Rossini - Il viaggio a Reims / Ricciarelli, Valentini-Terrani, Cuberli, Gasdia, Araiza, E. Gimenez, Nucci, Raimondi, Ramey, Dara; Abbado

Editorial Reviews
Amazon.com
This is one of those great Rossinian singing competitions in which everyone--and, in particular, the listeners--wins. Composed as a piece of occasional entertainment for the coronation of Charles X in Paris, Rossini borrowed liberally from his recent comic success Le Comte Ory and fashioned a musical necklace chock filled with one shiny bauble after another. Each character has a showpiece aria, from the highs of soprano Cecilia Gasdia as a melodramatic poetess all the way down to the basso realms of Samuel Ramey and Ruggero Raimondi. The ensembles are as delicious as the solos, and Claudio Abbado, in a very theatrical mood (this was recorded live) keeps everything going wittily and with great elan. The plot is practically nonexistent, but with singing like this, it's hard to complain. A real dazzler--and great fun. --Robert Levine

Rossini - Il viaggio a Reims / Ricciarelli, Valentini-Terrani, Cuberli, Gasdia, Araiza, E. Gimenez, Nucci, Raimondi, Ramey, Dara; Abbado, Music, Gioachino Rossini, Claudio Abbado, Cecilia Gasdia, Lucia Valentini-Terrani, Katia Ricciarelli, Lella Cuberli, Eduardo Gimenez, Francisco Araiza, Samuel Ramey, Ruggero Raimondi, Enzo Dara, Leo Nucci, Giorgio Surjan, Oslavio di Credico, Raquel Pierotti, Antonella Bandelli, Bernadette Manca di Nissa, Luigi de Corato, Ernesto Gavazzi, William Matteuzzi, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Rossini - Il viaggio a Reims / Ricciarelli, Valentini-Terrani, Cuberli, Gasdia, Araiza, E. Gimenez, Nucci, Raimondi, Ramey, Dara; Abbado
Average customer rating: 5 out of 5 stars
  • Refreshing and delightful, but Abbado did better later
  • Really satisfying
  • An American Anthem Is On Here
  • A Masterpiece! Rossini's Best Opera Next To Barber Of Seville
  • One of Opera's Enjoyable "Lost and Found" Works
 Rossini - Il viaggio a Reims / Ricciarelli, Valentini-Terrani, Cuberli, Gasdia, Araiza, E. Gimenez, Nucci, Raimondi, Ramey, Dara; Abbado
Gioachino Rossini , Claudio Abbado , Cecilia Gasdia , Lucia Valentini-Terrani , Katia Ricciarelli , Lella Cuberli , Eduardo Gimenez , Francisco Araiza , Samuel Ramey , Ruggero Raimondi , Enzo Dara , Leo Nucci , Giorgio Surjan , Oslavio di Credico , Raquel Pierotti , Antonella Bandelli , Bernadette Manca di Nissa , Luigi de Corato , Ernesto Gavazzi , and William Matteuzzi
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G6O
Release Date: 1990-10-25

Tracks:

  1. Il Viaggio A Reims: Introduzione - Scena I: 'Presto, presto, su coraggio'
  2. Il Viaggio A Reims: Introduzione - Scena II: 'Benche grazie al mio talento'
  3. Il Viaggio A Reims: Introduzione - Scena III: (Aria) - 'Di vaghi raggi adorno' (Madama Cortese)
  4. Il Viaggio A Reims: Introduzione - Scena IV: 'Partire io pur vorrei'
  5. Il Viaggio A Reims: Introduzione - Scena V: 'Amabil Contessina'
  6. Il Viaggio A Reims: Introduzione - Scena VI: 'Che accade'
  7. Il Viaggio A Reims: Recitativo e Aria della Contessa: 'Ahime! sta in gran pericolo'
  8. Il Viaggio A Reims: Recitativo e Aria della Contessa: (Aria) - 'Partir, oh ceil! desio' (Contessa di Folleville)
  9. Il Viaggio A Reims: Recitativo e Aria della Contessa - Scena VII: (Aria Cont.) 'Che miro! ah! qual sorpresa'
  10. Il Viaggio A Reims: Recitativo e Aria della Contessa - Scena VIII: 'Eh! senti, mastro Antonio'
  11. Il Viaggio A Reims: Sestetto: 'Si, di matti una gran gabbia'
  12. Il Viaggio A Reims: Sestetto - Scena IX: 'La mia quota a voi consegno'
  13. Il Viaggio A Reims: Sestetto - Scena X: 'Donna ingrata'
  14. Il Viaggio A Reims: Sestetto - Scena XI: 'Naturale e l'impazienza'
  15. Il Viaggio A Reims: Sestetto - Scena IX: (A sei) 'Non pavento alcun periglio' (Conte di Libenskof, Madama Cortese, Marchesa Melibea)
  16. Il Viaggio A Reims: Sestetto: (Aria) - 'Arpa gentil' (Corinna)
  17. Il Viaggio A Reims: Sestetto: 'Zitti. Non canta piu' (A sei) 'Simbol di pace e gloria'
  18. Il Viaggio A Reims: Sestetto - Scena XII: 'Gelsomin non ritorna'
  19. Il Viaggio A Reims: Scena e Aria di Milord: 'Ah! perche la conobbi?' (Aria) 'Invan strappar core'
  20. Il Viaggio A Reims: Scena e Aria di Milord - Scene XIII-XIV: 'Milord, una parola'

Tracks:

  1. Il Viaggio A Reims: Recitativo e Duetto di Corinna e del Cavaliere - Scena XV: 'Sola ritrovo alfin la bella Dea'
  2. Il Viaggio A Reims: Recitativo e Duetto di Corinna e del Cavaliere: (Duetto) 'Nel suo divin sembiante' (Corinna)
  3. Il Viaggio A Reims: Recitativo e Duetto di Corinna e del Cavaliere (Scena XVI): 'Bravo il signor Ganimede!'
  4. Il Viaggio A Reims: Aria di Don Profondo: 'Medaglie incomparabili'
  5. Il Viaggio A Reims: Aria di Don Profondo - Scene XVII-XIX: 'Vedeste il Cavaliere?'
  6. Il Viaggio A Reims: Gran Pezzo Concertato a 14 Voci: 'Ah! A tal colpo inaspettato' (Contessa di Folleville, Corinna, Marchesa Melibea, Conte di Libenskof, Madame Cortese)
  7. Il Viaggio A Reims: Gran Pezzo Concertato a 14 Voci - Scene XX: 'Signor, ecco una lettera'
  8. Il Viaggio A Reims: Gran Pezzo Concertato a 14 Voci - Scene XXI-XXII: Son qua, cosa comanda?
  9. Il Viaggio A Reims: Scena e Duetto del Conte e Melibea - Scena XXIII: 'Di che son reo?' (Duetto) 'D'alma celeste, oh Dio' (Conte di Libenskof, Marchesa Melibea)
  10. Il Viaggio A Reims: Scena e Duetto del Conte e Melibea - Scena XXIV: 'Madama qui mi manda'
  11. Il Viaggio A Reims: Finale - Scena XXV: Ritornello
  12. Il Viaggio A Reims: Finale: 'Ora, secondo gli usi' - Inno Tedesco 'Or che regna'
  13. Il Viaggio A Reims: Finale: 'Altro da dir avrei' - Polacca 'Ai prodi guerrieri' (Marchesa Melibea)
  14. Il Viaggio A Reims: Finale: 'Libenskof, tocca a voi' - Inno Russo 'Onore, gloria ed alto omaggio' (Conte di Libenskof)
  15. Il Viaggio A Reims: Finale: 'Don Alvaro, dal nord al mezzogiorno' - Canzone Spagnola 'Omaggio all'Augusto Duce'
  16. Il Viaggio A Reims: Finale: 'Milord, in tuon maggiore' - Inno Inglese 'Dell'aurea pianta'
  17. Il Viaggio A Reims: Finale: 'Contessa, Cavaliere, a voi la scelta lascio' - Canzone Francese 'Madre del nuovo Enrico' (Contessa di Folleville)
  18. Il Viaggio A Reims: Finale: 'Madama, Don Profondo, voi terminar dovete' - Tirolese 'Piu vivace e piu fecondo' (Madame Cortese)
  19. Il Viaggio A Reims: Finale: 'Corinna, or tocca a voi'
  20. Il Viaggio A Reims: Finale: (Improvviso) 'All'ombra amena' (Corinna)
  21. Il Viaggio A Reims: Finale: (Tutti) 'Viva il diletto augusto Regnator'

