For the moment, I can only assume that my reaction is so different from his because I have heard more truly lousy Twentieth Century operas than he has. The second reviewer, Armindo, always perceptive and an excellent guide, has written a solid and nicely balanced review, but it seems to me to be more like three-star piece, despite single star he actually awarded.

I give "Il cappella di paglia di Firenze" full marks for being that rarest of commodities, an entertaining Twentieth Century opera--less one star for the lack of a libretto and the so-so sound. Four stars.

The benefit of the doubt.......2006-12-28

Anyone thinking of investing in this recording must come prepared otherwise they'll be very dissapointed like the previous reviewer. It's very far from the operatic masterpieces of Verdi, Bellini etc. but I don't think Rota wanted it to sound like them anyway. I'm not saying I enjoyed it because without libretto (or at least score), this recording is useless to the casual opera collector who doesn't speak Italian fluently.

However, the first reason I would give it another chance if it ever happened to be played in theatre near me is that the audience seems to be enjoying what's happening on stage, I hear a lot of laughters particularly when the baritones and basses get on stage. And I've often liked an opera so much more in theatre than on records so I'll give it the benefit of the doubt. Secondly, it's Rota's most popular opera and it's been staged a number of times, most notably at La Scala in a 1998 production with Juan Diego Florez.

The cast here features verisimo specialist Magda Olivero, promising young Mariella Devia in the soubrette role of Elena, Edoardo Gimenez in your usual mighty-mouse comic tenor role of Fadinard and an impressive Federico Davia among others. There isn't much for them to sing in terms of arias so be prepared for lots of chatting. For a more musical Rota opera, you might want to try Napoli Milionaria. Otherwise wait for a theatre production or simply play some Bellini...

Junk, not worthy of even One Star.......2006-11-28

See my review of this operatic mishmash under the Gala release.

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