Buy Rossini Operas

Review by L. Mitnick:

This may not be Rossini’s greatest opera, but it certainly deserves to be heard for the singing alone. The story is part “seria” and part “buffo”, but none of this matters. With the very special gifts of Juan Diego Florez (truly this opera could have been written for him!), as well as the honed florid skills of the rest of the cast, we are given here a Rossinian banquet of singing that must be heard to be believed. Florez, as expected, executes coloratura embellishments and roulades that would defeat any other tenor di grazia —- living or historical. The beauty of his voice is never in doubt, and he rides the roller-coaster-like roulades and cadenzas with the precision of a machine gun. Annick Massis, a French soprano unknown in our country, is equally as impressive in the title role. She’s clearly been well schooled in Rossini singing, and her singing has beauty, flexibility, as well as character. If Massis ultimately comes off with less sheer impact than Florez, it’s probably because her role has a bit less “fireworks”, and moreover, his is the star name in the cast. Virtually all of the cast members are top notch, especially Israeli mezzo Hadar Halevy in the trouser role of Eduardo. She too is given a role with formidable demands, and she meets them head-on. The orchestra and chorus, under the direction of Riccardo Frizza, is outstanding. If you love showy and spectacular singing, I can’t see how you wouldn’t want this in your collection.

Review by Expedito:

I can’t believe no one has reviewed this yet. Maybe it’s because there is not much to add to the editorial reviews. But this is a truly wonderful all-around recording of a little-known Rossini opera – another mostly comic battle of the sexes in which a clever, strong-willed woman and love ultimately triumphs over a powerful and primitive man who is determined to resist the charms of all women. Rossini, of course, wrote many, many operas – some more memorable than others. To me, Matilde de Shabran is similar to L’Italiana in Algeri (and almost, but not quite as delightful).

Colatura duels as well as some wonderful ensembles keep the opera cheerfully zipping along from start to finish, despite a threatened but thwarted execution, which seems somehow incongruous – at least by today’s standard – to the overall comic lightness of the music. Ah, but all ends well.

As you would expect, Juan Diego Florez is absolutely wonderful, and he is reason enough to buy this CD. Annick Massis as Mathilde, however, is equally excellent, as is Riccardo Frizza’s conducting – and really, the rest of the cast.

The price for this CD may seem steep, but for me at least, it was worth every penny and then some.

Review by Matthew Spady:

There are precious few opportunities to hear this fantastic singer either live or on recording, which is a pity given her unique sound and impeccably-schooled voice.One of the hallmarks of a great singer is a unique vocal quality. Such is true of Madame Podles. With the top voice of a dramatic soprano, a middle that sometimes resembles a counter-tenor sound, and a bottom voice that is almost baritonal, her sound may recall another singer’s voice here and there, but ultimately, it is one-of-a-kind.Ms. Podles has the perfect vocal qualities necessary to sing Rossini — an incredible range, enormous flexibility, and subtle vocal coloration. On top of that, she has a unique vocal color and phrases beautifully.The only possible quibble I can find with this recording is that a couple of the characterizations are a bit on the heavy side — particularly Rosina. Although the notes are in place (and very impressive) and the coloratura impeccable, this Rosina sounds a bit older, perhaps more serious, than Rossini seems to require. In a later reading of the same aria, in a live 1998 concert in Poland (Rossini Gala recorded on DUX), her Rosina bubbles with youthful energy. In general, that recording shows her in more brilliant voice, though both discs are impressive. Although several arias are common to the two, each has arias that the other lacks. Both are welcome additions to any vocal library, though if only one is possible, I’d recommend the 1998 recording over this one.

Review by M. Tietjen:

When looking for an aria recital disc of Rossini mezzo/contralto recordings, I always figured that my choices were limited to Marilyn Horne and Cecilia Bartoli. However, the brilliant contralto Ewa Podles could drive them all out of work. Never letting her coloratura lag behind the orchestra, or rush ahead, Podles’s big, operatic voice puts the competition to shame. I must agree with the other reviewers in naming “Non temer” as the brightest jewel on this album. I have heard others sing this aria, including Horne and Jennifer Larmore, and, although both the other versions have merit (Larmore in particular has some of the best mezzo-soprano high notes I’ve ever heard although her coloratura is usually just a hair behind), Podles exhilerating performance tops the list. I also agree with another reviewer who mentioned Russian mezzo-soprano Olga Borodina as another great non-soprano. I wish she would record a Rossini album, after hearing her “Nacqui all’ affano.”