Amazon.com

This is one of those great Rossinian singing competitions in which everyone--and, in particular, the listeners--wins. Composed as a piece of occasional entertainment for the coronation of Charles X in Paris, Rossini borrowed liberally from his recent comic success Le Comte Ory and fashioned a musical necklace chock filled with one shiny bauble after another. Each character has a showpiece aria, from the highs of soprano Cecilia Gasdia as a melodramatic poetess all the way down to the basso realms of Samuel Ramey and Ruggero Raimondi. The ensembles are as delicious as the solos, and Claudio Abbado, in a very theatrical mood (this was recorded live) keeps everything going wittily and with great elan. The plot is practically nonexistent, but with singing like this, it's hard to complain. A real dazzler--and great fun. --Robert Levine

Customer Reviews:

4 out of 5 stars Refreshing and delightful, but Abbado did better later.......2007-02-24

the reconstruction of Rossini's champagne-fizzy Voyage to RHeims has brought great delight to audiences, and Abbado's premiere recording is largely responsible. I don't know if he thought it had drawbacks, or wehther he just loved Il Viaggio so much that he wanted to remake it in Berlin. both are concert readings, and both show amazing accuracy in Rossini's incredibly difficult bel canto style. But it's evident to any listener who doesn't have cotton in his ears that the later Sony recording is superior in sonics and stylishness. I am all for the Chamber Orch. of Europe, but they aren't the Berlin Phil, and the sound here tends to be edgy and distant. As for the singing, there are pluses and minuses on both sets, but the high points are higher form Berlin.

5 out of 5 stars Really satisfying.......2007-02-03

I bought this recording after attending a live performance by the Kirov Opera, which I enjoyed. "Il Viaggio" is better than I expected and the DG set is worth spending the money. I also have "Il Conte Ory," which is said to have much of the same music. Let that not deter you. This is still an original piece.

5 out of 5 stars An American Anthem Is On Here.......2006-01-23

Toward the end of the opera, the ensemble sings great nationalistic anthems, among them is "Land Where My Father Died, Let Freedom Ring" a popular American patriotic song which Rossini Italianized for this opera, as well as other anthems including one from Italy and France (La Marsaillese) The music is beautiful, triumphant and grand. The singers are singing to the top of their abilities and this type of singing is no longer heard today. Bass Samuel Ramey is at the peak of his powers, Katia Ricciarelli sings with supreme artistry and honeyed tones, Cecilia Gazdia is a coloratura songbird, and mezzo Luisa Valentini Terrani sings with dramatic heft. Tenor Francisco Araiza sings with lyrical strength and passion. A greater Rossini opera you are hard pressed to find.

5 out of 5 stars A Masterpiece! Rossini's Best Opera Next To Barber Of Seville.......2006-01-23

Recorded in the 80's, this live recording of Rossini's obscure and little known opera "The Voyage To Reims" is outstanding and exemplifies a lost operatic style as well serving as a document of grand Rossini opera. Rossini's nearly Mozartian-style melodies are all here, rich with bel canto virtuosity. THE PLOT: A group of aristocrats are staying at a hotel on their way to Reims, to witness the grand coronation of a new European monarch. The opera was written to correspond with an actual coronation which Rossini attended. This opera is so beautiful and excessively virtuosic that it must surely rank as Rossini's best work next to the ever popular Barber of Seville. The interactions between the characters are hilarious. At one point, they talk about Bach and Beethoven while playing snippets of their music. The "royalty" in this opera come from fictitious European countries and nationalistic music that sound French, Spanish, Russian and German are written for arias. Each singer (soprano, mezzo soprano, tenor, baritone and bass) gets a showpiece of an aria to themselves. And the cast is top-notch: Soprano Cecilia Gazdia as Corinna, mezzo soprano Lucia Valentini Terrani as the Marchesa Melibea, soprano Lella Cuberli as the Countess Di Folleville, soprano Katia Ricciarelli as Madame Cortese, tenor Francisco Araiza as the Count of Libenskof, bass Samuel Ramey as Lord Sidney, baritone Ruggero Raimondi as Don Profondo, basso-bufo Enzo Dara as the Baron Di Trombonok and baritone Leo Nucci as Don Alvar. The conductor is Claudio Abbado leading the Chamber Orchestra of Europe.

