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Luciano Pavarotti, Joan Sutherland, Dominic Cossa, Spiro Malas, Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge – Donizetti: L’Elisir d’Amore (1970/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 02:20:19 minutes | 2,59 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Decca Music Group Ltd.
“Bonynge leads a team … which not only conveys jollity but which sings and plays as though full opera house applause is to be expected a the end of each number … The ECO playing … has a refinement and stylishness which makes all the difference … Pavarotti has a Gigli -like quality in characterisation and this suits him ideally for the role of the simple, devoted Nemorino … you should readily be won over by the sheer exuberance, vocal as well as dramatic, that Sutherland brings to the role. It is a joy to the ear to have well- loved music treated to extra vocal splendours at both ends of the soprano register.” –Gramophone
Read more![Luciano Pavarotti, Joan Sutherland, Josephine Veasey, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge - Bellini: Beatrice di Tenda (1966/2013) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/08/29/0002894786574_600.jpg?resize=500%2C500&ssl=1)
Luciano Pavarotti, Joan Sutherland, Josephine Veasey, Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge – Bellini: Beatrice di Tenda (1966/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 02:27:46 minutes | 2,90 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Decca Music Group Ltd.
„Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. More recent recordings include a Rizzoli set – Mariana Nicolescu in the title role – and a brand new one starring Edita Gruberova on the ominously named Nightingale label, which I have not yet heard.“ –Hugh Canning, BBC Music Magazine
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