Donizetti: Maria di Rohan

Editorial Reviews
Album Description
There are surprisingly few recordings of "Maria di Rohan" (and even fewer of this calibre), despite the fact that most critics consider it one of Donizetti's very best operas. First heard in 1843, it went on to international acclaim but disappeared in the 20th century until a revival in Italy in 1957. This live performance from Venica in 1974 is perhaps its finest appearance on CD!

Customer Reviews:

RIP, JERRY HADLEY 1952-2007.......2007-07-18

Among his numerous recordings of opera, concert and lighter works, this one CD best serves the late tenor's art. Arias, both familiar and not, exemplify his clear, clean singing, wonderful diction and musicality. Although it is currently unavailable, I'm hoping RCA will see fit to reissue it soon in memory of a truly fine American-trained artist and singer.

INTERESTING REPERTOIRE, WELL SUNG.......2003-11-14

While currently out of print BMG might well reissue the album so some comments are in order. The album has a repertoire that is, under any conditions, exceptionally demanding with the arias from Dom Sebastien, La dame blanche, Les Huguenots, etc., being among the most difficult to sing in the tenor literature. For the most part Hadley proves a wealth of beautiful, well posed tone running into trouble only when he must deal with troublesome top notes that have never been his forte. The top c-sharp taken in the aria "Seul sur la terre" from Dom Sebastien in pure head tone( read falsetto )is really stylistically correct but the versions by Marcelo Alvarez, Roberto Alagna, Luciano Pavarotti( as "Deserto in terra" ), and, of course, Alfredo Kraus are much more thrilling with the top note ringing out in full voice. Kraus was well into his 60s but his ageless voice took the top notes with consummate ease.

The arias from Lucia di Lammermoor, L'elisir d'Amore, Mignon, Lakme, and The Bohemian Girl are all well done with really beautiful tone and stylistic elan. The arias from Les cloches de Corneville, L'eclair, and The Rose of Castille and Sigismondo are well sung but so new to me as music that a critical evaluation is not possible.

The aria from Martha sung in the original German as "Ach, so fromm" is, at the climax, rather stressful and strained.

The sound is excellent and the direction of the English Chamber Orchestra by Richard Bonynge is a real plus for both Hadley and the listener.

Tracks:

Mi Chiamano Mimi
Vissi D'Arte
Libiamo Ne'Lieti Calici (Brindisi)
Addio Del Passato
Egli Non Riede Ancora!
Merce, Dilette Amiche
Casta Diva
Col Sorriso D'Innocenza
Com'e Bello!
Havvi Un Dio
Inflammatus Et Accensus

Tracks:

Habanera
Io Son L'Umile Ancella
Qual Fiamma - Avea Nel Guardo!
Intermezzo Sinfonico
Barcarolle: Belle Nuit
Air De La Lettre: Mon Cher Amant
Im Chambre Separee
Duett Papageno-Papagena: Pa-Pa-Pa...
Tanz Der Sieben Schleier
Ah! Du Wolltest Mich Nicht Deinen Mund
Sie Ist Ein Ungeheuer, Deini Tochter
Ah! Ich Habe Deinen Mund Gekusst

Average customer rating:

A Milestone in the Belcanto Repertoire

Donizetti: Maria di Rohan

Manufacturer: Nuova Era
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

Operettas | Opera & Vocal | Styles | Music
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Donizetti: Maria Padilla
Donizetti - Maria de Rudenz / N. Miricioiu · R. Nathan · B. Ford · R. McFarland · PO · D. Parry
Rossini - Tancredi / Podles, Jo, Olsen, Spagnoli, di Micco, Lendi, Zedda

ASIN: B0000036AT
Release Date: 1991-01-01

Tracks:

Sinf - Orch Internazionale D'Italia Opera/Massimo De Bernart
Act One: 'Ed E Ver' - Chor Filarmonico Slovacco Di Bratislava/Pavel Prochazka
Act One: Recitativo E Cavatina: 'Quando Il Cor Da Lei Piagato' - Giuseppe Morino
Act One: Scena E Cavatina: 'Cupa Fatal Mestizia' - Mariana Nicolesco
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Act Two: Recitativo Ed Aria: 'Alma Soave E Cara' - Giuseppe Morino

Tracks:

Act Two: Cavatina: 'Son Leggero E Ver D'Amore - Francesca Franci
Act Two: Scena E Duetto: 'Ah No, T'Inganni' - Giuseppe Morino/Paolo Coni
Act Two: Scena E Duetto Finale II - Chor Filarmonico Slovacco Di Bratislava/Pavel Prochazka
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Act Three: Scena E Preghiera: 'Avvi Un Dio' - Mariana Nicolesco
Act Three: Scena Ed Aria: 'Bella E Di Sol Vestita' - Paolo Coni
Act Three: Scena E Duetto: 'So Per Certo Il Tuo Bel Core' - Mariana Nicolesco/Paolo Coni
Act Three: Scena E Terzetto Finale - Chor Filarmonico Slovacco Di Bratislava/Pavel Prochazka

