Il Sogno di Anna

More than 25 years after his first EMI album, Antonio Pappano has established himself as a leading figure of conducting, particularly in music from his native Italy. This collection includes excerpts from all his EMI and Warner Italian recordings, from the famous Verdi and Puccini cycles with Roberto Alagna and Angela Gheorghiu to the recent praised versions of Turandot and Rossini’s sacred works.

THE FIRST OF THE TWELVE discs in this collection of Anna Moffo’s RCA recital recordings begins with a 1960 performance of the jewel song from Gounod’s Faust, and that selection, along with the others on this disc, sets out the singer’s basic assets and liabilities. It’s a fresh lyric sound - Moffo was twenty-eight that year - ven throughout the range, accurate in pitch and coloratura, with a good try at a trill.

THE FIRST OF THE TWELVE discs in this collection of Anna Moffo’s RCA recital recordings begins with a 1960 performance of the jewel song from Gounod’s Faust, and that selection, along with the others on this disc, sets out the singer’s basic assets and liabilities. It’s a fresh lyric sound—Moffo was twenty-eight that year—even throughout the range, accurate in pitch and coloratura, with a good try at a trill. She phrases with musicality but not much nuance or variety of color. These qualities serve her and the music well in the coloratura fireworks of the shadow song from Meyerbeer’s Dinorah; “Bel raggio,” from Rossini’s Semiramide; and the bell song from Delibes’s Lakmé, all of which she tosses off with ease. Micaela’s aria from Carmen, however, demands more emotional thrust, while her Mimì and Liù are bland and anonymous.