Verdi La Traviata Joan Sutherland

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verdi

la traviata
Joan Sutherland
Carlo Bergonzi
Robert Merrill
Orchestra e coro del Maggio
Musicale Fiorentino
John Pritchard
Int. Release 04 Sep. 2006
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2 CDs 475 7922 dm2 Decca ADD


Lista de temas

CD 1: Verdi: La Traviata

Giuseppe Verdi (1813 - 1901)
La traviata

Act 1

1.
0:00
3:54

Orchestra del Maggio Musicale Fiorentino, John Pritchard

Joan Sutherland, Miti Truccato Pace, Silvio Maionica, Piero de Palma, Carlo Bergonzi, Paolo Pedani, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Carlo Bergonzi, Joan Sutherland, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Joan Sutherland, Carlo Bergonzi, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Carlo Bergonzi, Joan Sutherland, Piero de Palma, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Joan Sutherland, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Joan Sutherland, Carlo Bergonzi, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Act 2

Carlo Bergonzi, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Carlo Bergonzi, Dora Carral, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Carlo Bergonzi, Joan Sutherland, Dora Carral, Angelo Mercuriali, Robert Merrill, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Robert Merrill, Joan Sutherland, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Joan Sutherland, Robert Merrill, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Tiempo total de reproducción 1:00:52

CD 2: Verdi: La Traviata

Giuseppe Verdi (1813 - 1901)
La traviata

Act 2

Joan Sutherland, Dora Carral, Carlo Bergonzi, Angelo Mercuriali, Mario Frosini, Robert Merrill, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Robert Merrill, Carlo Bergonzi, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Miti Truccato Pace, Silvio Maionica, Giovanni Foiani, Piero de Palma, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Carlo Bergonzi, Miti Truccato Pace, Joan Sutherland, Paolo Pedani, Piero de Palma, Tereno Meridionale, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Robert Merrill, Carlo Bergonzi, Miti Truccato Pace, Piero de Palma, Giovanni Foiani, Silvio Maionica, Paolo Pedani, Joan Sutherland, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Act 3

Joan Sutherland, Dora Carral, Giovanni Foiani, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Joan Sutherland, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Dora Carral, Joan Sutherland, Carlo Bergonzi, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Carlo Bergonzi, Joan Sutherland, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Robert Merrill, Joan Sutherland, Carlo Bergonzi, Dora Carral, Giovanni Foiani, Orchestra del Maggio Musicale Fiorentino, John Pritchard

Tiempo total de reproducción 1:11:02

. . . the recording has an Urtext quality that shows you exactly what Verdi wrote . . . Sutherland's Violetta is certainly among the most musically accurate on disc . . . the beauty of this recording is that its Urtext attitude doesn't translate into sterility . . . good health and endless colour of the Sutherland voice . . . attentive conducting [by Sir John Pritchard] . . . he even gives inner soliloquies a distinctive pulse that tells you such thoughts aren't heard out loud . . . a recording acoustic with much bloom.

. . . it is hard to imagine that any are superior to this version . . . Joan Sutherland had literally conquered the world's major operatic stages and this recording tells us both how and why! . . . she seems totally assured through all the role's changing demands. Her singing in the first act has a shimmering quality -- unequalled in my experience. However, she seems equally able to handle the later more dramatic and ultimately tragic moments of the opera . . . As the tragedy develops Sutherland's voice seems to darken and throughout the performance the listener is aware that this is a big voice in every sense . . . [Carlo Bergonzi] is an open-throated tenor . . . in Bergonzi's interpretation we have an Alfredo completely in love with Violetta and this spills over in his sense of betrayal at the end of the act . . . [Robert Merrill's] rich velvety tone and smooth emission are ideal for the role [of Giorgio Germont], especially when the character is at his most sanctimonious in the first scene of Act 2 . . . [John Pritchard]: Given the impressive nature of this performance from the brio of the opening bars of the First Act to the sad and tragic conclusion of the opera, it may be in order to wonder why he was later overlooked.