Customer Reviews:

A Milestone in the Belcanto Repertoire.......2007-04-24

"Maria di Rohan" is the second and the last opera that Donizetti (in his self imposed exile in Austria) wrote for the Viennese public, a year after the great success of his `Linda di Chamounix". Free of any censorship and other constrains associated with Italy in that period, Donizetti was fast approaching the summit of his artistic powers. Willing to please his host audience he employs here many features of the German musical style of the period, which makes this opera even more special and rightfully considered by the connoisseurs to be one of Donizetti's best.

This is the world premiere recording, and who could have been a better choice for the leading role than Mariana Nicolesco? A recent study shows that, in the long history of the Teatro alla Scala in Milan, Mariana Nicolesco is the soprano who appeared in the most absolute premieres (no surprise here considering her fantastic voice and technique). However, the entire cast here (particularly the trio of M. Nicolesco, Giuseppe Morino and Paolo Coni) is in magnificent form, producing a superb and memorable performance. Coupled with a very good sound quality (rare for live recordings) this original release is probably the one to own.

Montserrat Caballé Sings Bellini & Donizetti

Average customer rating:

I will give it 10 stars. This is a must to have.
Bel Canto, wonderful singing
The most rewarding Montserrat Caballe gold seal cd !!!!!!!!!
BEL CANTO PERFECTION! GIFT FROM GOD!
You are in for a treat of heavenly proportions!!!

Montserrat Caballé Sings Bellini & Donizetti

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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Rarities: Donizetti, Rossini, Verdi
The Spectacular Voice of Marilyn Horne: Rossini / Horne
Very Best of
Vissi d'arte: The Magnificent Voice of Montserrat Caballé
French Arias

ASIN: B000003FDQ
Release Date: 1993-03-09

Tracks:

Norma: Casta diva
Il pirata: Col sorriso d'innocenza
Roberto Devereux: Vivi, ingrato
Lucrezia Borgia: Com e bello!
Maria di Rohan: Havvi un dio
Norma: Mira, o Norma
Anna Bolena: Al dolce guidami

Amazon.com essential recording

All the selections on this staggeringly beautiful recital CD were recorded between 1965 and 1972, when Montserrat Caballé's voice was incapable of betraying her, and when she sang as beautifully and expressively as any soprano within living memory--and probably before then, to boot. Because the voice was in such good shape, with no signs of strain at either end, perfect breath control throughout, and an absolutely full dynamic range--from C to shining C, from pppp to ffff--Caballé was also free to enunciate the text with utter clarity and to make the characters come vividly to life. Her Elizabeth I and Anna Bolena in the Donizetti operas are noble and fascinating, but it is in Bellini that she is utterly irreplaceable. Norma's "Casta diva" has probably never been performed with such intelligence, insight, and exquisite tone, and her duet with Adalgisa (from 1972) is both urgent and tender. And the rarely recorded final scene from Bellini's Il pirata, sung with this much involvement and luster, makes one desperately want to hear the entire opera (yes, Caballé recorded it eventually, but it's hardly a masterpiece). Caballé understands and communicates the music of Bellini like no soprano since Callas--this CD is an important part of any opera lover's collection. --Robert Levine

Customer Reviews:

I will give it 10 stars. This is a must to have........2007-01-05

i agree with all the previous reviewers. THERE IS NO WORDS TO DESCRIBE THE PERFECTION of her singing. I have this CD for a year. It is permanently on in my player in the bedroom. Most of my mornings start with her Casta Diva. No matter what the day brings it is possible to face it with Monserrat singing. Her Anna Bolena is so sweet and so sad, it brings tears to my eyes.How much I wish she recorded Bolena in the studio. As it is I am eternaly gratefull for what she did record.

Bel Canto, wonderful singing.......2005-08-27

To learn what BEL CANTO means this is a perfect CD. Caballe's CASTA DIVA is the most beautiful! Be aware, if you listen to her, you will not like any other's version, including Callas', of course! The rest of the pieces are not so known but I enjoy them as well.