If you're a fan of Samuel Ramey, this recording features two great arias he sings with aplomb. His Rossini and bel canto style was truly his strongest suit, though he would later leave this operatic repertoire to focus on the famed "Devil" personaee. He sings with enormous lung power and basso profundo but has enough coloratura to fly with the bouncy music. Ruggero Raimondi is also here, singing with flair and grand style, singing in almost the same way he sings Mozart's Don Giovanni. If you're a fan of soprano Katia Ricciarelli, she is given beautiful arias and scenes. Possessing a noble-sounding voice, she showcases her superlative middle range and her fioritura. Soprano Cecilia Gazdia has an even better high range and she sings with supreme sweetness and agility. Her single aria "Arpa Gentil" as she plays the harp is worth this recording. The ensuing ensemble "Simboli Di Pace" is all fireworks as the voices go from low to high. The music is sublime, and only got better and better. This type of singing has died. No great Rossini singer exists today, as Rossini's music is considered antiquated. But he outshone even Mozart in writing opera. The music is lilting, grand and lively. One can imagine how much fun it must have been to attend a Rossini opera!

THE FINALE: The opera ends with all the characters (and that's many) coming together to sing a patriotic "coronation" anthem "Viva Il Diletto Augusto Regnator" (Long Live The August King" which is lifted from an actual French anthem. Tchaikovsky would later use this same aria's music for the finale of his Sleeping Beauty ballet, which was modeled after the court of Louix the 14th. The ensemble sounds beautiful and again becomes another reason for buying this recording. Any true fan of Rossini opera will want to get this recording or if you happen to enjoy rare opera.

5 out of 5 stars One of Opera's Enjoyable "Lost and Found" Works.......2005-11-09

IL VIAGGIO A REIMS would not be one of Rossini's best known works, but it has a way of endearing listeners from the first hearing. It has lively music and quintessential Rossinian touches that have delighted audiences for two centuries, requires a good size cast of strong yet agile singers in order to work, and it moves along rather quickly. It deals with a group of aristocrats traveling to the coronation of King Charles X in France and the shenanigans that occur while visiting a spa prior to the event. The setting was contemporary for Rossini and includes a number of tongue in cheek references to popular music of the day and social conventions. Most listeners will be familiar with the national anthems that are part of the work's finale, and may be surprised to discover that Rossini uses a borrowed work "Vive Henri Quarte" for the finale, a tune Tchaikovsky borrowed in the finale to his ballet THE SLEEPING BEAUTY.

This recording is one of the few available and it is the standard bearer. The booklet that accompanies it not only contains the libretto but a detailed background of the opera itself and the rediscovery of the work in the 1970's. The cast is spectacular. When it was released in the mid 1980's it boasted of two great contemporary stars in Katia Ricciarelli and Leo Nucci as well as then rising stars Samuel Ramey, Ruggero Raimoindi, Edoardo Gimenez and Mexican tenor Francisco Araiza who was sometimes miscast in other operas but is right t home with Rossini. The Chamber Orchestra of Europe handles the Rossinian flourishes rather well and the work moves along under the direction of Claudio Abbado who tends to have a somewhat slow hand when it comes to opera but not only comes to life but also seems to enjoy this work. The recording was taped during live performances but it is nearly free of background noises including applause. This gives the set the energy of an actual performance but it lacks the perfection of a studio set.

VIAGGIO was hiding away in vaults for nearly a century but when it was rediscovered, it was considered a great treasure. In some ways this set has the same history in my recording collection. When I first purchased it nearly fifteen years ago, I fell in love with it, but it got lost on the shelf due to too many other recordings and poor organization. I would rediscover it again, and then it would get "lost again." This tends to happened every year and when I found it again, I always enjoy it. I almost look forward for it to get lost on the shelves so I can rediscover it again.

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