Joan Sutherland, soprano
Marilyn Horne, mezzo-soprano
Luciano Pavarotti, tenor
Martti Talvela, bass

Vienna State Opera Chorus
Vienna Philharmonic
Sir Georg Solti, conductor
[recorded Vienna, October 1967]

Artykuł VERDI<br />Requiem <br /> Dame Joan Sutherland, Luciano Pavarotti, Sir Georg Solti, Vienna State Opera Orchestra pochodzi z serwisu Cleartone.

This particular recording is notable for several reasons. First, the recording is not just of the opera; instead, it is a recording of the Met broadcast of February 26, 1949 and includes commentary by Milton Cross. As the Richard Caniell’s liner notes explain, this production was one of the huge hits of the 1948-49 season, due, in part, to the illustrious conductor, Fritz Reiner, as well as to the work’s rarity before 1949 – at least at the Met. Leonard Warren, Giuseppe Di Stefano and Licia Albanese stand to this day as among the best voices of the 20th century. These „time capsule“ qualities alone make this recording worth owning.

The recording holds some incredible singing and playing. The American baritone, Leonard Warren, gives a great performance. His rich, dark timbre is perfect for the bamboozling, obese Falstaff. As usual, his upper register is exciting — this voice is rare in its naturally dark, yet resonant timbre in combination with a virtually unlimited top. Di Stefano sings beautifully. Once again, the listener is rewarded with a truly exceptional voice: full, lyrical, completely focused, and produced with extreme ease. He and Licia Albanese make a remarkable combination. The young, clandestine lovers sing sensitively together, and their intermittent bouts of flirting are refreshing, passionate and quite hilarious. Other members of the cast are equally adroit in their singing and characterization. Giuseppe Valdengo as Ford works well with Warren, as their baritone voices are strikingly different. Alessio de Paolis and Lorenzo Alvary as Falstaff’s henchmen sing with incredible spirit and hilarious inflection.

Reiner’s conception of the piece is, at times, a bit haphazard. He allows the orchestra to peak too often and too regularly rather than projecting the dramatic action in large-scale phrases. The result is too much weight and importance assigned to too many different occasions.

We must not be surprised at the fallibility of the sound given the historical nature of this recording of a live broadcast. An ambient hiss is present more often than it isn’t, and in many places, the orchestra is somewhat obscured by a sort of haze. For these reasons, it is difficult to make many specific comments in regard to the performance. However, there is no doubt that this recording is top notch. The questionable sound quality prevents it from being one’s primary recording of this work; however, it offers much insight not only into Verdi’s final opera but also into the operatic achievements of a previous generation. Jonathan Rohr

Artykuł VERDI<br />Falstaff (1945)<br /> Leonard Warren, Giuseppe Valdengo, Giuseppe di Stefano,<br /> Fritz Reiner, The Metropolitan Opera Orchestra and Chorus pochodzi z serwisu Cleartone.

Otello – opera in four acts (plus Act III rehearsals)
Otello, Ramon Vinay (tenor); Iago, Giuseppe Valdengo (bar); Desdemona, Herva Nelli (sop); Emilia, Nan Merriman (mezzo); Casio, Virginio Assandri (ten); Roderigo, Leslie Chabay (ten); Montano, Arthur Newman (bass); Lodovico, Nicola Moscona, (bass)
NBC Symphony Orchestra. Mixed Chorus/Arturo Toscanini

Live broadcast from Studio 8-H Radio City, New York. With audience. Acts I and II on 6th December 1947. Acts III and IV on 13th December. Rehearsals of Act III on 11th and 12th December

GUILD HISTORICAL Toscanini Broadcast Legacy Series GHCD 2275-77 [3CDs: 70.01+67.08+68.30]

Arturo Toscanini’s regular NBC broadcasts have been well documented. Guild’s ‘Toscanini Legacy’ reflects a carefully selected melange of circumspection and adventure. Very often the repertoire chosen has overlapped studio recordings. Richard Caniell has justified this duplication in terms of vitality of performance. However, LPs and later CDs from these broadcasts have long been available commercially from RCA, so what special reason brings their issue here? In a detailed explanation on pages 32-33 of the comprehensive booklet, Caniell sets out the explanation and justification. The crux of his argument is that neither the original RCA vinyls nor later CD issues faithfully represented the quality of sound possible from the masters. They reflect ‘considerable attenuation of the sonic spectrum …and … the addition of some electronic echo!’ To overcome these perceived limitations Caniell and his team have gone back to what he calls ‘original sonics taken from the lacquers (‘linechecks’). These are said to ‘offer bright, clear, dry sound of considerable detail and stunning impact, superior, in our hearing, to the RCA/BMG Compact Disc set’. This is despite some deficiencies in the lacquers and a few instances of line leakage.

Listening to the performance with some care, I noted some odd moments of surface grit noise and also of overload distortion. However, overall there is a clarity, or lack of veiling, that many will welcome. The other added value to the issue is to be able to hear Toscanini’s orchestral rehearsal from Act III, complete with his singing to provide the vocal line, (CD 3 tr. 1). This took place on 11th December and is followed (tr. 2) by a portion of the „Dress Rehearsal“ from the following day. This disc concludes (Tr. 3) with a brief interview with Ramon Vinay.

