Donizetti Ugo

Donizetti - Ugo, Conte di Parigi (Antonio Fogliani) [2004]  Music

Posted by Sowulo at Oct. 23, 2015
Donizetti - Ugo, Conte di Parigi (Antonio Fogliani) [2004]

Donizetti - Ugo, Conte di Parigi (Antonio Fogliani) [2004]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 2cd, 572.09 MB
Classical | Label: Dynamic | Catalog Number: 449/1-2

Ugo Conte di Parigi unfortunately, did not repeat the success of Donizetti’s Anna Bolena, because the Austrian censorship, which in that period was particularly strict and obtuse, requested a series of important changes that compromised its dramatic essence and, after 1846, the work disappeared altogether from the repertoire. Ugo Conte di Parigi really did not deserve such a fate, for it is - especially from the musical point of view - a work worthy of the best Donizetti, rich in moving melodies and compelling concertati.
Alun Francis, New Philharmonia Orchestra - Donizetti: Ugo Conte di Parigi [1998/1977]

Donizetti - Ugo Conte di Parigi (Alun Francis) [1998/1977]
Classical | Opera Rara ORC1 | TT: 46.51+47.48+62.14 | EAC (flac, cue, log) | Covers | 679 Mb

Opera Rara chose this most obscure of Donizetti’s operas on the strength of its many beautiful and intricate ensembles. A convoluted plot culminates in the magnificent poison scene, conceived as a vehicle for the talents of the great singing actress Giuditta Pasta. Della Jones, Janet Price, Eiddwen Harrhy and Yvonne Kenny make their recording debuts for the first of Opera Rara’s Donizetti revivals.
Joan Sutherland, Luciano Pavarotti, English CO, Richard Bonynge - Donizetti: L'Elisir d'Amore (1971/2014) [24bit/96kHz]

Sutherland, Pavarotti, English Chamber Orchestra, Bonynge - Donizetti: L'Elisir d'Amore (1971/2014)
FLAC (tracks) 24 bit/96 kHz | Time - 140:20 minutes | 2,72 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Donizetti's rollicking comic opera "The Elixir of Love" receives a scintillating performance in this early 1970's London/Decca recording. Featuring an unbeatable cast, headed by Joan Sutherland and Luciano Pavarotti, this wonderful interpretation demonstrates singing of the highest levels of artistic integrity- definitive, passionate, lyrical, committed. The English Chamber Orchestra responds to Richard Bonynge's direction to provide sharp, colorful orchestral support, and the Ambrosian Opera Chorus' performance can only be described as brilliant. Donizetti wrote immediately attractive operatic works, this "Elixir of Love" being a perfect example.
Donizetti - Parisina d’Este (Emmanuel Plasson, Alexandrina Pendatchanska, Daniela Barcellona) [1999]

Donizetti - Parisina d’Este (Emmanuel Plasson, Alexandrina Pendatchanska, Daniela Barcellona) [1999]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 2cd, 556.51 MB
Classical | Label: Dynamic | Catalog Number: 277/1-2

…bietet diese neue Aufnahme unter einem jungen, kraftvollen Dirigenten (Plasson), der es versteht, Donizettis dramatisches Feuer zu entfachen. Auch die jungen Sänger engagieren sich mit vollem Einsatz für das vergessene, aber sehr reizvolle Donizetti-Werk. Allen voran die Pendatchanska, die mit glutvollem, temperamentvollem Sopran die Titelpartie gestaltet, überzeugender als Caballé, die als einzige Vorgängerin betrachtet werden kann. Auch Moretti bringt für den Ugo das Timbre, die Technik und die Leidenschaft mit - unerklärlich deswegen die brutale Kürzung seiner Cabaletta im 2.Akt. Technisch unsicherer aber dramatisch kraftvoll De Andrès als Bösewicht Azzo und kultiviert Aliev als Ernesto. Sieht man in das mitgelieferte Libretto hinein, werden kleine Streichungen in der Oper sichtbar, die uns hier jedoch als Ohrenschmaus und geglückte Wiederentdeckung präsentiert wird.
Simon Mayr Choir, Bayerischer Staatsopernchor - Donizetti & Mayr: Messa di gloria & Credo in D Major (2016)

Simon Mayr Choir, Bayerischer Staatsopernchor, Concerto de Bassus & Franz Hauk - Donizetti & Mayr: Messa di gloria & Credo in D Major
Classical | WEB FLAC (tracks) & d. booklet | 86:06 min | 359 MB
Label: Naxos | Tracks: 14 | 2016