The most rewarding Montserrat Caballe gold seal cd !!!!!!!!!.......2003-08-13

Montserrat Caballe possesses the most beautiful and remarkable voice in recorded history.Her Bellini&Donizetti cd attests to this fact.She recieves praise from a vast diversity of humanity.Anyone from the spanish king and queen to the painter miro were fans,and many people inbetween.The late rock star freddie mercury adored her as well as many other pop stars,which also recorded with her.Caballe was not just a mega operastar but also a pop star.With her voice she also heals people and relieves stress,pain,and fear,and promotes understanding & peace throughout the world.She is not only well loved in europe and america but in russia,china,japan,many other asian nations,as well as canada and south america.Her voice is so beautiful it can only be explained accurately by the greatest poets.Her voice can be both subtle and powerful.Caballe's timbre is golden and of the quality of the most delicate crystal.The voice is not fragile though but strong,surviving over 45 years of professional singing.You could describe her voice as being purity itself,also.Her voice has no vibrato but can still soar with great power and dramatic intensity.On this cd Caballe shows all of us aptly why she is considered by millions of fans and admirers around the world to be the number one singer in the world.Surpassing all other singers of both sexes and musical genres.This wonderful gold seal recording is legendery.A classic which is a must have in anybody's collection.This cd,in american stores is out of print.Get it from amazon while you still can.Montserrat Caballe is the true den mother of opera,watching over europe now and looking after the opera career of her very talented daughter montserrat marti.The creator God has blessed Caballe above all other aristocratic and blue blood beings.Her likeness will one day preside in the courtyard of the eternal angels of musicality.She is the true ambassodor of music on planet earth.Without her voice to caress me,when I was in the lowest deepest pit of grave suffering,I would have never came back to an earthly life,from the dark regions of inner hell.May more blessings rain down on you from heaven dear,montsy.

BEL CANTO PERFECTION! GIFT FROM GOD!.......2003-06-22

This recital and the other RCA masterpiece M. Caballe: Rossini, Donizetti, Verdi rarities are two recitals that every opera fan DESERVES to hear! It's a gift for all of us who love the sound of bel canto and opera in general.

These are exactly the roles Caballe was born to sing. Her voice and musicianship are wonders! Everything on this CD is sung with such emotion and vocal brilliance that makes me forget any other reading of these famous pieces.

Casta Diva has been superbly performed and recorded before Caballe by legends like Callas and Sutherland and it's hard not to compare them. Yet, in my opinion there is no competition. It's Caballe that I will listen to for the ultimate reading of this piece. It's the perfect combination of her gorgeous voice (I can't get enough of her high notes here!) and expressiveness that makes the difference.

The same goes for the other tracks of this recital. Just listen how she phrases Imogene's "Col sorriso d'innocenza". It's as if time stops when she utters that phrase. Sadly, Caballe did not completely record Roberto Devereux or Maria di Rohan or Anna Bolena in studio. I would have sacrificed many other recordings of hers just to have her in studio in these roles. "Mira o Norma" is taken from her complete Norma recording and Cossotto's wonderful Adalgisa perfectly compliments Caballe's high priestess. The recital ends with Caballe singing some of her best pianissimi in Bolena's scene.

Purchase this recital and discover the world of opera! Just keep in mind that Montserrat Caballe's singing here is addictive!

You are in for a treat of heavenly proportions!!!.......2003-02-01

I got this recital disc recently and was flabbergasted by Caballé's out of this world singing. Her voice is an exquisite instrument of power, beauty, and elegance. It has a more refined timbre than Sutherland's and is more ethereal than Tebaldi's. She has breath-taking control over her gorgeous voice. The runs and roulades are tossed off cleanly. Often criticized for her caustic, fortissimo high notes, she only delivers beautiful high notes here. Even so, a few of the high notes sound a bit strained, especially the one that accompanies the word "infiorato" in the "Bolena" aria. The only fault with her coloratura technique is that she lacks a real trill. In the "Anna Bolena" aria, she substitutes scales for the ascending trills. However, only the most accomplished coloraturas can pull off those very taxing trills correctly. Two examples are the magnificent Joan Sutherland and the incomparable Beverly Sills. Love you, Beverly! By the way, Caballé has the most ethereal pianissimos that I have ever heard. Then again, I haven't experienced Zinka Milanov's pianissimos. Renata Tebaldi also had great pianissimos, but she didn't sustain them as long as Caballé did and they were not as wispy-thin as Caballé's. They were, however, richer-toned than Caballé's due to Tebaldi's fabulous spinto voice. Simply put, I love Caballé's voice more than those of other sopranos'. It had to be sent from heaven. How else would you explain its origins? Anyway, this CD was my first recording of Montserrat and she didn't fail to please. All the hype surrounding her singing is fully justified. Her "Casta Diva" is an exquisite piece of vocalism teamed with drama. This recording is worth owning for that one aria alone. I didn't care much for Imogene's Mad Scene, but she sang it well nonetheless. Her portrayal of Elizabeth I in "Vivi ingrato" is not the most dramatic, but it is not dull either. She amazes you with the beauty of her singing. No where will you find a more beautifully sung version of this aria. Beverly Sills is more dramatic, but even she can't beat Caballé's exquisite vocalism. Sills gives us the private, tortured woman behind the queen. Caballé gives us Elizabeth the suffering, but regal queen. Her rendition of the aria from "Lucrezia Borgia" makes one want to hear the full recording of that opera with her in the title role. She is truly astonishing. Her "Havvi un dio" is delivered masterfully. The exquisite duet from "Norma", "Mira, o Norma", is rendered tenderly with expert vocalism and dramatic involvement. The mezzo-soprano is competent and has excellent breath control. She sounds unnervingly like Caballé. I believe she is Fiorenza Cossotto. If so, then this track must have been taken from Caballé's complete studio recording of "Norma". The last track, half of Anna Bolena's Mad Scene, is done wonderfully. Again, the vocalism is exquisite. However, I prefer Sills' masterful rendition. She sings just as well as Caballé does, but she is so much more dramatically involved. When she sings about Percy and asks forgiveness for abandoning him, she turns in a frenetic and very exciting performance. And, of course, no soprano, including Callas, sings "Al dolce guidami" so right and so convincingly. When she sings the words "castel natio" before the ascending trills, which are great by the way, her voice matches Donizetti's musical and vocal inflections perfectly. You have to hear it to believe it! It sounds so right that one has to believe that it cannot be bettered. Anyway, back to Caballé. She shows us in this recital why she was considered one of the very few prime donne assoluti in the world in the the period from 1965 to her retirement from the operatic stage a few decades later. To her fans, this is a required recording.

