The Age of Bel Canto

17,50

2 CD 

Κλασική Μουσική 

Australian Eloquence

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George Frideric Handel

Care selve (from Atalanta)

Semele: Hence, Iris, hence away

With plaintive note (Samson)

Wolfgang Amadeus Mozart

Ich baue ganz auf deine Stärke (from Die Entführung aus dem Serail)

O zittre nicht (from Die Zauberflöte)

Voi che fausti ognor donate (Il re pastore)

William Shield

Light as Thistledown (from Rosina)

When William, at eve (from Rosina)

Niccolò Piccinni

Furia di donna irata (La buona figliuola)

Giovanni Battista Lampugnani

Superbo di me stesso (Meraspe)

Giovanni Battista Bononcini

Mio caro ben (Astarto)

Thomas Arne

Oh! too lovely (Artaxerxes)

François Adrien Boieldieu

Ma Fanchette est charmante (Angéla)

Giuseppe Verdi

Allor che i forti (from Attila)

Da te questo or m’è concesso (from Attila)

Santo di patria (from Attila)

Carl Maria von Weber

Und ob die Wolke sie verhülle (from Der Freischütz)

Luigi Arditi

Leggero invisible ‘Bolero’

Daniel François Esprit Auber

Ferme tes yeux (from La Muette de Portici)

Vincenzo Bellini

Angiol di pace (from Beatrice di Tenda)

Un ritratto? … Sventurato il cor che fida (La straniera)

Gaetano Donizetti

Il segreto per esser felici (from Lucrezia Borgia) (Brindisi, Drinking Song, Orsini’s aria, Toast)

Tornami a dir (from Don Pasquale)

Gioacchino Antonio Rossini

Ecco, ridente in cielo (from Il Barbiere di Siviglia)

Serbami ognor (from Semiramide)

Καλλιτέχνες

Dame Joan Sutherland (Soprano)

London Symphony Chorus

New Symphony Orchestra of London
Richard Bonynge (Μαέστρος)

London Symphony Orchestra
Richard Bonynge (Μαέστρος)

Marilyn Horne (Mezzo-Soprano), Richard Conrad (Tenor)

Αναλυτική Παρουσίαση

George Frideric Handel

Care selve (from Atalanta)

Semele: Hence, Iris, hence away

With plaintive note (Samson)

Wolfgang Amadeus Mozart

Ich baue ganz auf deine Stärke (from Die Entführung aus dem Serail)

O zittre nicht (from Die Zauberflöte)

Voi che fausti ognor donate (Il re pastore)

William Shield

Light as Thistledown (from Rosina)

When William, at eve (from Rosina)

Niccolò Piccinni

Furia di donna irata (La buona figliuola)

Giovanni Battista Lampugnani

Superbo di me stesso (Meraspe)

Giovanni Battista Bononcini

Mio caro ben (Astarto)

Thomas Arne

Oh! too lovely (Artaxerxes)

François Adrien Boieldieu

Ma Fanchette est charmante (Angéla)

Dame Joan Sutherland (Soprano), New Symphony Orchestra of LondonRichard Bonynge (Μαέστρος)

Giuseppe Verdi

Da te questo or m’è concesso (from Attila)

Allor che i forti (from Attila)

Santo di patria (from Attila)

Carl Maria von Weber

Und ob die Wolke sie verhülle (from Der Freischütz)

Luigi Arditi

Leggero invisible ‘Bolero’

Daniel François Esprit Auber

Ferme tes yeux (from La Muette de Portici)

Vincenzo Bellini

Angiol di pace (from Beatrice di Tenda)

Un ritratto? … Sventurato il cor che fida (La straniera)

Gaetano Donizetti

Tornami a dir (from Don Pasquale)

Il segreto per esser felici (from Lucrezia Borgia) (Brindisi, Drinking Song, Orsini’s aria, Toast)

Gioacchino Antonio Rossini

Ecco, ridente in cielo (from Il Barbiere di Siviglia)

Serbami ognor (from Semiramide)

London Symphony Chorus, London Symphony OrchestraRichard Bonynge (Μαέστρος)

A groundbreaking Decca album celebrating the glory of both bel canto and the voice of Sutherland in her prime, long unavailable on its own, reissued complete with a booklet introduction from Richard Bonynge. More than a quarter of a century has now passed since Decca remastered The Age of Bel Canto among the first releases in its Classic Sound series of classic albums from the labels history. While the contents of the album have reappeared complete or excerpted in one or another tribute to Sutherland and her art, it is past time for a new generation of record lovers to appreciate once more how curiosity, research, technical finesse and dedication all contribute towards the making of a classic of the gramophone and not just another recording.

What is bel canto? Sutherland rhetorically asked the readers of High Fidelity in a 1961 article. I believe that it is the essence of opera. She and her husband, the conductor Richard Bonynge, had some years previously determined to explore and revive the repertoire of an operatic tradition stretching from Handel to Bellini which had in the previous century become almost forgotten. With their performances and Decca recordings, they placed themselves in the vanguard of this revival. I am sure that today we are on the verge of a wonderful new era of singing, and that the opera audience wants more than ever to hear great singing.

A few years later, interviewed in company with Bonynge, she expressed herself more forthrightly on the subject. We are entertainers, she remarked, and unless we entertain the public, the purpose of our work is defeated. Were the ones who are paid to do that, and they pay to listen, and they should bloody well get something they can enjoy or else its criminal.

Something they can enjoy is as much as anything the artistic credo behind The Age of Bel Canto, recorded in June 1963, which brought together obscure items from familiar composers (Mozarts Il Re Pastore, Bellinis La Straniera) with composers hardly more than names in a dictionary at the time. As Richard Bonynge wrote for another reissue of the set, reprinted here: Even the Handel revival had barely begun. The young singers were at the beginning of their careers and their enthusiasm shines through these performances.

Not all the critics at the time were convinced one of them remarked that the long, extremely silly scene from La Straniera can go right back on the shelf whence it came but Sutherlands public assuredly was, and the set proved a commercial success in inverse proportion to the familiarity of the repertoire. Now that singers in the early-music world and farther afield have absorbed these pioneering lessons in the importance of stylish ornamentation and shapely legato, Sutherland and her colleagues appear as figures ahead of their time.

Reviews

“Conrad is probably more adept than any other contemporary tenor in execution of vocal ornamentation. He has a real trill, excellent stylistic sense and an admirable legato … Sutherland is for the most part in very good form. The Piccinni and Shield selections could not be bettered.” High Fidelity, January 1965

“There are many truly novel items … Miss Sutherland is right in her element.” High Fidelity, April 1965

“No one could fail to respond to the virtuoso work. The other two singers are equally brilliant.” Stereo Review, May 1965

“Sutherland is in fantastic voice throughout … [this set] would demonstrate to anyone who wanted to find out exactly why Sutherland was such a sensation … A great classic of the gramophone.” Gramophone, November 1996

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