La Piazza [Import]

Track Listings

1. Andromeda

2. Festa Celtica

3. Luna In Laguna

4. Symphonic Run

5. Ronda Di Stelle

6. Notturno Romantico

7. Le Vele

8. Abissi

9. Ode Russa

10. Piano Su Piano

11. Note Di Notte

12. Gioco Finale

13. Sinfonia Corale

Editorial Reviews
Album Description
2002 album for the classical influenced Italian progressive rock act. 14 tracks. Baby.

Tracks:

L'Elisir d'Amore: Act 1: Preludio e coro d'introduzione
L'Elisir d'Amore: Act 1: Quanto e bella, quanto e cara!
L'Elisir d'Amore: Act 1: Benedette queste carte!
L'Elisir d'Amore: Act 1: Come Paride vezzoso
L'Elisir d'Amore: Act 1: Or se m'ami, com'io t'amo...
L'Elisir d'Amore: Act 1: Intanto, o mia ragazza, occupero la piazza
L'Elisir d'Amore: Act 1: Una parola, o Adina
L'Elisir d'Amore: Act 1: Che vuol dire codesta sonata?
L'Elisir d'Amore: Act 1: Udite, udite, o rustici
L'Elisir d'Amore: Act 1: Ardir! Ha forse il cielo...
L'Elisir d'Amore: Act 1: Caro eliser! sei mio!
L'Elisir d'Amore: Act 1: Lallarallara la la la
L'Elisir d'Amore: Act 1: Tran tran... In guerra ed in amore...
L'Elisir d'Amore: Act 1: Signor sargente, signor sargente
L'Elisir d'Amore: Act 1: Adina, credimi, te ne scongiuro...
L'Elisir d'Amore: Act 1: Andiam, Belcore, si avverta il notaro

Tracks:

L'Elisir d'Amore: Act 2: Cantiamo, facciaam brindisi
L'Elisir d'Amore: Act 2: Poiche cantar vi alletta...
L'Elisir d'Amore: Act 2: La Nina Gondoliera, e il Senator Tredenti
L'Elisir d'Amore: Act 2: Silenzio! E qua il notaro
L'Elisir d'Amore: Act 2: La feste nuziali...
L'Elisir d'Amore: Act 2: La donna e un animale...
L'Elisir d'Amore: Act 2: Saria possibile?
L'Elisir d'Amore: Act 2: Dell'elisir mirabile...
L'Elisir d'Amore: Act 2: Come sen va contento!... Quanto amore!...
L'Elisir d'Amore: Act 2: Una furtiva lacrima
L'Elisir d'Amore: Act 2: Prendi; per me sei libero...
L'Elisir d'Amore: Act 2: Alto!... Fronte!...
L'Elisir d'Amore: Act 2: Ei corregge ogni difetto...

Customer Reviews:

Good "Elixir of Love" with Bergonzi at his blazing best.......2006-11-21

SOURCE: Live 1967 performance from the May Festival in Florence.

SOUND: Overall the sound is generally satisfactory. No-one will confuse it with a digital studio recording or even a live recording from Bayreuth, but not bad at all for a live performance. Stage noises are minimal and the audience is better behaved than many Italian audiences.

CAST: Adina, a prosperous country landowner inclined to be flirtatious and flighty - Renata Scotto (soprano); Nemorino, country bumpkin and prize chump hopelessly in love with Adina - Carlo Bergonzi (tenor); Belcore, a sergeant in a regiment encamped near Adina's farm, hopelessly in love with Belcore but also inclined to marry Adina - Giuseppe Taddei (baritone); Doctor Dulcamara, a traveling quack, purveyor of bogus nostrums and love potions, in love with money and his next meal - Carlo Cava (bass-baritone); Gianetta, a country girl who is not entirely averse to snagging a wealthy husband - Renza Jotti (mezzo-soprano). CONDUCTOR: Gianandrea Gavazzeni with the Florence May Festival Orchestra and Chorus.

DOCUMENTATION: No libretto. Brief history of the opera and short summary of the plot. Track list which identifies some but by no means all the singers on each track, and omits timings. Nothing on the performers and little more on the circumstances of this recording.

TEXT: This recording includes the performance cuts that were traditional for more than a century. Some earlier reviewers are clearly appalled by that fact and are quite evidently suffering the vapors because of it. I do not adhere to the cult of recording every note ever written and re-affirming every preliminary draft and bad idea. The simple fact is that original intentions sometimes do not survive encounters with real audiences. Opera is theater at its very largest and not every academic restorer understands that. If you have any doubts on the matter, just consider the cataclysmic effect on "The Tales of Hoffmann" when "restored" to Wagnerian length, as it is on some recent recordings.