While the German tradition observes a strict distinction between sacred and secular styles, the 19th-century Italian Mass can feel more akin to attending an operatic performance. Donizetti's church music, consisting of at least a hundred items, has hardly been explored. Individual movements were often later recycled by the composer, in cantata-like fashion to form a complete Mass and it is this ad hoc technique that Franz Hauk has used to create a new work, the Messa di Gloria and Credo in D. This includes an expansive Qui sedes with its violin solo written for the famous violinist-composer Pietro Rovelli, and is completed with movements by Johann simon Mayr from whom Donizetti learned his compositional craft in settings of sacred texts.
Richard Bonynge, Joan Sutherland, Luciano Pavarotti - Donizetti: Maria Stuarda [1990/1976]

Donizetti - Maria Stuarda (Richard Bonynge, Joan Sutherland, Luciano Pavarotti) [1990/1976]
Classical | DECCA 425 410-2 | TT: 122.50 | EAC (flac, cue, log) | Covers | 508 Mb

This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. (Joe McLellan)
Richard Bonynge, National Philharmonic Orchestra, Joan Sutherland - Donizetti: Lucrezia Borgia [1989/1978]

Donizetti - Lucrezia Borgia (Richard Bonynge, Joan Sutherland) [1989/1978]
Classical | DECCA 421 497-2 | TT: 134.13 | EAC (flac, cue, log) | Covers | 575 Mb

“Sutherland is in her element here - and what a wonderful score it is too…Horne has the odd moment of unsteadiness in the early parts of the opera, but she is impressive in the brilliant Brindisi of the last Act” (The Penguin Guide)
Mark Elder, BBC Symphony Orchestra - Donizetti: Belisario [2013]

Donizetti - Belisario (Mark Elder) [2013]
Classical | Opera Rara ORC49 | TT: 69.00+77.05 | EAC (flac, cue, log) | Covers | 511 Mb

Belisario is, quite simply, one of Donizetti’s finest achievements. Dating from the high watermark of Donizetti’s maturity, with its premiere in 1836 (the year after the debut of Maria Stuarda in Milan and Lucia di Lammermoor in Naples), Belisario proved a triumph on stages throughout the 19th century. Yet, incredibly, it is little known today. The libretto, by Salvadore Cammarano (who collaborated with Donizetti on Lucia di Lammermoor), tells the moving and typically complicated story of the 6th century Byzantine general. Falsely accused by his wife, Antonina, of killing their son, he was blinded and exiled as his punishment. Only the recognition by his daughter, Irene, that her father’s former captive, Alamiro, was her long-lost brother restores Belisario’s reputation; tragically, too late to save his life.
Giuseppe Patane, Munchner Rundfunkorchester, Edita Gruberova, Agnes Baltsa - Donizetti: Maria Stuarda [1990]

Donizetti - Maria Stuarda (Giuseppe Patanè, Edita Gruberova, Agnes Baltsa) [1990]
Classical | Philips 426 233-2 | TT: 133.26 | EAC (flac, cue, log) | Covers | 519 Mb

How this opera grows in the affections. And how it strengthens the larger, ever-deepening appreciation not merely of Donizetti's work but of operatic conventions as such. I mean that the frequently derided forms of opera (the set pieces, aria-and-cabaletta and so forth) can increasingly be a source of pleasure and of perceived power in the writing. Here, for instance, part of the exhilaration arises out of the composer's skill in suiting the conventions to his dramatic and musical purposes. Elizabeth's first aria, meditatively hopeful yet anxious, fits the lyric-cantabile form; then the arrival of Talbot and Cecil with their opposing influences provokes the intensified turbulence of irresolution that makes dramatic sense out of the cabaletta. It is so with the duets and ensembles: they look like conventional set-pieces, but established form and specific material have been so well fitted that, with the musical inspiration working strongly (as it is here), you have opera not in its naive stage awaiting development towards freedom from form but, on the contrary, opera at the confident height of a period in its history when it was entirely true to itself.
Riccardo Chailly & Filarmonica della Scala - La Scala: Overtures, Preludes & Intermezzi (2017) [TR24][OF]

Riccardo Chailly & Filarmonica della Scala - La Scala: Overtures, Preludes & Intermezzi
Classical | FLAC (tracks) 24-bit/96 kHz | 76:24 min | 1.37 GB | Digital booklet
Label: Decca | Tracks: 14 | 2017

After almost 40 years on DECCA and over 3 million album sales Riccardo Chailly starts a new chapter in January 2017 as Music Director of Teatro alla Scala, Milan, the worlds most iconic opera house.