Måneskin Teatro D'ira Vol. I

Verdi's 1855 Paris opera which followed Rigoletto, Il trovatore and La Traviata is treated to a performance of blazing energy and intimate refinement with a superb cast which includes Cheryl Studer and Chris Merritt. The rarely-seen third act ballet is included complete, with the internationally-acclaimed dancers Carla Fracci and Wayne Eagling.

Another Verdi triumph from the archives of La Scala, this 1984 production of one of the master's early popular successes showcases José Carreras's truly glorious instrument, a tenor voice of loveliness and delicacy that, in its abbreviated prime, was one of the true operatic glories. He sounds superb as the hero, Oronte, and, as his paramour Giselda, Ghena Dimitrova nearly matches Carreras's ringingly beautiful tone: their wonderful Act 4 duet is almost too much of a good thing.

Renata Scotto shows an amazing flexibility and control. Her Caro nome is one to be heard many times. She reaches a high D and decrescendo's to an incredible ppp. I felt the aria drug a little in tempo, but the gorgeous sound more than made up for it. As Rigoletto, Dietrich Fischer-Dieskau has the vocal power demanded by the score. Too often he sounded as if he was delivering a recital of Leider. A smooth velvet sound was his mark throughout. In his duets with Gilda, this payed off handsomely. Even in his dealings with the courtiers after Gilda's abduction he showed us a rarely seen Dietrich blustery side.

The abundant concert works of Italian composer Nino Rota continue to surface in recordings, many on major labels. Doubtless this is partly because Rota carries marquee value from his association with the Godfather films, but his music, although surely a mixed bag, is often just plain fun. You can break it down into three general categories, which don't necessarily correspond to individual works but are heard in combination. First is the group of marvelously cinematic tunes that make this release of interest to the still-numerous fans of Rota's film music; the Concerto Soirée for piano and orchestra offers a generous selection.

Based on a ponderous libretto by Metastasio (who defined his own work as “stellar”) Leonardo Vinci’s dramma per musica was premiered in Venice in 1726 and was triumphantly acclaimed. Since then, Siroe, Re di Persia was put to music by composers such as Vivaldi, Handel, Hasse, and Galuppi, to mention just a few. The story uses some of the elements of the plot of Partenope, almost as if it were a sequel moved to Persia. Siroe’s plot revolves around a family mystery mingled with passions, traitors en travesti, fatherly affection and filial honesty that echoes Shakespeare’s King Lear. Performed in concert version at Teatro San Carlo of Naples in 2018, this rare opera was chosen to open the theatre’s 281st season. Conductor Antonio Florio , specialist of the Neapolitan Baroque repertoire, revised the score.

The singing and musicianship here is of a high standard and Zanetti conducts with verve…Certain aspects of Pier Luigi Pizzi’s production are good while others are somewhat disappointing. (MusicWeb International)

Cecilia Bartoli made this recording when she was still in her early 20s, a mezzo with a rich, vibrant voice who not only copes brilliantly with the technical demands but who also gives a winningly provocative characterization. Like the conductor, Bartoli is wonderful at bringing out the fun.

Petrassi’s talents showed themselves early. In 1913, aged nine, he became a chorister in the capital, where his encounter with Renaissance and baroque art and music left a lasting impression, one reflected later in several fine, large-scale choral works in which Petrassi combines polyphony with modern harmonies. Here we have two such choral pieces: Psalm IX, in two parts, for chorus, string orchestra, brass, percussion, and two pianos, and the premiere recording of a Magnificat for soprano, chorus, and orchestra.