Review by :

Finally, Rossini’s greatest musical drama reaches the dvd screen with a cast and production worthy of the music and its composer. Critics praised Horne’s performance but with reservations but the audience had no reservations in its acclaim and I was fortunate to have been at the last performance of the series. Unfortunately I did not enjoy the presence of Anderson and Olson, superior in every way to their replacements. Olson is one of the few bel canto tenors who can sing Rossini without sounding coarse,thin and labored. Olson is like a lighter voiced Vargas. Merritt is out of the running when we have Olsen to sing with such security and beauty. Cuberli was good but Anderson I find stunning in her coloratura, tone and security. No one but Caballe sang it with such security and with even more beauty of tone and timber. The Met never deemed to bless us with Sutherland in the role of Semiramide, (She and Horne made the opera present to the twentieth century. The lack of their presence at the Met in this opera is lamentable but the Met is good at that.) All in all then a peforance to cherish, a real treat! And Ramey is breathtaking in his coloratura, power, declamation with a timber that is velvet wrapt in silk. His “mad scene” in Act II is a tour de force and there is no one I have heard who can touch him in the role of Assur. Horne is astonishing in every category of voice, clarity and sheer beauty. The four leads sing the roulades and leaps with effortless ease with the drama intact. Only Ewa Podles can do this punishingly role any better and the Met doesn’t seem to know of her in spite of her concert some seasons ago in a evening of Rossini arias with full orchestra at Carnegie Hall. From all revues that was a performanace for all seasons. The other roles have less time and music but all quit themselve with dignity. Rally no wink link in the cast. Conlon and the Met orchestra perform miracles that are too often taken for granted. This tape performance is better than the performance I saw (they must have been exhausted by the final performance) and we are blessed that this was the one we have on dvd for prosperity. Anyone who hasn’t as yet heard this, is in for a vocal, musical and dramatically thrilling evening. Buying it is a personal choice, but hearing it is the duty of anyone loving beautiful music superbly sung, and played with brilliant warmth and musicality. Rossini must be screaming from above with bravos and kudos like the audience on the dvd and at the performance I attended. Probably one of the best dvd’s yet to be produced and likely never to be surpassed. The scenes are dark but so was the production in the house. Listen toit! Buy it! Steal it from friend. But by all means hear it and then again. I don’t think you’ll be sorry.

Review by George R. Park:

As a life long opera fan, but only familiar with Semiramide from various excerpts I came to this DVD ready to rate it somewhere below The Barber in enjoyment.Boy was I wrong!! The costumes, sets and musical tour de force quite blew me away. Marilyn Horn, June Anderson, Samuel Ramey and especially the Met Orchestra were in top form. Not only is this DVD in wide screen format, but it is an enhanced format for large screen tv’s, so that the picture is not all crammed down to the middle.The surround-sound is excellently accomplished, with the orchestra being featured not over and above the singers, but in combination with them. I totally enjoyed this performance, which proved to be a typical Metropolitan Opera show. In other words — The best that you’ll see anywhere.If you don’t have ANY other opera in your collection, I would highly recommend this one as the one to get for visually stunning costumes, tremendous sets, great singing, and great orchestral support

Review by Richard Posner:

First of all, Robert Levine is incorrect in his review. Rossini did not borrow from Le Comte Ory for Viaggio a Riems–it was the other way around! Rossini wrote Viaggio as an occasional piece for the coronation of Charles V and withdrew it after three performances (there was a fourth benefit performance later) because he knew he wanted to re-use some of the music. He used five of the numbers three years LATER for Le Comte Ory! That said, I am really glad I bought this one. I was familiar with Rossini’s other comic operas, and I had been getting to know and love his opera seria. Discovering Viaggio is like being at the premiere of a brand new Rossini comedy! It shows off his delicious way with melody and comic effects, but with more sophistication and complexity than in his youthful works. The singers sound like they’re having a ball doing this, and it was so tuneful and exciting that I listened to it twice the first time I played it. The dinner scene at the end, where everyone sings a national song, is especially triumphant (I love the Swiss yodeling tune!). You’ll want to channel Rossini’s spirit to thank him for this one last comic gem.

Review by Gerardo Cabrera Munoz:

When the Pesaro Rossini Foundation announced that Il Viaggio a Reims had been reconstructed, we all knew that it was one of the most important cultural events of the century, and boy, we were not disappointed. This marvelous coronation opera is a gem! This first recording has all the excitement of those unforgettable Pesaro nights, with a 24 carat roaster of singers headed by the exquisite Texas soprano Lella Cuberli, whose hat aria covers her with glory. Everyone else is sensational, and Claudio Abbado shows why he is the finest living conductor.

