FRANCO ALFANO - LA LEGGENDA DI SAKÙNTALA Catania 2016
Sakùntala - Silvia della Benetta Priyàmvada - Kamelia Kader Anùsuya - Nelya Kravchenko Il Re - Enrique Ferrer Kanva - Francesco Palmieri Lo scudiero Paolo La Delfa Haríta / Durvàsas Alessandro Vargetto Il giovane eremita - Salvatore d'Agata
Orchestra e Coro del Teatro Massimo Bellini di Catania Niksa Bareza
To understand La leggenda di Sakuntala means remembering that it is more of a mysterium than an ordinary opera, which is why, after seeing a performance in Bologna, Fritz Reiner pronounced it “the Italian Parsifal”. Of course, the religious atmosphere pervading Sakuntala is pagan – which is hardly surprising, given its setting – and its subject is not redemption but the power of love. Alfano used the poem by Kalidasa (5th century BC), also admired by Goethe and Wagner. Those musicologists who claim it is only of modest quality cannot even begin to appreciate the genius it required to combine conciseness with first-rate words and music in a score for orchestra and choir that is a model of its kind. The most impressive aspect of this masterpiece is the way it employs motifs and themes with the same profundity and refinement found in Wagner's own approach and in its development by Strauss. The melodies which the characters sing are almost always slow, somewhere between the ecstatic and the dreamlike, while the atmosphere varies from the solemnly oriental to the ethereal. This release is the first official recording of the work.
Registrazione dal vivo // Recorded live at the Festival Rossini in Wildbad, July 2013 *First complete DVD release of the original version* *Prima edizione in DVD della versione originale*
Guillaume Tell is one of those monuments in the history of opera that is surprisingly little known to the broad operatic public, and, at least during the last century, was seldom staged. Almost immediately after its premiere at the Paris Opéra on August 3, 1829, it was realized by musicians and critics that this was a far-reaching masterpiece, and indeed, this opera’s influence on composers in the nineteenth century, including Meyerbeer, Verdi and Wagner, was deep and lasting. And yet some of the same features which made it so unique have militated against it entering the standard repertory. The very size of the forces necessary for the production made it difficult from the first for companies without the resources of the Paris Opéra to mount the work as originally conceived. To perform it in toto demands a corps de ballet, remarkable scenic effects and a tenor who can cope with a role originally written for Adolphe Nourrit.
Changes and cuts were made by Rossini up to and beyond the premiere on August 3, 1829. Jemmy’s aria, for instance, was cut, and Mathilde was excised from the fourth act entirely. During the following decades, there were so many versions of the score, some produced with Rossini’s collaboration, that it became difficult to know exactly what the “real” Guillaume Tell looked and sounded like, at least until the critical edition edited by Elizabeth C. Bartlet and published by the Fondazione Rossini came out in 1992—the two hundredth anniversary of Rossini’s birth.
The critical edition made a “complete” Guillaume Tell, even an ur-Tell possible, but not many companies, even after 1992, have performed the work without substantial cuts. The ROSSINI IN WILDBAD Festival decided, in celebration of their twenty-fifth anniversary, to perform the work for the first time in its entirety.
Maria - Majella Cullagh Enrico - Marco Di Felice Riccardo - Salvatore Cordella Il Visconte di Suze - Giuseppe Capoferri Armando di Gondì - Domenico Menini De Fiesque - Aleksandar Stefanoski Aubry - Francesco Cortinovis Un famigliare - Francesco Laino
Orchestra e Coro del Bergamo Musica Festival Gaetano Donizetti, Gregory Kunde
Almaviva - Giorgio Trucco Cherubino - Simon Bailey Figaro - Carmine Monaco Inez - Eunshil Kim Susanna - Cinzia Rizzone
Coro del Conservatorio San Pietro a Majella di Napoli, Württembergische Philharmonie Brad Cohen
Registrazione dal vivo, Bad Wildbad 2006 160 minuti, colori // subtitles IT, EN
"L’opera si presenta come una partitura leggera, vivace, con melodie orecchiabili, tecnicamente ben costruita e con una marcata influenza dello stile rossiniano. L’edizione in questione la possiamo definire complessivamente di buon livello, senza nessuna punta di eccellenza."
Il Re - Giuseppe Altomare Rosalina - Patrizia Cigna Colombello - Fabio Andreotti L'astrologa - Isabella Amati Il mugnaio - Francesco Facini Sua moglie - Maria Scogna Il prete - Salvatore Gaias L'uomo di legge - Simone Piazzola
Orchestra Sinfonica di Capitanata, Coro lirico Umberto Giordano, Gianna Fratta
Registrazione dal vivo, Foggia 2006 71 minuti, colori // subtitles IT, EN
Vittoria - Yolanda Auyanet Emilio - David Sotgiu Abdalà - Paolo Bordogna Don Gregorio - Domenico Colaianni Dorotea - Annarita Gemmabella Martello - Massimiliano Viapiano Lisetta - Maria Catharina Smits
Orchestra sinfonica di Sanremo e della Liguria, Coro del Teatro dell'opera giocosa Giovanni Di Stefano
Registrazione dal vivo, Savona 2007 117 minuti, colori // subtitles: IT, EN
Lida - Elizabete Matos Arrigo - César Hernández Rolando - Giorgio Cebrian Federico Barbarossa - Manrico Signorini Primo Console - Luciano Leoni Secondo Console - Angelo Nardinocchi Marcovaldo - Francesco Palmieri Il Podesta di Como - Ezio Maria Tisi Imelda - Giuseppa (Pina) Sofia Un Araldo - Paolo Zizich
Orchestra e coro del Teatro Massimo Bellini Nello Santi
Registrazione dal vivo, Catania 2001 110 minuti, colori // subtitles: D, EN, F, IT, JP
Alaide - Francesca Tiburzi Arturo - Emanuele D'Aguanno Il barone di Valdeburgo - Enrico Marrucci Isoletta - Sonia Fortunato Osburgo - Riccardo Palazzo Il signore di Montolino - Alessandro Vargetto Il Priore - Maurizio Muscolino
Orchestra E Coro Del Teatro Massimo Bellini Di Catania Massimiliano Rolli
Registrazione dal vivo, Catania 2017 145 minuti, colori // subtitles: IT, EN
IL MITO DELL'OPERA
A collection focusing on historical singers in rare recordings - mostly in the form of “portrayals”. The singers featured here are the ones who have made opera legendary. Hence the name “Il Mito dell’Opera” - “Legendary Opera”
This series features rarely performed operas, symphonic music and chamber works. Many of these recordings were world première recordings. Hence the title “Novità del Passato” – they are all “News from the Past”.
This series offers complete recordings - always live, and always from the golden age. It is, obviously, the continuation of our series “The Golden Age of Opera” which has been very popular among aficionados.