From a 1960 live performance in the Teatro Colòn Buenos Aires, Argentina, Ponchielli's La Gioconda's libretto was written by composter Arrigo Boito who adapted it from a play by Victor Hugo. A quintessential operatic tale of thwarted love and devotion this performance features the American soprano Lucille Udovich, noted mezzo-soprano Mignon Dunn, longtime Metropolitan Opera member bass Norman Scott, and tenor Flaviano Labo with the Teatro Colòn Orchestra and Choir conducted by Carlo Felice Cillario.
AMILCARE PONCHIELLI: Andrea Gruber; Marco Berti; Alberto Mastromarino; Carlo Colombara; Ildiko Komlosi; Elisabetta Fiorillo; Roberto Bolle, Letizia Giuliani, primi ballerini; Orchestra, Chorus and Corps de ballet of"Arena di Verona"/Donato Renzetti; Live recording: June 17, 2005 AMILCARE PONCHIELLI: La GiocondaNTSC All Region; Doby Digital 5.1, DTS; PCM Stereo 2.0; Color; 16:9; 162 minsSubtitled in Italian, English, French, German & Japanese.
Charming salon miniatures and a grand funeral march by the verismo composer of La Gioconda.
Most of the pieces issued here were published in the 1870s and 1880s, and some of them are far more substantial than mere album-leaves. Yet they are hardly known at all; Riccardo Muti recorded an orchestration of the sombre and touching Elegia funebre from 1881, but Ester Fusar Poli’s new recording is the only available version of the piano original. Even more imposing in scale is the 16-minute Funeral March which Ponchielli wrote late in 1872 to honor the passing of the publisher Francesco Lucca. However, no Ponchielli album would be complete without a version of the ‘Dance of the Hours’ immortalized by Walt Disney’s hippos in Fantasia.
Ester Fusar Poli presents a beguiling sequence of elegies, nocturnes, polkas and tone-poems, demonstrating the composer’s expressive range and deft piano writing. An extensive essay by Gabriele Galleggiante Crisafulli considers Ponchielli’s piano output in the context of his career as a whole, making this album an important contribution to our understanding of a figure who was much more than a ‘one-hit wonder’.
The string quartets of Donizetti and Verdi, and the oboe concerto of Bellini, represent rare overlaps between the fields of operatic and instrumental music in 19th-century Italy. Moving into the 20th century, the operas of Respighi have gained a toe-hold on the record catalogues but he is still remembered principally (and justly) for his orchestral showpieces such as the Pines of Rome, while composers in the contemporary verismo tradition carried on doing what they did best and producing knock-em-dead tragedies of high drama and low life for the lyric stage, from Tosca to La Gioconda. Or did they? A fact known to very few even in Italy is that Amilcare Ponchielli, composer of La Gioconda and teacher of Puccini, wrote not only for the opera house but also the church. As the son of a shopkeeper who was organist in the village church, he studied music first with his father and then with the organist of a neighboring village. In his early years he produced a substantial repertoire of sacred music and a body of organ pieces for occasional and liturgical use, few of which were played until Marco Ruggeri, the organist on this new recording, gathered them together for an authoritative critical edition in 1999. They include a novel symphony 'half for organ, half for piano'. In 2011 Ruggeri recorded roughly half of Ponchielli's organ output for the Bottega Discantia label, an album now superseded by this new recording made in 2017 and 2019. Never previously recorded are a collection of delightful Pastorales, as well as a funeral march in memory of his father, and a prelude to a cantata by Donizetti. However, there is one piece without which no self-regarding Ponchielli collection would be complete, and Marco Ruggeri includes it here as an encore: the 'Dance of the Hours' from La Gioconda, made eternally famous by Disney's troupe of dancing elephants.
When opera singers go from their standard repertoire into something new, from the stage to the recording studio or simply from one performance to another, the results may be better or worse, a great achievement or a great disappointment. None of which ever troubled Ettore Bastianini, whose renowned confidence in his own vocal and mental powers would not allow for those all too human failings which other performers may suffer in such circumstances. His authenticity and renown had their origins on stage of course, yet once he had taken that experience into the recording studio, a return to live performance often brought gains in authority and expressive power. The present series of previously unreleased recordings proves this admirably and they are all the more remarkable because they are certainly not the sort of material with which Bastianini felt most at home, (that was always a thoroughly Romantic repertoire, hence dominated by Verdi).