Average customer rating:

Lotte Lehmann in her Prime

Mattia Battistini: Il re dei baritoni

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B0000023QE
Release Date: 1997-03-18

Tracks:

I Puritani: Ah! Per Sempre Io Ti Perdei
I Puritani: Bel Sogno Beato
Maria Di Rohan: Bella E Di Sol Vestita
Tannhauser: Allor Che Tu Coll'estro
Tannhauser: Nel Rimirar Quest'adunanza Eletta
Tannhauser: Forier Di Morte...O Tu Bell'astro
La Traviata: Di Provenza Il Mar
Faust: O Santa Medaglia...Dio Possente
Amleto: O Vin Discaccia La Tristezza
Amleto: Come Il Romito Fior
Werther: Ma Come Dopo Il Nembo
Werther: Ah! Non Mi Ridestar
Thais: D'acqua Aspergimi - Mattia Battistini/Attilia Janni
I Pagliacci: Si Puo?
Tosca: Tre Sbirri, Una Carrozza
Le Soir

Tracks:

Guglielmo Tell: Resta Immobile
Linda Di Chamounix: Ambo Nati In Questa Valle
Linda Di Chamounix: Un Buon Servo Del Visconte - Mattia Battistini/Maria Moscisca
Lucia Di Lammormoor: Cruda Funesta Smania
Rigoletto: O Mia Gilda - Mattia Battistini/Maria Moscisca
La Traviata: Madamigella Valery? - Mattia Battistini/Maria Moscisca
L'Africana: Figlia Di Regi...Quando Amor M'accende
L'Africana: Averla Tanto Amata
Otello: Era La Notte
I Pagliacci: Decidi Il Mio Destin...E Allor Perche? - Mattia Battistini/Maria Moscisca
Quo Vadis?: Errar Sull'ampio Mar
Quo Vadis?: O Febea Pur Essa
Quo Vadis?: Amici, L'ora Attesa E Questa
Macbeth: Pieta, Rispetto, Amore
Nero: Imen! Imen!
Erodiade: Vision Fuggativa
Trauerwalzer No.2, D 365: Delizia

Tracks:

Don Giovanni: Deh! Vieni Alla Finestra
La Favorita: Vien, Leonora...Dei Nemici Tuoi
Ernani: Vedi Come Il Buon Vegliardo - Mattia Battistini/Elvira Barbieri/Giuseppe Tommasini/Vincenzo Bettoni
Il Trovatore: Mira D'acerbe Lagrime - Mattia Battistini/Elvira Barbieri
Un Ballo In Maschera: Ve', Se Di Notte Qui Colla Sposa - Mattia Battistini/Elvira Barbieri/Vincenzo Bettoni
Don Carlo: Per Me Giunto E Il Di Supremo
Faust: Per Di Qua...Stammi Ad Udir, Margherita - Mattia Battistini/Elvira Barbieri
Malia
Amour, Amour!
Culto
Ideale
O Ma Charmante
Mia Sposa Sara La Mia Bandiera
La Serenata
La Gondola Nera
Non M'ama Piu
Occhi Di Fata

Customer Reviews:

Lotte Lehmann in her Prime.......2006-07-08

Lotte Lehmann is one of the great German sopranos of the Twentieth Century. For many years, from her creation of the role of the Composer in the revised version of Richard Strauss's "Ariadne auf Naxos" in 1916 up to her departure in 1937 prior to the Nazi occupation of Austria, she was a star at the Vienna State Opera and a darling of the Viennese audience. She was also enthusiatically received at the Royal Opera House Covent Garden, as well as the Metropolitan Opera in New York.

