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c861132
Wydawnictwo: Orfeo
Seria: Wiener Staatsoper live
Nr katalogowy: C 861132
Nośnik: 2 CD
Data wydania: luty 2014
EAN: 4011790861227
82,00 zł
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70,00 zł
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Epoka muzyczna: romantyzm
Obszar (język): włoski
Rodzaj: opera

Verdi: Ernani

Orfeo - C 861132
Wykonawcy
Neil Shicoff, tenor
Michele Crider, sopran
Carlos Alvarez, bariton
Roberto Scandiuzzi, bas
Liliana Ciuca, sopran
Benedikt Kobel, tenor
Ayk Martirossian, bas
Chor & Orchester der Wiener Staatsoper / Seiji Ozawa
Ernani

(Dramma lirico in vier Akten)
Of all Giuseppe Verdi’s early operas, Ernani stands out. As later in Rigoletto, the composer here takes a play by Victor Hugo as his starting point, a play that despite its overwound plot (or perhaps because of it) inspired him to the most exciting, spirited music. To be sure, given the immense vocal demands it makes, a successful performance of Ernani needs an exceptional quartet of singers and a brilliant conductor. But all these were present at the opening night of the 1998 production of Ernani at the Vienna State Opera. Seiji Ozawa, later to be appointed its Music Director, was conducting his first new production at the Opera. C 861 132 I C 861 132 IUnder his baton, the orchestra of the Vienna State Opera played with a precision and impulsiveness that one finds all too rarely in this repertoire. Neil Shicoff was unparalleled in the title role. This tenor part could hardly be sung in a manner more individual, more authentic, or with greater brilliance and subtlety. The same could be said of Michele Crider, who as Elvira on that opening night in Vienna achieved the well-nigh impossible feat of balancing vocal dexterity and dramatic effect. While they might have been unlucky in her love, the two rivals for her favour matched her vocal prowess. As the King (and soon-to-be Emperor), Carlos Alvarez sang his part with a fresh, full-sounding baritone that offered the greatest vocal elegance and sophistication. The merciless Silva, whose intransigence seals the opera’s unhappy end, was sung by Roberto Scandiuzzi with all the necessary gloom in his bass voice. They are all supported by the Chorus of the Vienna State Opera. These ideal conditions allowed the confrontations of the main characters and, above all, those grandiose ensembles and finales that are a particular delight in every Ernani performance to unfold to the greatest effect. It is incomprehensible that this work, which had enjoyed a long period of success in Vienna with more than 200 performances from 1844 to the 1920s, should have been seen so rarely on stage since the Second World War.

Live Recording, Vienna State Opera December 14, 1998

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