Rescigno

Filmed in 1981, live from the Metropolitan Opera, Luciano Pavarotti sings Nemorino in Donizetti's comic opera. This one of his Pavarotti's most famous roles and here he sings it in his prime joined by an all-star ensemble: Judith Blegen sings the role of Adina and the great comic baritone Sesto Bruscantini plays the wily Dr Dulcamara. Nicola Rescigno conducts. Kirk Browning's production is traditional and entertaining.

The titular character of Bellini’s Il pirata is the tenor, Gualtiero, but it is the soprano, Imogene, who leaves the most powerful impression, thanks above all to her lengthy and dramatic closing scena. Il pirata had fallen into obscurity before it was revived for Callas at La Scala in May 1958. She went on to make a studio recording of the final scene a few months later and early in 1959 starred in this concert performance at New York’s Carnegie Hall. Collaborating with one of her favourite conductors, Nicola Rescigno, she electrified the audience with singing of inimitable poetry and theatrical power.

Giulio Cesare in Egitto (Julius Caesar in Egypt, HWV 17), commonly known simply as Giulio Cesare, is an Italian opera in three acts written for the Royal Academy of Music by George Frideric Handel in 1724. The libretto was written by Nicola Francesco Haym who used an earlier libretto by Giacomo Francesco Bussani, which had been set to music by Antonio Sartorio.

There's little doubt that to have heard Sutherland in 1961 must have been really something. It was the year she found New York, and New York found her. This recording, along with the live recording of her early 1961 New York debut in Beatrice di Tenda are legendary moments. Both are concert performances, conducted by Nicola Rescigno.
This Sonnambula was in Carnegie Hall in December and just after her Met debut. The voice is astonishing. The 'Ah, non guinge' is sung with almost wild abandon, absolutely thrilling, and was described the next day by Harold Schonberg as "flawlessly performed pyrotechnics".

This set is what early music or baroque opera purists might call politically incorrect. The orchestra at Venice's La Fenice is too big, the playing is Romantic, with plenty of rubato and not crisp, and very few of the singers get through the music as Handel wrote it or embellish it the way he wished. But it does feature Joan Sutherland at her most amazing. Her huge voice, pure tone, impeccable technique, seamless legato, and glorious ease are the definition of bel canto. While this two-CD release is not ideal, it does present Alcina in much of its loveliness.

Bellini suits June Anderson surprisingly well: 'surprisingly' because her voice is bright and her manner somewhat impersonal and unyielding very much the opposite of sopranos like Selma Kurz and Galli-Curci, or in later days Montserrat Caballe, who could make the cantilena of ''Qui la voce'' and ''Ah, non credea mirarti'' a thing of ethereal tenderness and limpid purity. Yet the Sonnambula aria and a similarly sad and lovely solo from I Capuleti e i Montecchi are among the most satisfying items here. In both of them a prime virtue is that of the well-drawn line, closer to (say) dal Monte and Pagliughi than to Sutherland. She is also, if not exactly imaginative, at least sensitive in her handling of the phrases, and there is no hardening of the sort that with many Italians (dal Monte among them) makes one flinch at the approach of high notes.