CD1 Atto Primo 01 Ah! Finalmente! 02 Dammi i colori... Recondita armonia 03 Gente la dentro! 04 Mario! Mario! Mario! 05 Ah, quegli occhi! - Quale occhio al mondo 06 E buona la mia Tosca 07 Un tal baccano in chiesa! 08 Tosca? Che non mi vada 09 Ed io venivo a lui tutta dogliosa 10 Tre sbirri, una carrozza
CD2 Atto Secondo 01 Tosca e un buon falco! 02 Ha piu forte sapore 03 Meno male! - Egli e la 04 Ov'e Angelotti? 05 Ed or fra noi parliam da buoni amici 06 Sciarrone, che dice il Cavalier? 07 Orsu, Tosca, parlate 08 Nel pozzo... nel giardino 09 Nel pozzo... del giardino. Va, Spoletta! 10 Se la giurata fede debbo tradir 11 Vissi d'arte 12 Vedi, le man giunte io stendo a te! 13 E qual via scegliete? Atto Terzo 14 lo de'sospiri 15 Mario Cavadarossi? A voi 16 E lucevan le stelle 17 Ah! Franchigia a Floria Tosca 18 O dolci mani mansuete e pure 19 E non giungono... 20 Come e lunga l'attesa! 21 Su, Mario! Mario, su presto! Andiamo! Su!
I have a soft spot for this passionate, red-blooded, visceral performance of Tosca. Galina Vishnevskaya's Slavic timbre isn't to all tastes (it is to mine), though she sings not just with fire but with consistent imagination, beauty, and subtlety. Hers is a fully rounded portrait, alternately jealous and teasingly coy in the first act, trembling on the verge of hysteria during her sparring match with Scarpia (and thrilling when she offs him with the bread knife), and truly desperate as she launches herself from the parapet at the opera's close. Really the only singer who took the character this seriously was Callas, and her voice was an acquired taste as well. In short, this is an important document of a singer who, for reasons having more to do with Soviet politics than with her artistic endowment, made far too few recordings. She was the best of her kind, and this was one of her great roles.
As to the remainder of the cast, Franco Bonisolli is the real deal: an Italian tenor with plenty of vocal heft. He also made relatively few recordings, and while the role doesn't lack for fine exponents, and certainly isn't as juicy as the female lead, he does an excellent job in his Act 1 and 3 arias and sounds suitably defiant and heroic in Act 2. Similarly, Matteo Manuguerra isn't a Scarpia on the level of, say, Tito Gobbi, but he's awfully generous with his voice and obviously enjoys playing the bad guy.
Rostropovich's conducting may not be idiomatic in the traditional sense--he's very generous of rubato and perhaps is a touch too indulgent here and there--but he's far more interesting than several Italian hacks I could name, and he's got the French orchestra playing with an unusual level of commitment to the cause. The sonics capture plenty of orchestral detail, but also are kind to the voices. A very, very welcome reissue.
Composed by Giacomo Puccini Performed by Orchestre National de France with Antonio Zerbini, Matteo Manuguerra, Mario Guggia, Galina Vishnievskaya, Giacomo Bertasi, Domenico Versaci Medici, Franco Bonisolli, Guido Mazzini Conducted by Mstislav Rostropovich
2 yorum:
Tracklist
CD1
Atto Primo
01 Ah! Finalmente!
02 Dammi i colori... Recondita armonia
03 Gente la dentro!
04 Mario! Mario! Mario!
05 Ah, quegli occhi! - Quale occhio al mondo
06 E buona la mia Tosca
07 Un tal baccano in chiesa!
08 Tosca? Che non mi vada
09 Ed io venivo a lui tutta dogliosa
10 Tre sbirri, una carrozza
CD2
Atto Secondo
01 Tosca e un buon falco!
02 Ha piu forte sapore
03 Meno male! - Egli e la
04 Ov'e Angelotti?
05 Ed or fra noi parliam da buoni amici
06 Sciarrone, che dice il Cavalier?
07 Orsu, Tosca, parlate
08 Nel pozzo... nel giardino
09 Nel pozzo... del giardino. Va, Spoletta!
10 Se la giurata fede debbo tradir
11 Vissi d'arte
12 Vedi, le man giunte io stendo a te!
13 E qual via scegliete?
Atto Terzo
14 lo de'sospiri
15 Mario Cavadarossi? A voi
16 E lucevan le stelle
17 Ah! Franchigia a Floria Tosca
18 O dolci mani mansuete e pure
19 E non giungono...
20 Come e lunga l'attesa!
21 Su, Mario! Mario, su presto! Andiamo! Su!
I have a soft spot for this passionate, red-blooded, visceral performance of Tosca. Galina Vishnevskaya's Slavic timbre isn't to all tastes (it is to mine), though she sings not just with fire but with consistent imagination, beauty, and subtlety. Hers is a fully rounded portrait, alternately jealous and teasingly coy in the first act, trembling on the verge of hysteria during her sparring match with Scarpia (and thrilling when she offs him with the bread knife), and truly desperate as she launches herself from the parapet at the opera's close. Really the only singer who took the character this seriously was Callas, and her voice was an acquired taste as well. In short, this is an important document of a singer who, for reasons having more to do with Soviet politics than with her artistic endowment, made far too few recordings. She was the best of her kind, and this was one of her great roles.
As to the remainder of the cast, Franco Bonisolli is the real deal: an Italian tenor with plenty of vocal heft. He also made relatively few recordings, and while the role doesn't lack for fine exponents, and certainly isn't as juicy as the female lead, he does an excellent job in his Act 1 and 3 arias and sounds suitably defiant and heroic in Act 2. Similarly, Matteo Manuguerra isn't a Scarpia on the level of, say, Tito Gobbi, but he's awfully generous with his voice and obviously enjoys playing the bad guy.
Rostropovich's conducting may not be idiomatic in the traditional sense--he's very generous of rubato and perhaps is a touch too indulgent here and there--but he's far more interesting than several Italian hacks I could name, and he's got the French orchestra playing with an unusual level of commitment to the cause. The sonics capture plenty of orchestral detail, but also are kind to the voices. A very, very welcome reissue.
Composed by Giacomo Puccini
Performed by Orchestre National de France
with Antonio Zerbini, Matteo Manuguerra, Mario Guggia, Galina Vishnievskaya, Giacomo Bertasi, Domenico Versaci Medici, Franco Bonisolli, Guido Mazzini
Conducted by Mstislav Rostropovich
Yorum Gönder