Review by Gerardo Cabrera Munoz:

Cecilia Bartoli is perhaps the best Rossini mezzo of the 90′s, but 20 years ago there were finer Rossini singers. For the best available Cenerentola turn of course, to Teresa Berganza’s recording with Claudio Abbado. Berganza’s voice is more even than Bartoli’s and the coloratura is more smoothly articulated, but more important, Berganza brings a more sincere interpretation, far less mannered than Bartoli

Review by Rachel Garret:

Rossini composed comic operas of the bel canto repertoire, which were very popular in the first half of the 19th century. Rossini’s music was sparkling, inventive, Mozartian, and the vocal lines of his operas were showcases for tenors and sopranos of the day. Rossini popularized comedy in opera. It was his Barber Of Seville that began a tradition that is still strong to this very day. In the first half of the 19th century, tenor Manuel Garcia and his daughters, both of them acclaimed mezzo sopranos, delivered masterful performances of Rossini’s operas. They helped spread the opera into America, which was still developing before the Civil War. Of his many comic, bubbly, light comedies, Rossini’s La Cenerentola, “Cinderella” is his most mature comedy. It becomes romantic. Worth noting is the music, with its measure of witty tunes and sophisticated melodrama. The reviewers who claim this opera is a disappointment, that this particular recording is overrated, I beg to differ. In her performance as Cinderella, famed mezzo soprano Cecilia Bartoli has acted and sung her greatest role. This is truly a showcase for her talents and it is a lasting reminder of Rossini’s otherworldly charm.The opera begins with Cinderella and her stepsisters talking about the ball the prince is having in which he is to find a suitable wife. Cinderella sings her opening aria “Un volto di un re” which comically presents her as a daydreaming, naive, young woman, whose hope is she will find true love with the prince, despite the obvious class differences. After her transformation into a beautiful young woman, Cinderella attends the ball and captures he admiration of the prince. In this element, Cinderella becomes a romantic heroine of bel canto opera- strong, independent, forgiving, loving. She forgives her stepsisters for their cruelty and marries the Prince in a happy ceremony. The ending is one of Rossini’s most dynamic. Cecilia Bartoli begins with the aria “Non piu mesta” at a slow pace, displaying her easy mezzo stylings of which she is most known for, accompanied by the chorus. But then the aria and chorus begins with a more exciting, faster beat, and Bartoli’s mezzo-coloratura fireworks are showcased. Cecilia Bartoli’s greatest role. The music is dazzling and the cast is superb. The familiar fairy tale has a romantic, comic twist, entertaining and engaging as drama. If anything, you should purchase this cd to be acquainted with Cecilia Bartoli’s talents. This is a perfect introduction to her. She is at her best and most prolific in the Rossini operas, of which she has sung countless times. Bartoli’s voice is still in fresh condition and if she continues to polish and maintain her instrument, she will be classified as the greatest mezzo soprano of the century.

Review by :

Jennifer Larmore, Raul Gimenez, and Alessandro Corbelli recorded this L’ITALIANA IN ALGERI for Teldec in 1997, following their recordings of Rossini’s two other most famous comedies, IL BARBIERE DI SIVIGLIA and LA CENERENTOLA. It is wonderful to have the three major comedies recorded in modern, stereo sound by three of the finest Rossinians of our day. L’ITALIANA is, in my opinion, the funniest of the “trio” of comic operas; the overture makes me laugh out loud, while such sections as the Isabella/Taddeo duet, the Act I finale, and the “Papataci” trio of Act II define the phrase “comedy in music.” As Isabella, the Italian lady of the title, Larmore, in luscious voice, is sexy and playful, smoothly manipulating the three men in her life: Taddeo (Corbelli), Lindoro (Gimenez), and the Algerian “Bey,” Mustafa (John Del Carlo). Yet Larmore’s voice has darkness and weight, which serves her well in the opera’s more serious moments, which include her arias “Cruda sorte” and “Pensa alla patria.” Larmore’s legato in her other aria, “Per lui chi adoro” (in which she dresses herself for a rendezvous with Mustafa) is stunningly beautiful, like black onyx. Honey-toned tenor Gimenez is the most stylish Lindoro imaginable, and he has the heroic weight for the second part of his aria, “Languir per una bella.” Corbelli, as ever the subtlest of “bassi buffi,” is pathetic yet hilarious as Isabella’s middle-aged lover; his singing of “Ho gran peso” is a comic masterpiece. Del Carlo’s dark yet mellifluous bass-baritone and flair for comedy make the Bey seem a less threatening, more loveable character than he usually does. Darina Takova and Carlos Chausson have first-rate voices in the small roles of Mustafa’s wife, Elvira, and servant, Haly (Ali). As in BARBIERE, Lopez-Cobos’ conducting has the lightness of touch so necessary for Rossinian comedy. And as in the Teldec BARBIERE and CENERENTOLA, the singers are as fine in the recitatives (presented here uncut) as they are in the “musical numbers.” This first-rate recording is the best modern choice for L’ITALIANA.

