Juan Diego Flórez stars in the only available blu-ray version of Zelmira, filmed at the celebrated Rossini Festival in the composer s home town of Pesaro. The final opera Rossini wrote for Naples is a dramatic and musical tour de force and a magnificent showcase for the bel canto superstar of our time. Recorded in high definition at the 2009 Festival, Giorgio Barberio Corsettis production places the classical tale, set during the Trojan Wars, in modern times and modern dress. Joining Juan Diego Flórez are a major international cast, described as near miraculous by Opera Today and led by American mezzo-soprano Kate Aldrich in the virtuosic title role. The evening remained another distinguished triumph for Juan Diego Flórez as Prince Ilo, whose arrival in his homeland, to rescue Zelmira, was marked by a dazzling tenorial display which evoked a nearly twenty-minute ovation (Opera Today) .
“Domingo easily outshines his earlier recording with Giulini…while Katia Ricciarelli as the Queen gives a tenderly moving performance, if not quite commanding enough in the Act V aria. Ruggero Raimondi is a finely focused Philip, nicely contrasted with Nicolai Ghiaurov as the Grand Inquisitor” Penguin Guide
If this is the future of Mozart performance practice, the future is secure. The combination of period instrument violinist Giuliano Carmignola and modern instrument conductor Claudio Abbado leading the youthful period instrument Orchestra Mozart produces something new under the sun: a hybrid of both approaches that takes the best from both and creates something fresh and shining. Carmignola, the leader of Venice's Teatro La Fenice and one of Italy's best period violinists, has a focused tone, a lively sense of rhythm, and a wonderful feeling for line and color.
When at last it was revealed what Mahler’s final intentions were regarding the ordering of the inner movements of his 6th Symphony, 90 years of theory, history, & performance practice went right out the window. For theorists, it altered the harmonic structure of Mahler’s A minor Symphony. For historians, it modified the meaning of Mahler’s “Tragic” Symphony. For players & conductors, it changed the musical progress of Mahler’s 6th Symphony. For listeners, it made Mahler’s deepest & darkest symphony even deeper & darker. With the achingly nostalgic Andante moderato now coming before the bitingly bitter Scherzo, the triumph of the opening Allegro energico sounds even more hollow & empty & the collapse of the closing Allegro moderato sounds even more final & total.
The young Kissin was able to work wonders in Prokofiev–above all the Sixth Sonata (Kissin in Tokyo - Yevgeny Kissin). Regrettably, the mature Kissin recently delivered highly disappointing live performances of the Second and Third Concertos (Prokofiev: Piano Concertos Nos. 2 & 3), indeed, regardless of the predictable rave in the British press. This 1994 recording of the First and Third Concertos is unquestionably very good, especially the youthful First, although competition is very strong–from Graffman/Szell (Prokofiev: Piano Concertos Nos. 1 & 3) and Argerich/Dutoit (Prokofiev: Piano Concertos Nos. 1 & 3 / Bartok: Piano Concerto No. 3) in this coupling, and from the complete sets by Berman/Gutierrez/Järvi, Toradze/Gergiev and Krainev/Kitaenko.
Claudio Abbado was an Italian conductor. One of the most celebrated and respected conductors of the 20th century, particularly in the music of Gustav Mahler, he served as music director of the La Scala opera house in Milan, principal conductor of the London Symphony Orchestra, principal guest conductor of the Chicago Symphony Orchestra, music director of the Vienna State Opera, founder and director of Lucerne Festival Orchestra, music director of European Union Youth Orchestra and principal conductor of the Berlin Philharmonic orchestra.
Fierrabras is a three-act German opera with spoken dialogue written by the composer Franz Schubert in 1823, to a libretto by Josef Kupelwieser, the general manager of the Theater am Kärntnertor (Vienna's Court Opera Theatre). Along with the earlier Alfonso und Estrella, composed in 1822, it marks Schubert's attempt to compose grand Romantic opera in German, departing from the Singspiel tradition.
The splendidly florid music, and amazing opportunities for bel canto vocalism make up for it. This recording, using the critical edition, is outstanding on the vocal front. The stunning Bulgarian mezzo-soprano Vesselina Kasarova has a rich, full tone and clean, accurate runs. She is well partnered by Eva Mei, whose bright but effective soprano carries a good characterization of a dramatically rather thankless role. Tenor Ramon Vargas nails his coloratura and possesses a ringing tone. They are well supported by the secondary principals, Muenchen Rundfunkorchester and the men of the Chor des Bayerischen Rundfunks, all superbly conducted by Roberto Abbado. As an added bonus, the listener can choose between the original happy ending and the dramatically more viable tragic conclusion with which Rossini later revised the opera. –Sarah Bryan Miller