Toscanini famously played in the string section of the memorable first night of Otello at La Scala in 1887. His interpretation is therefore viewed as definitive and this performance iconic. Phrases such as ‘white hot’ litter critical comment; certainly that describes the opening (CD 1 tr. 1) and Otello’s „Esultate!“ that follows (tr. 2). We can but guess if it really was like that on the opening and subsequent nights. On the other hand, and playing the iconoclast, is it the notoriously hard-driving conductor imposing his personality on Verdi’s incomparable work? I have never worshipped at the shrine of these singers and this chorus. I find Herva Nelli’s Desdemona thin-toned and lacking legato. The baritonal Vinay is vocally too similar to his Iago and the chorus lack Italianate „squilla“. I much prefer the red-blooded, but not over-cooked, Serafin, a consummate Verdian, also on RCA. Recorded in Rome in 1960, the Serafin version has the benefit of an Italian chorus, the unequalled Iago of Gobbi and the virile tenor tones of Vickers in the title role. However, each to his own preference, and I do hear why this performance appeals to many.

As always the Guild supporting documentation is first class with an excellent track-related synopsis in place of a full libretto. They also reproduce contemporary critical comment and there is a detailed musicological essay by William H Youngren. Those who know and love this performance above others will itch to hear if Caniell’s claims for sonic improvement are justified. I will simply note that he has a good record! Robert J. Farr

Overall there is clarity, or lack of veiling, that many will welcome. The other added value is to be able to hear Toscanini’s orchestral rehearsal complete with his singing to provide the vocal line … see Full Review

Artykuł VERDI<br />Otello<br /> Ramon Vinay, Herva Nelli, Giuseppe Valdengo<br /> NBC Symphony Orchestra, Arturo Toscanini pochodzi z serwisu Cleartone.

The reissue of classical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. This series marks the first hybrid SACD release of historical recording selections that have been main stays of the catalog since their initial release. These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.

The reissue of classical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. This series marks the first hybrid SACD release of historical recording
selections that have been mainstays of the catalog since their initial release.

These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.

Experience by yourself…

Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.

ESOTERIC equipment used for re-mastering

The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model Grandioso G1 and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session.

This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.

Musicians:
Katia Ricciarelli
Shirley Verrett
Placido Domingo
Nicolai Ghiaurov

Coro e Orchestra del Teatro alla Scala
Romano Gandolfi, chorus maste

Artykuł VERDI <br />Messa Da Requiem <br />Katia Ricciarelli, Shirley Verrett, Placido Domingo, Nicolai Ghiaurov <br />Claudio Abbado <br />Orchestra e Coro del Teatro alla Scala di Milano pochodzi z serwisu Cleartone.

Among the most successful rediscoveries of recent years we like to remember the original versions of Macbeth and Simon Boccanegra and the French versions of Lucia di Lammermoor and Trovatore.

Artykuł HANDEL, VIVALDI, ROSSINI, DONIZETTI, VERDI, Mariella Devia, Raul Gimenez, Patrizia Ciofi<br/>30th Anniversary of Martina Franca Festival pochodzi z serwisu Cleartone.

Cast
Ernani Marco Berti
Elvira Susan Neves
Don Carlo Carlo Guelfi
Don Ruy Gomez de Silva Giacomo Prestia
Giovanna Nicoletta Zanini
Don Riccardo Samuele Simoncini
Jago Alessandro Svab

Conductor
Antonello Allemandi

Orchestra
Orchestra of the Regio Theatre of Parma

Chorus
Chorus of the Regio Theatre of Parma

Chorus master
Martino Faggiani

Artykuł VERDI<br/>Ernani pochodzi z serwisu Cleartone.

Il Conte di Walter Alexander Vinogradov
Rodolfo Giuseppe Sabbatini
Fderica Ursula Ferri
Wurm Arutjun Kotchinian
Miller Damiano Salerno
Luisa Darina Takova
Laura Elisabetta Martorana
Un Contadino Luca Favaron

Conductor
Maurizio Benini

Orchestra
Orchestra of the La Fenice Theatre of Venice

Chorus
Chorus of the La Fenice Theatre of Venice

Chorus master
Emanuela Di Pietro

Artykuł VERDI, Alexander Vinogradov, Giuseppe Sabbatini, Ursula Ferri, Orchestra e Coro del Teatro La Fenice di Venezia, Maurizio Benini<br/>Luisa Miller pochodzi z serwisu Cleartone.

Artykuł GOUNOD, VERDI, BORODIN, PUCCINI, LEONCAVALLO, Jussi Bjorling<br/>Tutte le registrazioni operistiche, 1930 – 1945 pochodzi z serwisu Cleartone.

Artykuł VERDI, Renata Tebaldi, Giacinto Prandelli, Gino Orlandini, Orchestra Sinfonica e Coro di Milano della RAI, Carlo Maria Giulini<br/>La Traviata pochodzi z serwisu Cleartone.

Artykuł VERDI, Leonard Warren, Giuseppe di Stefano, Giuseppe Valdengo, Cloe Elmo, Licia Albanese, The Metropolitan Opera Orchestra and Chorus, Fritz Reiner<br/>Falstaff pochodzi z serwisu Cleartone.