Dsd64 2.0 Puccini

Galina Gorchakova, endowed with what London’s Sunday Times called “one of the most important dramatic voices in the post-war era”, makes her debut on Delos label with Italian Opera Arias, a collection of her signature roles that have earned her critical acclaim and an immense public following the world over. Gorchakova is accompanied by Constantine Orbelian and the Philharmonia of Russia, the Maestro’s own assemblage of Russia’s leading orchestral musicians resulting in la creme de la creme of Russian ensembles.

Galina Gorchakova, endowed with what London’s Sunday Times called “one of the most important dramatic voices in the post-war era”, makes her debut on Delos label with Italian Opera Arias, a collection of her signature roles that have earned her critical acclaim and an immense public following the world over. Gorchakova is accompanied by Constantine Orbelian and the Philharmonia of Russia, the Maestro’s own assemblage of Russia’s leading orchestral musicians resulting in la creme de la creme of Russian ensembles.

With this new recording, Decca has pretty much sewn up the market on three generations of outstanding Bohèmes. Tebaldi and Bergonzi represent the 1950s, Freni and Pavarotti represent the 70s, and now Gheorghiu and Alagna take us into the new millennium with a recording that ranks among the very best.

With this new recording, Decca has pretty much sewn up the market on three generations of outstanding Bohèmes. Tebaldi and Bergonzi represent the 1950s, Freni and Pavarotti represent the 70s, and now Gheorghiu and Alagna take us into the new millennium with a recording that ranks among the very best.

Swedish singer Miah Persson throws her hat into the lyric soprano ring with Sempre Libera, a selection of arias to showcase her talents, recorded live in concert. She has a sweet voice, though not saccharine, and an assured technique. Like Tebaldi, her trill is not her strength (though, unlike that soprano, at least she includes them). However the voice never opens up at the top, where it remains quite polite, and her coloratura, though fluent, is not scintillating.

Swedish singer Miah Persson throws her hat into the lyric soprano ring with Sempre Libera, a selection of arias to showcase her talents, recorded live in concert. She has a sweet voice, though not saccharine, and an assured technique. Like Tebaldi, her trill is not her strength (though, unlike that soprano, at least she includes them). However the voice never opens up at the top, where it remains quite polite, and her coloratura, though fluent, is not scintillating.

Caballé's Tosca is one of the most ravishingly on record, with scarcely a less than beautiful note throughout, save where an occasional phrase lies a touch low for her. José Carreras recorded Tosca twice in the 1970s–his best years–but his voice was much better for Colin Davis when recording this set in 1976 than it was for Herbert von Karajan's 1979 interpretation. Davis's direction is flexible but dramatic and finely detailed, and the secondary singers are all very good.

In 1952, 12 young and promising Italian musicians, mainly Roman and mostly graduates of the Accademia di Santa Cecilia in Rome, got together 'inter pares' to create a unique chamber orchestra comprising six violas, two cellos, one double bass and one harpsichord. At present days, I Musici are regular guests at the most important international festivals and they carry out an intense concert activity in prestigious theatres and concert halls. On "Serenata Italiana" I Musici take you on a journey of the Italian serenade, with music by Rossini, Respighi, Bossi, and film composer Nino Rota. Featuring string playing that is both pulsing with energy and delicately sweet, this programme will leave you exhilarated.