In 2020, the Lithuanian National Symphony Orchestra and the Kaunas State Choir, under the direction of Modestas Pitrenas, came together at the National Philharmonic Hall in Vilnius for a remarkable recording of Amilcare Ponchielli's opera I Lituani. This project marks the first professional recording of this work, highlighting Ponchielli's significant contribution to 19th-century Italian opera and connecting deeply with Lithuanian heritage. Drawing inspiration from Adam Mickiewicz's poem Konrad Wallenrod, the opera tells the story of medieval Lithuania's resistance against the Teutonic Knights, exploring themes of freedom, national identity, and sacrifice. Ponchielli's rich orchestration and Ghislanzoni's powerful libretto create a dramatic musical experience that has now been captured with vibrant vocal performances and exquisite orchestration in this new recording. I Lituani, which premiered at La Scala in 1874, has long been recognized for it's beautiful melodies and emotional depth. This recording revives a significant yet often overlooked masterpiece of Italian opera, offering a fresh perspective on Ponchielli's profound musical and dramatic vision. Recorded at Lithuanian National Philharmonic Society Vilnius, September 2020
Puccini is renowned as one of the greatest opera composers of all time, and his early works - before Manon Lescaut catapulted him to international fame - offer a fascinating insight into his development as a composer. John Wilson and Sinfonia of London explore this repertoire with characteristic style and commitment, leading us on a journey through student compositions and orchestral extracts from his earliest operas. Studying under Amilcare Ponchielli at the Milan Conservatory from 1880 to 1883, he created the Preludio sinfonico (loosely based on Wagner's Prelude to Lohengrin), the Scherzo, Trio, and Adagetto, and Capriccio sinfonico, his graduation piece, which famously pre-echoes the opening of La bohème by a decade. The one-act opera Le villi was composed for a competition launched by the publisher Sonzogno (Puccini didn't win), whilst themes from the contemporaneous Tre minuetti and Crisantemi (both for string quartet) were subsequently re-cycled in Manon Lescaut. Verdi's publisher, Ricordi, bought the rights to Le villi, and commissioned a new work at the same time: Edgar, which, largely owing to the absurd plot, is arguably Puccini's only failure, despite some fully mature music easily the match of the more celebrated scores.
The Teatro La Fenice opened in 1792 and is one of the most renowned and most beautiful theaters in the world. First performed in 2004, the New Year's Concert at Venice's Teatro La Fenice celebrates it's 20th anniversary in 2024 with an extravagant program. Conducted by Maestro Fabio Luisi, this prestigious event features an exquisite blend of symphonic works and operatic masterpieces, including arias from operas such as Tosca, La traviata, Madama Butterfly, and Turandot. Accompanied by beautiful ballet interludes and a lively tribute to the 70th anniversary of Italian television, soprano Eleonora Buratto and tenor Fabio Sartori shine on stage and ring in the New Year with a burst of joyous brilliance.
When the ORFEO label was established in Munich forty years ago, surely no one with the music scene back then would have predicted that the record company would develop into a firmly established player on the classical music market. One of the label’s main priorities in the early years was vocal music, with opera rarities top of the list and since the mid 1980s the re-use of historic tape recordings. Big names featured on the label’s own productions, while ORFEO also developed into a talent factory by discovering and nurturing young artist. This “Legendary Voices” 10 album set for the anniversary of 40 years of ORFEO label history features eleven singers, who at their times upheld the art of opera singing and still uphold it in the best interpretation of nostalgia.
The Italian tenor sings the world’s greatest Italian tenor arias, including the hit “Nessun dorma” – without question the most famous opera arias.
Verissimo meaning “very true” in Italian and is a play on the word “Verismo” – the late 19th century opera style from which these featured operas are taken. The style is known for its big passions, dramatic lyricism, lush orchestral sound and storylines about normal people in the throes of love, death, betrayal and revenge. Key composers of this style include Puccini, Mascagni, Cilea and Leoncavallo.
Verdi, Donizetti, Puccini: Il Mito Dell'opera / Bordoni
Bongiovanni
CD
$21.99Aug 06, 2021
Critics, conductors and colleagues agree that Franco Bordoni’s voice, accent and interpretation constitute Verdi at his most noble. Which is hardly surprising given the singer’s awe of the composer and approach to his art. Bordoni had all the technique he needed to exploit to the full his voice’s volume, texture with its wealth of harmonics and two octave range with no uneven spots. The timbre and color of his voice made him the perfect dramatic baritone, a voice that saw its owner through years of unflagging, full-on performances.
The MVcremona label, which has always been committed to enhancing the musical heritage of the city of Cremona, presents this CD dedicated to the precious Maineri-Acerbi organ of the church of San Sigismondo, a wonderful church located just outside the city. The first documented news of the construction of this monumental organ dates back to 1567 but the organ only began service in 1572. After an eighteenth-century intervention which partially modified it's phonic structure, a restoration which took place in 1860 by the organ builder Luigi Vincenzo Acerbis, he configured the current phonic structure, where all the original sixteenth-century pipes both in metal and wood are still present. This makes the instrument very versatile and suitable for performing a wide musical repertoire. The Cremonese organist Paolo Bottini, already a protagonist in the valorization of other historical organs of Cremona through numerous recordings for various record labels, presents in this CD a series of pieces by composers who worked in the Cremona area, starting from himself and going to back in time to Claudio Monteverdi, born in Cremona in 1567, the year in which construction of the organ began. The church and monastery of San Sigismondo in Cremona are governed by an order of cloistered nuns and therefore the Maineri-Acerbi organ is used only for liturgical purposes: this makes this CD even more precious because it allows you to listen to the voice of this historic organ in a repertoire of exceptional stylistic variety.
