Bellini - La Sonnambula / Sutherland · Pavarotti · Ghiaurov · NPO · Bonynge

Editorial Reviews
Amazon.com essential recording
Joan Sutherland, never noted for dramatic intensity, seemed more at home in roles that appealed to sentimentality rather than the tragic emotions of pity and fear. She still had that appeal and a voice in prime condition when this, her second Sonnambula, was recorded. Her appealing, uncomplicated musical personality is just right for this simple, innocent little story of a peasant girl who sleepwalks into--and later out of--a compromising situation that temporarily endangers her impending marriage. She has been given a supporting cast that is (with occasional small lapses) a joy to the ears. --Joe McLellan

Bellini - La Sonnambula / Sutherland · Pavarotti · Ghiaurov · NPO · Bonynge, Music, Vincenzo Bellini, Richard Bonynge, Joan Sutherland, Luciano Pavarotti, National Philharmonic Orchestra, Nicolai Ghiaurov, Piero de Palma, Della Jones, Classical, Classical Music, Italian Romantic Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta
Bellini - La Sonnambula / Sutherland · Pavarotti · Ghiaurov · NPO · Bonynge
Average customer rating: 4 out of 5 stars
  • A Musical Adventure With Great Stars
  • A superb recording
  • SUTHERLAND IS STILL LA STUPENDA!
  • Not all that bad! Was she really over 50?
  • Boring and too late
 Bellini - La Sonnambula / Sutherland · Pavarotti · Ghiaurov · NPO · Bonynge
Vincenzo Bellini , Richard Bonynge , Joan Sutherland , Luciano Pavarotti , National Philharmonic Orchestra , Nicolai Ghiaurov , Piero de Palma , and Della Jones
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Bellini, VincenzoBellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Sutherland, JoanSutherland, Joan | Divas | Opera & Vocal | Styles | Music
The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
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ASIN: B0000041RY
Release Date: 1990-10-25

Tracks:

  1. La Sonnambula: Act One - Scene 1 - Viva! Viva! Viva! Viva! Amina!
  2. La Sonnambula: Act One - Scene 1 - Tutto E Gioia, Tutto E Festa
  3. La Sonnambula: Act One - Scene 1 - Viva Amina! (Lisa)
  4. La Sonnambula: Care Compagne, E Voi, Teneri Amici (Amina)
  5. La Sonnambula: Sopra Il Sen La Man Mi Posa (Amina)
  6. La Sonnambula: Lo PiTutti, O Amina (Alessio )
  7. La Sonnambula: Perdona, O Mia Dietta, Il Breve Indugio (Elvino)
  8. La Sonnambula: Prendi: L'anel Ti Dono (Elvino)
  9. La Sonnambula: Domani, Appena Aggiorni (Elvino)
  10. La Sonnambula: Vi Ravviso, O Luoghi Ameni (Rodolfo)
  11. La Sonnambula: Contezza Del Paese Avete Voi, Signor? (Elvino)
  12. La Sonnambula: A Fosco Cielo, A Notte Bruna (Contadini)
  13. La Sonnambula: Basta Cosi (Rodolfo)
  14. La Sonnambula: Son Geloso Del Zefiro Errante (Elvino)
  15. La Sonnambula: Scene 2 - Davver, Non Mi Dispiace D'essermi Qui Fermato (Rodolfo)
  16. La Sonnambula: Scene 2 - Che Veggio? (Rodolfo)
  17. La Sonnambula: Scene 2 - Oh Ciel! Che Tento? (Rodolfo)

Tracks:

  1. La Sonnambula: Act I, Scene 2: Osservate! L'uscio E Aperto (Contadini)
  2. La Sonnambula: Act I, Scene 2: Menzogna (Elvino)
  3. La Sonnambula: Act I, Scene 2: D'un Pensiero E D'un Accento (Amina)
  4. La Sonnambula: Act I, Scene 2: Non Pize (Elvino)
  5. La Sonnambula: Act II, Scene 1: Qui La Selva E Pita Ed Ombrasa (Contadini)
  6. La Sonnambula: Act II, Scene 1: Reggimi, O Buona Madre
  7. La Sonnambula: Act II, Scene 1: Vedi, O Madre, E Afflitto E Mesto (Amina)
  8. La Sonnambula: Act II, Scene 1: Viva Il Conte! (Elvino)
  9. La Sonnambula: Act II, Scene 1: Ah! Perchon Posso Odiarti (Elvino)
  10. La Sonnambula: Act II, Scene 2: Lasciami: Aver Compreso Assai Dovresti (Lisa)
  11. La Sonnambula: Act II, Scene 2: De'lieti Auguri A Voi Son Grata (Lisa)
  12. La Sonnambula: Act II, Scene 2: E Fia Pur Vero, Elvino (Lisa)
  13. La Sonnambula: Act II, Scene 2: Lisa Mendace Anch'essa! (Elvino)
  14. La Sonnambula: Act II, Scene 2: Signor, Che Creder Deggio? (Elvino)
  15. La Sonnambula: Act II, Scene 2: Oh! Se Una Volta Sola Rivederlo Io Potessi (Amina)
  16. La Sonnambula: Act II, Scene 2: Ah! Non Giunge Uman Pensiero (Amina)

Amazon.com essential recording

Joan Sutherland, never noted for dramatic intensity, seemed more at home in roles that appealed to sentimentality rather than the tragic emotions of pity and fear. She still had that appeal and a voice in prime condition when this, her second Sonnambula, was recorded. Her appealing, uncomplicated musical personality is just right for this simple, innocent little story of a peasant girl who sleepwalks into--and later out of--a compromising situation that temporarily endangers her impending marriage. She has been given a supporting cast that is (with occasional small lapses) a joy to the ears. --Joe McLellan

Customer Reviews:

4 out of 5 stars A Musical Adventure With Great Stars.......2007-02-15

Bellini's LA SONNAMBULA was one of the most popular operas of the 19th century and is still staged when the right performers are available, which sadly isn't all that often. It's an opera that is loved for its music--the plot of a woman who appears to be flirting but is instead sleepwalking is not all that sophisticated a tale, but in the hands of Bellini, it does become an exciting musical event. The sleepwalking Amina is a role closely associated with Maria Callas and there are two live recordings of Callas performing the role as well as a studio recording. Callas fans adore her in this role and she does exhibit moments of greatness, but overall the casts in the sets are uneven so for those who love the entire opera, the Callas recordings may not the first choice of those who are not diehard Callas fans. This set with Joan Sutherland and Luciano Pavarotti as Amina and Elvino respectively under the direction of Richard Bonynge has been loved over the years and deservedly so.

Some critics have charged that the first Sutherland recording of LA SONNAMBULA has the same strengths and faults of the Callas sets--a great soprano and a weaker supporting cast. It's interesting to note that for many listeners of this set, the supporting cast is praised and Sutherland is panned. While I will agree that this set is not her greatest rendition of a Bellini work--certainly not as powerful as her first NORMA and second I PURITANI, it's still an accomplished performance of this opera. Her sound is not that of a young maiden as she approaches the altar, but she executes well. She is paired with tenor Luciano Pavarotti who like Sutherland has a more colored voice in this set, but he still has a passion that is evident throughout the recording. Nicolai Ghiariov is wonderful as Rodolfo and Isobel Buchanan is decent as the scheming Lisa. While there are some minor flaws for each of the principals, the same cannot be said about the National Philharmonic Orchestra and London Opera Chorus. Richard Bonynge's excellent control of the orchestra is evident and the choral numbers are beautiful.

This is one of the most complete sets available. Earlier recordings, even complete performances often have cuts, due to recording restraints at the time of the performance. This set, in stereo sound, has portions often omitted in performances and other recordings that make it all in all a very worthwhile set.

5 out of 5 stars A superb recording.......2005-08-19

Having listened to several different recordings of this opera my opinion is that this performance is not the most personal one but definitely one of the best. There are few singers that get even close to Sutherland, and Pavarotti is doing a great job in this recording.