During the years of her prime Lehmann created a couple of Strauss's operatic heroines, including the Dyer's Wife in "Die Frau Ohne Schatten" and Christine in "Intermezzo." She also sang a great variety of roles ranging from Wagner's romantic heroines to the Italian verisimo parts by Giordano and Puccini. Puccini was said to have been one of her bigget admirers, especially for her renditions of Mimi in La boheme and Suor Angelica. However, her most famous roles were the Marshallin in Strauss's "Der Rosenkavalier" and Sieglinde in Wagner's "Die Walkure." This Preiser issue documents accoustic recordings of nearly all her more renowned roles, made between 1914 and 1925.

Although Lehmann later made more amenable electrical recordings of many of the arias here, as well as excerpts from "Der Rosenkavalier" and Acts One and Two of "Die Walkure," these accoustic recordings more often than not show her in fresher voice with a joyous freedom on top. Her hallmarks as a singing-actress, such as her always vivid enunciation of the text and her great variety of tonal colors and moods, are also evident even in the earliest of these recordings.

This set is one of the gems in Preiser's famous historic singers series and anyone interested in operatic singing should consider investing in this set. The CD transfer unavoidably contains some surface noise but the vibrancy and color of Lehmann's voice are faithfully recaptured.

Mattia Battistini Complete Recordings, Vol. 1 (1902-11)

Average customer rating:

Mattia Battistini Complete Recordings, Vol. 1 (1902-11)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Baritones | Voices | Opera & Vocal | Styles | Music
ASIN: B000001S42
Release Date: 1997-12-09

Tracks:

'Finch'han Del Vino'
'Forier Di Morte...O tu Bell'Astro (Wie Todes Ahnung)'
'Se Dell'imen La Dolce Cura'
'Deh, Vieni Alla Finestra'
La Mantilla
Occhi Di Fata
Ancora
'Deh, Non Plorar'
'Largo Al Factotum'
'Dio Possente, Dio D'Amor (Avant De Quitter Ces Lieux)'
'In Questo Suoio... Ah, L'Alto Ardor'
'Or Limpida M'Appare'
'Oh De'Verd'Anni Miei'
'Da Qual Di Che T'ho Venduta'
'Alla Vita Che T'Arride'
'Lo Vedremo, O Veglio Audace'
'Lo Vedremo, O Veglio Audace'
'Vieni Meco, Sol Di Rose'
'O Sommo Carlo'
Don Giovanni: Alfin Siam Liberati...La Ci Darem La Mano
'Povero Lionello...Il Mio Lionel'
'A Tanto Amor;

Tracks:

'O Lisbona'
'Eri Tu, Che Macchiavi'
'Su Queste Rose'
'Perche Tremar?'
'Si Puo?... Un Nido Di Memorie'
'Avrei Sul Mio Petto'
'Ah! Tutto Il Cor E Qui!'
'Come Il Romito Fior'
Le Soir
'Amour, Amour'
'Tre Sbirri, Una Carrozza...Te Deum'
'O Vin, Discaccia La Tristezza [O Vin, Dissipe La Tristesse]'
'D'Acqua Aspergimi'
'Allor Che Tu Coll'estro'
'O Santa Medaglia...Dio Possente, Dio D'amore'
'Ah Per Sempre Io Ti Perdei'
'D'Acqua Aspergimi'
'D'Acqua Aspergimi'
'Son Cifre...Bella E Di Sol Vestita'
'Bel Sogno Beato'

Amazon.com

Operaphiles in search of the lost art of the bel canto baritone will find a virtual holy grail in the form of Mattia Battistini. Born in 1856, he is the oldest singer of his generation who recorded extensively in his prime. In contrast to the emphatic, overt emotionalism typical of verismo singers, Battistini spins out effortless, lavishly decorated lines, sustained by virtue of prodigious breath control. Introspective phrases are embellished by unexpected accents and flamboyant, dynamic surges, best exemplified in a 1906 group of Ernani excerpts. Highlighting the 1902 Warsaw recordings are a snappy yet restrained "Largo al factotum" and Wagner's song to the Evening Star from Tannhaüser, sung in mellifluous Italian. Romophone's transfers auger well for what promises to be the definitive Battistini edition. --Jed Distler

Average customer rating:

Excellent performance but uneven sound
Fine cast--fine performance!