COMMENTARY: "L'elisir d'amore" is yet another opera that can be traced back to that ubiquitous hack of all seasons, Eugene Scribe. Scribe's original libretto, "Le philtre," had been set to music by Auber in 1831, to no particular effect. In 1832, Donizetti needed a libretto on fairly short notice. His hack librettist, Felice Romani, knew a good thing when he could steal it. "Le philtre" was quickly paraphrased into Italian doggerel as "L'elisir d'amore" Donizetti devoted a long time--a full month!--to setting it. "L'elisir d'amore" opened to triumph in Milan in May 1832. One hundred and thirty five years later, the Florence May Festival offered this fine performance.

There are three international stars among the singers, but the performance really belongs to Carlo Bergonzi. The always acute and knowledgeable Amazon reviewer Armindo was so impressed that he was moved to utter these exclamations: "Bergonzi is the most characterful and romantic Nemorino ever! It's really unbelievable how much feeling and spirit he infuses in his singing without ever reducing its musical quality! I know no other singer--male or female--who ever achieved such level of musicality. He truly sounds like the young bumpkin! The most idiomatic and tender Una furtiva lagrima you will ever hear, is only one highlight of his performance." I am not quite as bowled over as Armindo. I think Ferruccio Tagliavini might have been as good or better about 1948 and so, too, might Tito Schipa have been around 1930 and maybe even Alessandro Bonci in, say 1910. But, of course, Tagliavini, Schipa and Bonci are not available in their best voices on (more or less) complete recordings of "L'elisir" while Bergonzi is-right here! He is as good as we're ever likely to hear in this lifetime.

Renata Scotto sings very well here. Her many fans may rest assured that Scotto does everything that they might wish from her and does it very impressively, too. I am not one of her fans and the fault is probably much more mine than hers. To me, she is like one of T. S. Elliot's mermaids. I hear them singing each to each but I do not think they will sing to me.

The third big name in the cast is Giuseppe Taddei. The Italians like to say they gave Gobbi to the world but kept Taddei for themselves. He did, in fact, sing outside Italy. He made his debut at the Metropolitan Opera at the age of 67. On this recording, the 51 year-old baritone offers a good, solid performance as Sergeant Belcore. I have no criticism of him in the role of Belcore except that he should not be singing it. Taddei was an excellent Leporello and a tremendous Falstaff. If I had been the producer of the May Festival I would have moved heaven and earth to have him sing Doctor Dulcamara. Any good baritone can be Belcore. Taddei would have been fabulous as the quack doctor and perhaps only Salvatore Baccaloni at his prime might have been better. I can only guess that Taddei took Belcore because he did not wish to be typecast in the buffo parts.

Carlo Cava was a reliable singer of lower-voiced parts. His recording career, to the best of my admittedly limited knowledge, was pretty much confined to short supporting parts. I'd not be at all surprised if this Dulcamara is his most significant appearance on disk. Cava is all right as the snake oil-peddling quack. He's looser than some in the role, but still generally staid in a part that practically cries out for a larger-than-life buffo baritone who delights in chewing the scenery and anything else that comes to hand.

Gianetta is a relatively small part which, nevertheless, offers some nice bits. Renza Jotti is an admirable Gianetta.

Gavazzeni conducts a fairly rapid-moving, Italianate performance in which everything keeps moving forward, unlike, say, Richard Bonynge who distorts the overall shape of the opera for the benefit of his singers. The orchestra and chorus are fine.

This is a good performance with a blazing tenor in a barebones package, all at low price. I think it's worth five stars.

Great recording, but it's now available on video.......2006-02-08

This 1967 performance from Florence is a wonderful recording, with Carlo Bergonzi, Renata Scotto, and Giuseppe Taddei all at their very best. Bergonzi has some pitch problems, but overall he sings with great beauty and musicianship. However ... this performance is now available on video, on the label Hardy Classics. The video is somewhat expensive, but it's worth it, as Carlo Bergonzi on the video is an endearingly naive country boy. Renata Scotto despite not having a conventionally beautiful face convinces us that she's the town flirt through her excellent acting. The sets are simple and the film is B&W, but as I said, I think if you liked this performance on cd, the DVD is worth getting.