5 out of 5 stars SUTHERLAND IS STILL LA STUPENDA!.......2004-12-04

First, let me say I decided to review this La Sonnambula after I saw so many reviewers that rated it with one or two stars (!!!) because of a weak and immature argument: she was too old to sing Amina! I think the point should be exclusively her voice, her technique, her interpretation. Even if you don't like this recording, please write a review that explains clearly and intelligently your reasons. Singers like Joan Sutherland, Birgit Nilsson or Leonie Rysanek could still thrill an audience in their late 50's or even in their 60's! I'm not claiming Sutherland is in her very peak here or this is the best La Sonnambula to own, however I suppose a review is a compilation of your thoughts and opinions and not a commentary with two or three words.

This was recorded in 1980, when the digital era was still blooming. One of the best advantages of this recording is exactly the clear, ample and sweet sound, which shows perfectly the excellent voices joined here. At the time this was recorded, there wouldn't be any better cast than this: Joan Sutherland, the best coloratura soprano of her time, even in her late career; Luciano Pavarotti, who had the most incredible high notes and the most flawless vocal technique to sing the difficult role of Elvino; and Nicolai Ghiaurov, who was simply the greatest basso still singing at that time.
Joan Sutherland at this period of her career had lost the youthful, velvety and pure sound of her voice and the unhuman ease at the top. However, let's not make comparisons. Whatever imperfections her voice has gained as she aged, this is still La Stupenda! The creamy and huge sound, the impeccable coloratura, the ringing high notes are still there, though they obviously don't come as easy as twenty years earlier. Then, when we listen to Sutherland more carefully, we notice that there's a great difference between this Sonnambula and the early one: while young Sutherland is fresh, innocent and girlish, mature Sutherland is more sensitive, expressive and artistically mature. Her diction got infinitely clearer and more dramatic. Besides, her ability to express through her voice and entonation improved as she got older, so that she can still sound innocent and dreamy despite her mature and heavier voice.
The rest of the cast is not less important. Pavarotti's Elvino is magnificent, though his voice is bigger than the ones we are used to hear in this role. Vocally, his bright sound and amazing high notes are as impressive as ever, and dramatically he's a very lively Elvino. Rodolfo is sung by Nicolai Ghiaurov, whose lush voice is real gift for the listener. Bonynge's conducting is also more vivid and passionate here than in the earlier version.
In overall, it's a much satisfying performance and an excellent recording! Besides Sutherland's still amazing Amina, we have Pavarotti's captivating Elvino, Ghiaurov's sumptuous Rodolfo and Bonynge's lively conducting. Surely it's not a flawless recording nor is it the definitive version. If this is the first time you're buying La Sonnambula, choose Callas' or Sutherland's live recordings recorded in 1955 and 1961, respectively, or Sutherland's 1962 studio recording. However, if you just want to listen to some great singing, believe me: this is really worth a listening!

4 out of 5 stars Not all that bad! Was she really over 50?.......2004-07-17

Granted, Sutherland should have recorded Sonnambula with Pavarotti much earlier but she didn't, it happens. I still find this a beautiful recording with Sutherland at her best considering the stage of her career. This is one of her greatest late recordings. Even at this age one realises this is a role perfect for her voice. Some of the highest notes don't come easy (and this can be fascinating at times) but I know a dozen other coloratura sopranos who even in their prime don't have such a blooming upper register. The agility is still remarkable albeit a few messy trills. Last but not least I also feel she communicates the character wonderfully. If only there were more aged sopranos like her around today.

I also didn't expect to like Pavarotti in this recording but he too, surprised me. His singing is brilliant and the voice is almost as fresh as in the 70s. Luciano's gorgeous, ringing lyric tenor brings Elvino to life. Ghiaurov is a marvel as usual and the rest of the cast competent. The older Bonynge is a better conductor. Sutherland's Amina can be heard at her full glory in the early '60s (the live recording with Cioni is strongly recommended) but I really enjoyed this late recording.

2 out of 5 stars Boring and too late.......2004-04-02

Sutherland was the greatest soprano of the last 35 years. Her singing in the sixties and seventies show her miraculous voice. But this one doesn't. Get another Sonnambula. To comprehend Sutherland's greatness: Get her "The art of the primadonna"!!

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