Review by Casey Ellis:

This performance (and this opera actually) really deserve some more attention. “L’Italiana” is, in my opinion, the very essence of comedy in music. Issues that would have been serious and even verging on the tragic become simply funny here in Rossini’s hands. Stendhal once wrote that this opera is as “gay as our world is not” and he was quite correct. Works of pure hunor are always exceedingly valuable particularly on religious and sexual topics. Its not that these aren’t serious issues, they surely are, but everything should be laughed at now and then. It is healthy to remember how foolish we are. I shudder to think of the state of art without such works of irreverant humor and at the state of music without its great and irrepressible comedian, Rossini.
Now, to the present recording. The prevailing word here seems to be “subtle”. This would be all well and good if “subtle” didn’t sometimes translate into “underpowered”. Nothing here is ever less than well-done but once in a while a freer feeling, a greater sense of risk and abandon could have helped alot. Those horns in “Pensa all patria” should not simply happen, they should blast out and startle the listener. The Act II Introduzione “Uno stupido, uno stolto” ought to be simply bursting with energy and its not here. The chorus sounds nice and involved but, similarly, they could be a bit more “pumped up”. All this being said, the subtle approach used in this performance has more pluses than minuses. Musical and vocal nuances never before imagined bubble to the surface and the humor tends to be better thought out and less slapstick than usual, especially in the famous Act I finale. The Orchestre de Chambre de Lausanne play beautifully and Lopez Cobos keeps things appropriately sprightly despite generally slow tempos. The Overture (or rather Sinfonia in this opera) is truly a delight. And to be fair to Lopez Cobos, his idea is probably fairly close to what Rossini imagined and originally heard. He and Teldec cannot be thanked enough for doing this piece totally complete (and for having the recitatives done on a fortepiano). Even Lindoro’s replacement Act II aria is included as an appenidix (although I much prefer “Oh come il cor di giubilo”). This might not be an original instrument performance but it is very much in the spirit of authenticity, in the best sense of the word.
Lopez Cobos probably knew he could get away with a more leisured approach than this opera is used to because his cast is so good. This is an opera with no unimportant roles and everyone here pulls their weight. At the center is the Isabella of Jennifer Larmore. She is exraordinary. Her voice is fairly large but soft grained and downright sexy. She sounds like her picture on the cover! High notes are as easy as pie to her and all of Isabella’s considerable vocal challenges never sound forced or pinched. The lower ranges sound a bit odd, odd doesn’t mean bad though. While she doesn’t indulge in all that many interpretave gestures, knows how to work character into voice. There is almost something charmingly old-fashioned about her singing. Del Carlo is a worthy Mustafa with a fine voice. His portrait of this character is a triffle weak compared to say Samuel Ramey but it is pretty clear that this is part of the idea here. Del Carlo’s high notes are not that easily managed but he uses what he has brilliantly. In this performance, Isabella totally dominates. Mustafa is fascinating but weak. Accordingly, “Gia d’insolito ardore” is not a display of power but rather the rant of a foolish braggart. The moment he sets eyes on Isabella he’s done for. In “Oh! Che muso” (which is done brilliantly) you get the feeling that Isabella is teasing and taunting Mustafa. Del Carlo creates a totally valid portrait in this manner and much of what he does is downright hillarious.
Initially, I had some reservations about Gimenez’s Lindoro. No doubt the tenor has a good voice but it sounded too un-Italian and very strained on the (granted, numerous) high notes. On repeated listenings however, I have started to get used to him. He certainly creates a portrait here and that is hard to do with Lindoro. He may be the most off-kilter thing here but I think if you don’t just turn it off instantly you’ll grow to like him as I did. No suprises with Corbelli! He is as usual, musically sensitive and side-splittingly funny. Taddeo in his hands becomes a truly fascinating figure. There is much more between him and Isabella than usual. “Ai capricci” is certainly a highlight of the set (the end is to die for!) and it is Corbelli who ends up dominating much of “Ti presento di mia man”.
Takova does sterling work as Elvira (she sounds like a good Mozart person to me) and Polverelli is a sympathetic and lovely Zulma and there is great chemistry between her, Elvira and Haly. Speaking of Haly, Carlos Chausson is just great! He is in strong voice and has an infectous sense of humor about this small but charming character. Sometimes, I wondered why he wasn’t singing Mustafa.
Translation and liner notes are top notch and there are several fun photographs. However, and this could just be careless reading on my part, I didn’t see any mention of the fact that most of the recitatives (which, by the way, are dispatched with skill and humor by the whole cast) and Haly’s aria “Le femmine d’Italia” were actually written by Luigi Mosca, who had composed an earlier opera on this same libretto. In closing, this is a great introduction to a great opera that is sublimley funny and full of the joy of life. Don’t be fooled into thinking this is fluff. We all need works like this opera. Enjoy it and don’t stop laughing!