Sparkling and romantic as the Elixir of Love must be!.......2004-06-15

This is one of the greatest Florence May Festival performances and should be in every opera collection. The experienced Gavazzeni, a maestro of the traditional Italian school of conducting, leads a superb cast and creates an amusing yet warm Elisir.

Bergonzi is the most characterful and romantic Nemorino ever! It's really unbelievable how much feeling and spirit he infuses in his singing without ever reducing its musical quality! I know no other singer - male or female - who ever achieved such level of musicality. He truly sounds like the young bumpkin! The most idiomatic and tender Una furtiva lagrima you will ever hear, is only one highlight of his performance.

Equally inspired is Renata Scotto's Adina and though I have never warmed up to her slightly metallic sound, I recognise her greatness. You won't find a more capricious Adina! Scotto moreover has all the abilities to shine and excite in the coloratura parts. Her big aria is a showstopper! Taddei's strong and suave Belcore is one of the best on records while Cava's funny Duclamara gets better and better as the show goes on. Even Giannetta is wonderfully performed by Renza Jotti.

It's not only the individual performances that are perfect but there is so much chemistry between the artists in the duets, the recitatives and ensembles. This is what truly makes this Elisir stand out as the best ever! A definite, intoxicating recommendation!

Bergonzi is great.......2001-08-27

What a wonderful live performance of this opera. Bergonzi is great as Nemorino. I can't recall ever hearing a more impassioned rendition of "una furtiva lagrima". Bergonzi is just perfect in this role. Scotto is no slouch either. If you like this opera, you should not be without the CD. The price is a steal. Buy it and enjoy!

Scotto and Bergonzi=Heaven.......2001-04-03

First of all, the sound quality of this recording is very acceptable and you could do far worse with some digital versions (Pavarotti/Battle or Carreras/Ricciarelli). As for the performance itself, well, it's vintage Italian singing. The important thing about this recording is that neither Carlo Bergonzi nor Renata Scotto recorded this opera commercially, so for their performances alone this set is priceless. Bergonzi sings a youthful, passionate Nemorino surpassed on records only by Giuseppe Di Stefano. Renata Scotto invariably gives a masterclass on true belcanto style, no other soprano of her generation was a better Adina, so we are very grateful indeed for this recording. If you want a digital version I can only recommend the Alagna/Devia version on ERATO.

An Ennio Morricone Anthology: All Music Composed & Conducted By Ennio Morricone - From The EMI General Music Vaults

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Remembering Past Enchantments And Past Ills
Delightful scores from Ennio Morricone

An Ennio Morricone Anthology: All Music Composed & Conducted By Ennio Morricone - From The EMI General Music Vaults

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000PIZ
Release Date: 1995-09-19

Tracks:

The Lady Caliph
Women at the River
Without Apparent Motive
Night Search
A Friend
The Ballad of Hank McCain
Rosemary
God With Us
What Am I Doing?
Like Maddalena
Moscow Farewell
Amusing Diversion
End Credits
A Neighborhood Song
The Wind, The Shout
My Name Is Nobody
March in F
The Unholy Three
Dedication
Belinda May
Lullaby in Blue
Companeros

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Slalom
Sestriere
Viva la revolucion
Chi mai
A Far Away Italy
To Forget Palermo
Three Columns on Front Page
The Lamb is Going to Die?
Song of Nostalgia
This Kind of Love
To the People of Parma
A Little Bitter Irony
Place of Spain
Reason, Heart, Love
Veruschka
The Cousin
The Hellbenders
To Serenity
The Venetian Woman
Western?
Theme for a Woman Alone
Castles in Scotland
The Outsider

Customer Reviews:

Remembering Past Enchantments And Past Ills.......2004-06-07

Few composers outside of the classical canon have expressed the ineffable as beautifully as Ennio Morricone. The Italian Morricone, who has written scores of wildly varying quality for over 400 films, came to international prominence with and is still best - known in America for his "Spaghetti Western" scores of several classic Sergio Leone films of the Sixties, such as A Fistful of Dollars (1964), The Good, The Bad, And The Ugly (1966), and Once Upon A Time In The West (1969).

