Jussi Björling was one of the strongest and steeliest lyric tenors of the 20th century, as famous for his Rodolfo in La Boheme as he was for his Calaf in Turandot. This superbly engineered survey of his early career takes us from 1936 to 1948, and covers, for the most part, his standard repertoire of French and Italian music–extracts from Aida and from Faust, and from both Massenet's Manon and Puccini's Manon Lescaut. He was a singer equally at home with the elegances of bel canto and with the passionate sorrows of verismo–he is particularly fine in "Vesti la guibbia" from Leoncavallo's Pagliacci… –Roz Kaveney
This opera was a personal triumph for Dame Janet. As Caesar, she arms the voice with an impregnable firmness, outgoing and adventurous. Valerie Masterson shares the honours with Dame Janet, a Cleopatra whose bright voice gains humanity through ordeal. The tinkle of surface- wear clears delightfully in her later arias, sung with a pure tone and high accomplishment. As a total production, Julius Caesar was an outstanding achievement in ENO's history. Strongly cast, it had a noble Cornelia in Sarah Walker, a high-spirited Sesto in Della Jones, and in James Bowman a Ptolemy whose only fault was that his voice lacked meanness of timbre appropriate to the odious character. John Tomlinson's massive bass also commands attention. Mackerras's conducting is impeccable and the opera is given in clear, creditable English.
Handel's operas–the center of his creative life before oratorios became the focus–have spent far too long in limbo awaiting rediscovery, which slowly started happening in the late '60s with works such as Giulio Cesare. But whether Handelian opera is still a novelty or you're already a rabid convert, this emotionally resonant, crisply played, superbly cast interpretation under William Christie and Les Arts Florissants is likely to shake up some of your ideas about the composer.
Campra's Idomenee (based on the same story as Mozart's Idomeneo) was first staged in 1712. Campra significantly reworked the score for the 1731 revival, and it is this second version of the opera that is recorded here. The opera follows the traditional tragedie-lyrique pattern having five acts and a prologue. But under Campra's pen (I mean, quill), the formalities of the genre are transformed into a genuine drama. The comparison between the 1712 and 1731 versions of the opera confirms Campra's intention to produce an emotionally realistic drama: the second version eliminated several minor characters and streamlined the plot thus achieving a better dramatic effect.
Although it was Donizetti’s first theatrical success, the original 1822 version of this violent love story was never given a complete performance because the tenor cast in the role of the hero died shortly before the first night. Even so, Donizetti quickly adapted this role for a mezzo-soprano, achieving his first theatrical success. Opera Rara presents the world premiere of the original tenor version. In addition the recording includes six more pieces written for the 1824 revival.
Opera Rara recorded the new critical edition by the Rossini Foundation of Otello. Hugely admired in its day, this highly innovative score contains some of Rossini’s most inspired music. The recording includes the reconstruction of the alternative happy ending (written for Rome in 1820) as well as an aria for Desdemona which the great Giudetta Pasta sang to acclaim in Paris and London.
Nach dieser Produktion könnte man durchaus auf den Gedanken kommen, die Oper müsse eigentlich Teseo in Creta heissen, so beherrschend und überlegen gestaltet Wilke te Brummelstroete die Partie des Teseo! Neben ihrer Fähigkeit, sich dem Stil von Händels Musik anzupassen kommt ihre ungeheure Bühnenpräsenz und Ausdruckskraft, die sie zur alles beherrschenden Figur der Oper werden liess.