Donizetti: Maria di Rohan

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Donizetti: Caterina Cornaro
Donizetti: Belisario
Donizetti: Gemma di Vergy
Rossini - La Donna del Lago / Caballé, Bonisolli, Hamari, Bottazzo
Donizetti: Fausta

ASIN: B00025ET9Q
Release Date: 2004-06-08

Tracks:

Ed E Ver?
Non Seguite La Caccia...Quando Il Cor Da Lei Piagato...At Te, Divina Immagine
Conte!...Agitata Siete!
Cupa Fatal Mestizia
Contessa! In Tanto Giubilo...Ben Fu Il Giorno Avventurato
Cavalieri!...Per Non Istare In Ozio
Il Suo Nome!...Genea In Tetro Carcere...Se Ancor M'e Dato Stringerti
Ma Che! Turbato Sei?
D'un Anno Il Giro
Conte!...Sparve Il Nembo Minaccioso
Nel Fragor Della Festa
Alma Soave E Cara
Lascia...Son Leggero, E Ver, D'amore
A Quel Che Vedo
Corriamo Alla Vittoria
Sedete
Che Mai Potra Commuoverti?

Tracks:

Conte!...A Morir Incominciai
Ti Rassicura
Ah, Cosi Santo Affetto
Aubry!
Avvi Un Dio Che In Sua Clemenza...Benigno Il Cielo Arride
Parti: Brev'ora
Son Cifre Di Riccardo...Bella E Di Sol Vestita
Ebben?
Ogni Mio Bene In Te Soerai...Si, Ma Fra Poco
Al Supplizio Fui Tratta
So Per Prova Il Tuo Bel Core
Che Ti Guida In Queste Mure?
Vivo Non T'e Concesso

Album Description

There are surprisingly few recordings of "Maria di Rohan" (and even fewer of this calibre), despite the fact that most critics consider it one of Donizetti's very best operas. First heard in 1843, it went on to international acclaim but disappeared in the 20th century until a revival in Italy in 1957. This live performance from Venica in 1974 is perhaps its finest appearance on CD!

Customer Reviews:

Excellent performance but uneven sound.......2006-03-06

Maria di Rohan is an immensely enjoyable opera. As Donizetti's last romantic melodrama, it represents his final develoment of this species of opera. The performance of this opera is excellent and Renato Scotto steals the show as an energetic Maria along with fine performances by Umberto Grilli as Riccardo and Renato Bruson as Enrico. The other members of the cast also do a very fine job.

This recording is of a live performance at the Teatro Felice in Venice on March 26, 1974. The recording does a good job of catching the soloists and faithfully recording the tone and timbre of their voices. The chorus is also generally well recorded. The recording does a very poor job with the orchestra however. When only a few instruments are playing, the recording is acceptable. However, when the full orchestra plays, the sound becomes indistinct and muddled and it can be difficult to even fathom what the melody is until the singing starts. Perhaps this is why the overture has been omitted from this recording. There is also a lot of mike noise, stage noise, and crowd noise including one rambunctious fan who keeps shouting "Bravo, bravo!" although I actually get a kick out of him and his shouts are well timed.

The booklet is fairly typical the Opera d'Oro series. Although there is no libretto, there is a brief synopsis of the opera and a summary of the circumstances surrounding its composition. There is a listing of the title of each track on both CD's and the characters that sing on each track, which is helpful.

So I'd give this 5 stars for the performance, but overall downgraded to 3 stars for the poor sound quality of the orchestra and the omission of the overture. Nevertheless, I found this enjoyable to listen to once I got over the limitations of the sound. At the low price this is a bargain for this neglected masterpiece. I doubt I would have purchased Maria di Rohan at a much higher price, so I'm happy that Opera d'Oro issued this recording and am quite satisfied with my purchase.

Fine cast--fine performance!.......2005-04-12

Maria di Rohan is a wonderful bel canto opera written toward the end of Donizetti's life. The cast on this live 1974 production does the composer justice right from the start with tenor Grilli pouring out heroic sounds in the first major aria. For you Renata Scotto fans, you will be pleased to hear this great artist working her typical charm in her usual grandiose manner, milking every line with an extra helping of portamento.
Her two big arias and the gorgeous love duet with Grilli make this a worthy purchase if nothing else were sung. But, let's not fail to mention the great singing of baritone Renato Bruson.
His creamy tone and commitment to his charactor are other reasons to hear this recording. I am familiar with one other recording of Maria di Rohan with Edita Gruberova in the title role. Her vocal approach is quite different from Ms. Scotto, but I like recommend them both for the hearing. Opera d'Oro has done us a great service by obtaining these live recordings and offering them at such a bargain price. There is no libretto, but who cares when you are riding in your car and just listening anyway! This opera is Donizetti at his best!