With the Leone scores, Morricone created musical pieces structured like complex mathematical equations, many of which were suffused with a driving, hypnotic, and archetypal power. In fact, the soundtrack for The Good, The Bad, And The Ugly was so dramatically dynamic that it thoroughly outstripped the finished film in terms of imaginative potential. Only with Once Upon A Time In The West did Leone create a film well crafted and realized enough to match Morricone's entrancing, playful, and occasionally perditious score. Similarly, Dario Argento's The Bird With The Crystal Plumage (1969) almost completely failed to utilize Morricone's contribution, the best portions of which were heard only dimly and sporadically in the finished film. Leone's late masterpiece, Once Upon A Time In America (1984), two - thirds a perfect film, also failed to fully rise to the occasion of Morricone's simultaneously poignant, wistful, and wonderfully exuberant score.

Today, Morricone's work is available on literally hundreds of soundtracks and soundtrack compilations dedicated to the composer, very few of which are entirely satisfying. An Ennio Morricone Anthology (1995), which contains 45 tracks from 39 films produced in Italy from 1965 onward, perpetuates this frustrating tradition.

Of the 45 tracks, about a third represent Morricone realizing or approaching the height of his talent, another third are fairly interesting but ultimately repetitious and self-cannibalizing, and the final third, which may have worked reasonably well within the context of the films they were written for, never rise above the status of shrill, discordant, and bellowing kitsch (several attempt a Henry Mancini - like levity and fall flat). In fact, there is a great deal of healthy, raw, and leveling vulgarity even in some of Morricone's most famous compositions, such as "Le Vent, Le Cri" from 1981's The Professional and "Chi Mai" from 1971's Maddalena, both of which are included.

Those seeking haunting compositions on the scale of "L'Estasi Dell 'Oro" or "Il Triello" from The Good, The Bad, And The Ugly or "Poverty" from Once Upon A Time In America will be disappointed to find very few pieces approaching their caliber here, especially if already familiar with such well - known pieces such as "Moscow Farewell" from the 1987 film of the same name or the otherworldly "Il Gatto A Nove Code" from The Cat O' Nine Tails (1971).

As compositions of vastly different quality are interspersed amongst one another in dizzying array, many may find An Ennio Morricone Anthology virtually impossible to listen to from beginning to end without skipping tracks repeatedly. As a genius whose greatest compositions address both the immanent and the transcendent, both perdition and salvation, both the archaic and the modern, Morricone and his admirers deserve a more carefully selected and thoughtfully produced anthology than this haphazard collection offers.

Delightful scores from Ennio Morricone.......1998-12-19

Few composers in film music today are as greatly admired as Ennio Morricone whose scores for a wide range of screen fares and many Oscar nominations and wins have attracted the attention of fans all over the world. This compilation is one of the best and contains very fine original musics and rare tracks of this Italian composer.

Main Titles: 40 Motion Pictures, Volume One - Music Composed, Orchestrated And Conducted By Ennio Morricone, 1965-1995

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Main Titles: 40 Motion Pictures, Volume One - Music Composed, Orchestrated And Conducted By Ennio Morricone, 1965-1995

Manufacturer: Drg
ProductGroup: Music
Binding: Audio CD

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With Love, Vol. 2
With Love: Music Composed & Conducted By
Ennio Morricone - Film Music, Vol.1

ASIN: B000000PJ9
Release Date: 1996-11-19

Tracks:

Slalom: Main Title
The Hellbenders: Main Title
Blood And Guns: Viva La Revolucion
L'Alibi: Una Fotografia
The Heart Of A Mother: Ricreazione Divertia
The Invisible Woman: Alla Serenita
The Nun From Monza: Main Title
Machine Gun McCain: La Ballata Di Hank McCain
The Lady Caliph: Main Title
The 5th Dawn: Lontano
Private Pictures Of A Lady: Main Title
Revolver (Blood In The Streets): Un Amico
Maddalena: Chi Mai
The Poetry Of A Woman: Main Title
What Am I Doing In The Middle Of The Revolution?: Main Title
This Kind Of Love: Main Title
Devil In The Brain: La Ragione, Il Cuore, L'Amore
Two Seasons Of Life: Main Title
The Children Who Are Asking Why: Main Title
Without Apparent Motive: Main Title
One Could Die Of Love: Main Title
My Name Is Nobody: Main Title
The Secret: Main Title

Tracks:

The Infernal Trio: Main Title
The Cousin: Main Title
Around The World With The Lovers Of Peynet: Forse Basta
Who Saw Him Die?: Main Title
The Lady Bunker: Dedicace
The Professional: Le Vent, Le Cri
The Outsider: Main Title
The Resenter: Main Title
The Venetian Woman: Baci Dopo Il Tramonto
Farewell To Moscow: Main Title
The Neighborhood: Romanza Quartiere
Nuovo Cinema Paradiso: Main Title
A Time To Kill: Main Title
To Forget Palermo: Main Title
Three Columns On The Front Page: Main Title
Piazza Di Spagna: Main Title
The Night And The Moment: A Caccia Di Lei

Amazon.com

This double-disc treat covers Morricone's work from 1965 to 1995 and contains mostly never-before-released material from 40 different motion pictures, many of which demonstrate his quirkier side. Many are from less-known films like To Forget Palermo and What Am I Doing in the Middle of the Revolution? But there are also more famous tracks like the main titles to Cinema Paradiso and My Name Is Nobody as well as the haunting "Chi Mai" from Maddalena. Though best known for his much-imitated and oppressively cute spaghetti-Western themes, Morricone here demonstrates his much more intriguing romantic and melancholic sides. His title song to Farewell to Moscow is among his saddest and menacing works and, like several other selections, can be the preferred antidote to Prozac. --Joseph Lanza

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Nota del Sol

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

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Grand Duett: Music for Two Organs

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ProductGroup: Music
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ASIN: B00000309A
Release Date: 1994-12-08

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Son in G
Hungarian Dances From 16th Century Tablatures: A. Hayduczky/B. Ein Ungerischer Tanz/C. Ihr Fur...
Son in C
Son in F
Son in D
Con in B flat: I. Spiritoso
Con in B flat: II. Allegro
Son Decima in e
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Adagio in F, WoO 33 No.1
Con No.2 in G
Hungarian Dances From 16th Century Tablatures: A. Ungaresca/B. Allemande/C. Ein Ander Teuttscher...
Grand Duett In 3 Movts in E flat: III. Fuga. Alla Capella, C

Music for Two Organs from the Schlaegl Abbey (Christophorus)

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Music for Two Organs from the Schlaegl Abbey (Christophorus)

Manufacturer: Christophorus
ProductGroup: Music
Binding: Audio CD
ASIN: B000R5MS6C

Product Description

Intrada G-dur / Glaudio [sic] Casciolini (1:36) -- La Fiorentina : aus Sinfonie musicali (1610) / Lodovico da Viadana (3:47) -- Canzona per sonare / Girolamo Frescobaldi (2:59) -- Sonate / Baldassare Galuppi (8:28) -- Sonata a due organi, D-Dur / Giovanni Bernardo Lucchinetti (3:44) -- Sonata a due organi, F-Dur : presto / Gaetano Piazza (3:00) -- Secondo concerto per due organi / Pedro Jose Blanco (11:23) -- La Cremonese : aus Sinfonie musicali (1610) / Lodovico da Viadana (3:21) -- Toccata a due organi / Andrea Bonelli (2:27) -- Canzon ariosa / Andrea Gabrieli (3:02) -- Concerto a due organi, B-Dur / Giovanni Bernardo Lucchinetti (9:37) -- Sonata a due organi, D-Dur / Bonaventura Terreni (2:46) -- 1 Concerto de dos organos / Pedro Jose Blanco (4:26).

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Arrivederci Roma, Vol. 2

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Release Date: 1996-01-01

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Verdi: Rigoletto

Manufacturer: Grammofono 2000
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00002Z84O
Release Date: 2000-01-11

Tracks:

Rigoletto: Preludio
Rigoletto: Act I : 'Della mia bella incognita' (Il Duca)
Rigoletto: Act I : 'Questa o quella per me pari sono' (Il Duca)
Rigoletto: Act I : 'Partite? Crudele!' (Il Duca, La Contessa di Ceprana)
Rigoletto: Act I : 'In testa che avete, Signor di Ceprano' (Rigoletto)
Rigoletto: Act I : 'Gran nuova!' (Marullo, Chorus, Il Duca)
Rigoletto: Act I : 'Ch'io gli parli' (Monterone)
Rigoletto: Act I : 'Ah! siate entrambi voi maledetti' (Monterone)
Rigoletto: Act I : 'Quel vecchio maledivami' (Rigoletto)
Rigoletto: Act I : 'Pari siamo' (Rigoletto)
Rigoletto: Act I : 'Figlia!...Mio padre!' (Rigoletto, Gilda)
Rigoletto: Act I : 'Deh non parlare al misero' (Rigoletto)
Rigoletto: Act I : 'Veglia o donna ' (Rigoletto)
Rigoletto: Act I : 'Giovanna, ho dei rimorsi' (Gilda)
Rigoletto: Act I : 'E il sol dell'anima' (Il Duca)
Rigoletto: Act I : 'Gualtier Malde' (Gilda)
Rigoletto: Act I : 'Caro nome' (Gilda)
Rigoletto: Act I : 'Riedo, perche?' (Rigoletto)
Rigoletto: Act I : 'Zitti, zitti' (Chorus)
Rigoletto: Act I : 'Soccorso padre mio'....'Vittoria' (Gilda, Chorus, Rigoletto)

