Filarmonica Arturo Toscanini
Francesco Lanzillotta
Int. Release 29 Apr. 2015
1 CD

Lista de temas

Domenico Cimarosa (1749 - 1801)
Il matrimonio segreto

Act 1

Wolfgang Amadeus Mozart (1756 - 1791)
Don Giovanni, K. 527

Prague Version 1787

Act 1

Gioacchino Rossini (1792 - 1868)
Il barbiere di Siviglia

Act 1

Il Turco in Italia

Act 2

La Cenerentola

Ed. Alberto Zedda/Philip Gossett

Act 2

Gaetano Donizetti (1797 - 1848)
Le Convenienze e le Inconvenienze Teatrali

Neapolitan vernacular version

Act 1

L'elisir d'amore

Edited Alberto Zedda

Act 1

Don Pasquale

Act 1


Act 1

Giuseppe Verdi (1813 - 1901)

Act 1

Giacomo Puccini (1858 - 1924)
Gianni Schicchi

Pietro Mascagni (1863 - 1945)
Le Maschere

Act 1

Nino Rota (1911 - 1979)
Il Cappello di Paglia di Firenze

Act 3

Paolo Bordogna, Francesco Lanzillotta, Filarmonica Arturo Toscanini

Tiempo total de reproducción 1:02:51

There's plenty of contrasting pace and tone here -- the comic meat comes in all sorts of different cuts, and Bordogna, whose baritone is warm and supple, clearly knows his way round a buffo character's tongue twisting patter. And he really "sings" the bel canto arias of Rossini or Donizetti . . . Francesco Lanzillotta conducts the Filarmonica Arturo Toscanini with fizzing energy and a fine eye for detail. They steal the show in the Catalogue Aria from "Don Giovanni", and exude the preening, beery bombast from Falstaff's "honour" monologue . . .

Bordogna rattles and prattles his way through this programme of comic arias with an easy fluency (the patter in the Rossini numbers is especially impressive). He sings cleanly and sometimes impressively; the top of the voice, for example, can show a ringing, incisive quality.

His patter singing is expert, he has a trill -- both features important in this repertoire . . . "Il turco in Italia" for instance: what energy . . . He gives a vivid portrait of Falstaff in the honour monologue . . . Readers who love opera buffa and want a collection of the best scenes will find a lot to enjoy here.

Bordogna hat prächtiges Material . . . [seinen Charme spielt er] mit dem aberwitzigen Tempo aus, in dem er Texte abzuliefern versteht, etwa in "A un dottor della mia sorte" aus dem "Barbiere di Siviglia". Geschwind gewinnt.

Bordogna hat alles, um diese ehrwürdige Buffo-Tradition heute fortzusetzen. Eine leicht ansprechende, sehr höhensichere, klar fokussierte, kräftige Baritonstimme, mit der er virtuos zu spielen weiss, aber ohne die gerade im Buffo-Fach oft billigen Übertreibungen. Es wird nie gekeift, sondern stets gesungen. Und oft sogar schön lyrisch auf Linie.