Average customer rating:

Gaetano Donizetti: Maria di Rohan

Manufacturer: Nightingale Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000024E50
Release Date: 2006-08-29

Tracks:

Maria di Rohan: Act I: Sinfonia
Maria di Rohan: Act I, Scene 1: 'Ed e ver'
Maria di Rohan: Act I, Scene 2: 'Non seguite la caccia'
Maria di Rohan: Act I, Scene 2: 'Quando il cor da lei piagato'
Maria di Rohan: Act I, Scene 2: 'A te, divina immagine,...'
Maria di Rohan: Act I, Scene 3: 'Conte!'
Maria di Rohan: Act I, Scene 3: 'Cupa fatal mestizia...'
Maria di Rohan: Act I, Scene 4: 'Contessa! in tanto giubilo...'
Maria di Rohan: Act I, Scene 4: 'Ben fu il giorno...'
Maria di Rohan: Act I, Scene 5: 'Cavalieri!'
Maria di Rohan: Act I, Scene 5: 'Per non istare in ozio...'
Maria di Rohan: Act I, Scene 5: 'Il suo nome?...
Maria di Rohan: Act I, Scene 6: 'Gemea di tetro carcere...'
Maria di Rohan: Act I, Scene 5: 'Se ancor m'e dato stringerti...'
Maria di Rohan: Finale Primo: 'Ma che! turbato sei?'
Maria di Rohan: Act I, Scene 7: 'Le danze incominciaro,...'
Maria di Rohan: Act I, Scene 7: 'D'un anno il giro...'
Maria di Rohan: Act I, Scene 8: 'Conte!'

Tracks:

Maria di Rohan: Act II, Scene 1: 'Nel fragor della festa...'
Maria di Rohan: Act II, Scene 1: 'Alma soave e cara...'
Maria di Rohan: Act II, Scene 2: 'Lascia.'
Maria di Rohan: Act II, Scene 2: 'Son leggero, e ver, d'amore'
Maria di Rohan: Act II, Scene 3: 'A quel che vedo,...'
Maria di Rohan: Act II, Scene 6: 'Ah! no, t'inganni...'
Maria di Rohan: Act II, Scene 6: 'Corriamo alla vittoria...'
Maria di Rohan: Act II, Scene 5: 'Sedete...'
Maria di Rohan: Act II, Scene 5: 'Ecco l'ora!' - 'Oh! mio Spavento'
Maria di Rohan: Act II, Scene 6: 'Conte!'
Maria di Rohan: Act II, Scene 6: 'A morire incominciai...'
Maria di Rohan: Act III, Scene 1: 'Ti rassicura!...'
Maria di Rohan: Act III, Scene 1: 'Ah cosi santo affetto...'
Maria di Rohan: Act III, Scene 1: 'A che piu vivere...'
Maria di Rohan: Act III, Scene 1: 'Non oso alzare i lumi!'
Maria di Rohan: Act III, Scene 3: 'Infausto Imene...'
Maria di Rohan: Act III, Scene 3: 'Qual improvvisa calma...'
Maria di Rohan: Act III, Scene 3: 'Benigno il cielo aridere...'
Maria di Rohan: Act III, Scene 4: 'Parti: brev'ora...'
Maria di Rohan: Act III, Scene 5: 'Bella, e di sol vestita...'
Maria di Rohan: Act III, Scene 6: 'Ebben?'
Maria di Rohan: Act III, Scene 6: 'Ogni mio bene...'
Maria di Rohan: Act III, Scene 7: 'Al supplizio fui tratta...'
Maria di Rohan: Act III, Scene 7: 'So per prova il tuo bel core...'
Maria di Rohan: Act III, Scene 8: 'Che ti guida in questa mura?'
Maria di Rohan: Act III, Scene 9: 'Vivo no t'e concesso...'
Maria di Rohan: Act III, Scene 10: 'Ove si cela il perfido?'

Donizetti - Maria di Rohan / Gruberova · Arévalo · Kim · Precht · Papi · Urbas · Vienna RO · Bonconmagni

Average customer rating:

Glorious, moving, powerful - the Maria di Rohan dream cast
The later Donizetti's masterpiece.

Donizetti - Maria di Rohan / Gruberova · Arévalo · Kim · Precht · Papi · Urbas · Vienna RO · Bonconmagni
Gaetano Donizetti , Elio Boncompagni , Edita Gruberova , Octavio Arévalo , Vienna Radio Orchestra , Vienna Concert Choir , Ettore Kim , Mieczyslaw Antoniak , Andrea Papi , Ulrika Precht , and Ivan Urbas
Manufacturer: Nightingale Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000005I4V
Release Date: 1997-08-19

Tracks:

Maria di Rohan: Act I: Sinfonia
Maria di Rohan: Act I, Scene 1: 'Ed e ver'
Maria di Rohan: Act I, Scene 2: 'Non seguite la caccia'
Maria di Rohan: Act I, Scene 2: 'Quando il cor da lei piagato'
Maria di Rohan: Act I, Scene 2: 'A te, divina immagine,...'
Maria di Rohan: Act I, Scene 3: 'Conte!'
Maria di Rohan: Act I, Scene 3: 'Cupa fatal mestizia...'
Maria di Rohan: Act I, Scene 4: 'Contessa! in tanto giubilo...'
Maria di Rohan: Act I, Scene 4: 'Ben fu il giorno...'
Maria di Rohan: Act I, Scene 5: 'Cavalieri!'
Maria di Rohan: Act I, Scene 5: 'Per non istare in ozio...'
Maria di Rohan: Act I, Scene 5: 'Il suo nome?...
Maria di Rohan: Act I, Scene 6: 'Gemea di tetro carcere...'
Maria di Rohan: Act I, Scene 5: 'Se ancor m'e dato stringerti...'
Maria di Rohan: Finale Primo: 'Ma che! turbato sei?'
Maria di Rohan: Act I, Scene 7: 'Le danze incominciaro,...'
Maria di Rohan: Act I, Scene 7: 'D'un anno il giro...'
Maria di Rohan: Act I, Scene 8: 'Conte!'

Tracks:

Maria di Rohan: Act II, Scene 1: 'Nel fragor della festa...'
Maria di Rohan: Act II, Scene 1: 'Alma soave e cara...'
Maria di Rohan: Act II, Scene 2: 'Lascia.'
Maria di Rohan: Act II, Scene 2: 'Son leggero, e ver, d'amore'
Maria di Rohan: Act II, Scene 3: 'A quel che vedo,...'
Maria di Rohan: Act II, Scene 6: 'Ah! no, t'inganni...'
Maria di Rohan: Act II, Scene 6: 'Corriamo alla vittoria...'
Maria di Rohan: Act II, Scene 5: 'Sedete...'
Maria di Rohan: Act II, Scene 5: 'Ecco l'ora!' - 'Oh! mio Spavento'
Maria di Rohan: Act II, Scene 6: 'Conte!'
Maria di Rohan: Act II, Scene 6: 'A morire incominciai...'
Maria di Rohan: Act III, Scene 1: 'Ti rassicura!...'
Maria di Rohan: Act III, Scene 1: 'Ah cosi santo affetto...'
Maria di Rohan: Act III, Scene 1: 'A che piu vivere...'
Maria di Rohan: Act III, Scene 1: 'Non oso alzare i lumi!'
Maria di Rohan: Act III, Scene 3: 'Infausto Imene...'
Maria di Rohan: Act III, Scene 3: 'Qual improvvisa calma...'
Maria di Rohan: Act III, Scene 3: 'Benigno il cielo aridere...'
Maria di Rohan: Act III, Scene 4: 'Parti: brev'ora...'
Maria di Rohan: Act III, Scene 5: 'Bella, e di sol vestita...'
Maria di Rohan: Act III, Scene 6: 'Ebben?'
Maria di Rohan: Act III, Scene 6: 'Ogni mio bene...'
Maria di Rohan: Act III, Scene 7: 'Al supplizio fui tratta...'
Maria di Rohan: Act III, Scene 7: 'So per prova il tuo bel core...'
Maria di Rohan: Act III, Scene 8: 'Che ti guida in questa mura?'
Maria di Rohan: Act III, Scene 9: 'Vivo no t'e concesso...'
Maria di Rohan: Act III, Scene 10: 'Ove si cela il perfido?'

Customer Reviews:

Glorious, moving, powerful - the Maria di Rohan dream cast.......2005-12-03

To those who already know of and love the voice of Edita Gruberova, no further persuasion is needed to convince them that they need this recording.

To those who are not aware of Gruberova's wonderful and certainly unsurpassed singing in the bel canto repertoire, you're in for a treat. She shines in the character of Maria, a role which requires beauty of tone, great flexibility, superb ability to spin the voice in long legato lines, and a quality of heartbreak in the voice.

The rest of the cast is fine, particularly Ettore Kim's excellent Enrico, and I also enjoyed Octavio Arévalo in the role of Riccardo. The Radio Symphonieorchester Wien does a splendid job of playing, and it's all beautifully and sympathetically conducted by Elio Boncompagni.

It's particularly pleasing that such a fine singer as Edita Gruberova has recorded this role because the opera is not well represented in the catalogue. There is only one other pretty good recording (early Renata Scotto), and it's marred by cuts... and I confess that I do prefer Gruberova's voice even though I admire enormously some of Scotto's early work. But none of the other great bel canto singers have recorded this role.

I am therefore extraordinarily grateful for this recording. It's exciting, beautiful, dramatic, and full of glorious singing that will move and enthrall you.

The later Donizetti's masterpiece........2001-07-27

This nearly forgotten masterpiece was created at the end of Donizetti's activity, and can be considered as one of his greatest achievements. The music is of highest quality from beginning to end, it is in no way weaker than Lucia or La Favorite. The subject reminds that of Verdi's "Ballo in Maschera": tenor in love with soprano, who is his best friend's wife. This one is a complete studio recording with a very strong cast, which includes the great Edita Gruberova in the title role, and it is worth a place in your collection.