Tracks:

Rigoletto: Act II : 'Ella mi fu rapita' (Il Duca)
Rigoletto: Act II : 'Parmi veder le lagrime' (Il Duca)
Rigoletto: Act II : 'Duca, Duca!' (Chorus)
Rigoletto: Act II : 'Povero, Rigoletto' (Marullo, Rigoletto)
Rigoletto: Act II : 'Cortigiani, vil razza dannata' (Rigoletto)
Rigoletto: Act II : 'Mio padre!'...'Mia Gilda' (Gilda, Rigoletto)
Rigoletto: Act II : 'Tutte le feste al tempio' (Gilda)
Rigoletto: Act II : 'Solo per me' (Rigoletto)
Rigoletto: Act II : 'Piangi, fanciulla' (Rigoletto)
Rigoletto: Act II : 'No, vecchio, t'inganni'....'Si, vendetta' (Rigoletto)
Rigoletto: Act III : 'E l'ami?' (Rigoletto)
Rigoletto: Act III : 'La donna e mobile' (Il Duca)
Rigoletto: Act III : 'Un di se ben rammentomi' (Il Duca)
Rigoletto: Act III : 'Bella figlia dell'amore' (Il Duca)
Rigoletto: Act III : 'M'odi, ritorna a casa' (Rigoletto)
Rigoletto: Act III : 'Maddalena' (Il Duca)
Rigoletto: Act III : 'Ah piu non ragiono, amor mi trascina' (Gilda)
Rigoletto: Act III : 'Della vendetta' (Rigoletto)
Rigoletto: Act III : 'All'onda, all'onda'...'La donna e mobile' (Rigoletto, Il Duca)
Rigoletto: Act III : 'Chi e mai' (Rigoletto)
Rigoletto: Act III : 'Vi ho ingannato, colpevole fui' (Gilda)
Rigoletto: Act III : 'Lassu in cielo, vicino alla mamma' (Gilda)

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Bizet, Verdi, Donizetti and others

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Release Date: 1995-10-17

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Almost Golden Oldie

Verdi: Rigoletto (Highlights)

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Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000007NXV
Release Date: 1998-06-23

Customer Reviews:

Almost Golden Oldie.......2000-08-15

This highlight album produced in Italy with no information about the artists, but with good cueing bands and synopsis notes presents a recording made in the late twenties with stars of "La Scala" typical for the time.

This was originally produced by EMI and released on the companie's "HMV" label. They had another series of opera recordings from La Scala using different artists and conducted by Lorenzo Molajoli. These recordings were released on their "English Columbia" label.They found their way over here as long playing dubbings on the "RCA Camden" and the "Columbia Entre" labels. This particular recording is pretty good once you get used to the antique sound. The "Rigoletto" and "Duke" characters are very good, the "Gilda" is quite good but seems to have some problems with her very top range. This may be more a fault with the recoding that seems to favor the less demanding high notes of the male voices. In any case, this is not as good a performance as the other famous classic recording made at the same time for "English Columbia" With Riccardo Straciarri and Mercedes Caspir and avaiable from Amazon on the Arkadia label. Worth a listen and the price is right.

Music Review:

Music Review

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Oxygene/Chronologie [Import]

L'annee Du Chien [Import]

LIVE [Live]

Nourallah Brothers

Ives: Concord Sonata; Songs

Moonlight Serenade [Import]

La Primerisima [Import]

Lo Mejor de Colombia

Honegger: Pacific 231 / Rugby

Anamule Dance

1. Andromeda
2. Festa Celtica
3. Luna In Laguna
4. Symphonic Run
5. Ronda Di Stelle
6. Notturno Romantico
7. Le Vele
8. Abissi
9. Ode Russa
10. Piano Su Piano
11. Note Di Notte
12. Gioco Finale
13. Sinfonia Corale