2014 Maria Callas re-mastered series reissue. With this Abbey Road 24-bit 96kHz re-master, engineers returned to the original master tapes, bringing new clarity & brilliance to her legendary studio recordings. This Lucia di Lammermoor was the first complete recording that Callas made under the aegis of Walter Legge for EMI/Columbia - and also her first recording with Giuseppe di Stefano, Tito Gobbi and her mentor Tullio Serafin. She had made her role debut as Lucia the previous year (1952), bringing tragic stature to the archetypal fragile bel canto heroine. Gramophone described her recorded performance as 'certainly some of the finest singing of our time'.

2014 Maria Callas remastered series reissue. With this Abbey Road 24-bit 96kHz remaster, engineers returned to the original master tapes, bringing new clarity & brilliance to her legendary studio recordings. In the six years that had passed since 1953, and her first recording of Lucia di Lammermoor, Callas's voice had maybe become less robust, but her singing had become still more perceptive. As Gramophone said: 'Mme Callashas refined her interpretation of the role, and made it more exquisite, more fascinating, musically and dramatically more subtle - in a word, more beautiful.'

Maria Callas is credited with changing the history of opera. Known as La Divina, she continues to fascinate as a supreme artist, but also as a woman and an icon of style. Her interpretations were as compelling for their dramatic truth as for their musical integrity. Her voice, with it's extraordinary range, was as distinctive as her infallible sense for a phrase. A magnetic presence, she brought operatic heroines to vivid life, magically shaping and colouring her tone, and making insightful use of the text of the libretto.

This box set concludes the recording of all 18 String Quartets by Gaetano Donizetti, who loved these works as if they were his own children. The Mitja Quartet is the first Italian ensemble to have recorded these works in their entirety.

Known primarily as a prolific opera composer, Gaetano Donizetti also wrote nearly 300 songs, which were destined for intimate gatherings of friends, professionals and wealthy amateurs. Though Donizetti was seemingly blase about his songs, they contain much of interest. Their melodic beauty and structural surety are invariably captivating, whether in ballades or canzonettas, theatrical ariettas, or poignant love laments. Setting poets from Pietro Metastasio to his contemporaries allowed Donizetti full rein to explore a wide variety of subject matter with wit, sentiment, long vocal lines, and quasi-orchestral piano accompaniment. A digital-only single of Lamento per la morte di V. Bellini is also available to stream and download (9.70399).

Donizetti's Don Pasquale is one of a triumvirate of 19th-century Italian opere buffe - L'elisir d'amore and Rossini's Il barbiere di Siviglia being the others - that continue to enchant the world's stages. Don Pasquale represents the high point of the opera buffa tradition, employing figures taken from commedia dell'arte - the blustering old man, his lovesick nephew, the wily widow and the scheming doctor - and brings new life to the genre in this beautifully constructed comic opera full of cabalettas, cadenzas and coloratura, gently tinged with melancholy. This production employs a new critical edition of the work and stars the seasoned baritone Roberto de Candia in the central role, alongside Giulia Mazzola as Norina.

Donizetti's Don Pasquale is one of a triumvirate of 19th-century Italian opere buffe - L'elisir d'amore and Rossini's Il barbiere di Siviglia being the others - that continue to enchant the world's stages. Don Pasquale represents the high point of the opera buffa tradition, employing figures taken from commedia dell'arte - the blustering old man, his lovesick nephew, the wily widow and the scheming doctor - and brings new life to the genre in this beautifully constructed comic opera full of cabalettas, cadenzas and coloratura, gently tinged with melancholy. This production employs a new critical edition of the work and stars the seasoned baritone Roberto de Candia in the central role, alongside Giulia Mazzola as Norina.

Gaetano Donizetti was one of the most distinguished Italian composers of the first half of the 19th century. At that time, opera was the preeminent musical genre in Italy, and many top composers based their careers on it. Unlike his contemporary Italian opera composers, though, Gaetano Donizetti also devoted his art to chamber music, producing a good number of excellent works. Between 1814 and 1821, he wrote a number of interesting compositions that included both obligato clarinet or two clarinets in C, as well as demanding parts for basset horn. The voices of soprano and tenor are involved, even in a duet (Aria de Torrente). This album is indebted to Nico Bertelli for his research and publications concerning classical and early romantic arias with clarinet, and to Italian researcher Adriano Amore. � Giuseppe Donizetti�(a.k.a. Donizetti Pasha) was Gaetano Donizetti's older brother. He was a talented child and received lessons from Simon Mayr, the same teacher as his brother. In 1825, he became music master of an Austrian regiment stationed in Italy. In 1831, the Turkish sultan asked him to form the military band of his empire along the Central European lines. He managed to win great esteem and favour from the sultan, transferring the musical style of Italian music to the shores of the Bosporus with great success. He died in Constantinople on 12 February 1856. Giuseppe Donizetti wrote a large amount of music for military bands in many different combinations, but only a few of those works reached his homeland. There are also some vocal works and shorter piano pieces, published in Milan and Florence. - Recorded September 2023 in Cesano Maderno and in Ticino, Italy - Booklet in English contains liner notes by Luigi Magistrelli and profiles of the soloists and the ensemble - A delightful program of works featuring the clarinet in various settings by Gaetano Donizetti (1797-1848), one of the greatest opera composers of 19th century Italy, and his brother Giuseppe Donizetti (1788-1856), who was a military music master of an Austrian regiment stationed in Italy. In 1831 the Turkish Sultan asked him to form his empire's military band along central European lines. He was able to gain high esteem and favor from the Sultan, transferring the musical style of Italian music on the shores of the Bosphorus with great success. He died in Constantinople on 10 February 1856. - The program is highly varied and ranges from works for solo clarinet to arias for voices, clarinet and piano, and a wind sextet. Brilliantly performed by Luigi Magistrelli, one of the leading clarinet players of Italy, seconded by a fine selection of Italian soloists. Magistrelli made many recordings for Brilliant Classics with works by C.P.E. Bach (95307), Giuliani (95541), Kummer (94472), Archduke Rudolph (94952), Rebay (94171) and Fuchs (96305). 'Luigi Magistrelli is a skilled artist, with the fingers and the enthusiasm for Weber.' Gramophone.

Roberto Devereux is the fourth and finest of Donizetti's works dedicated to the Tudor period of English history, and is considered by many to be the ultimate masterpiece amongst his Italian operas. The tragic narrative is a tale of intrigue and vengeance in the court of the elderly and weary Queen Elisabeth I, with Donizetti's powerful score expressing all of the intense drama and sorrowful emotion demanded by the opera's finely etched characters. This star-studded Donizetti Opera Festival production received wide critical acclaim.

Roberto Devereux is the fourth and finest of Donizetti's works dedicated to the Tudor period of English history, and is considered by many to be the ultimate masterpiece amongst his Italian operas. The tragic narrative is a tale of intrigue and vengeance in the court of the elderly and weary Queen Elisabeth I, with Donizetti's powerful score expressing all of the intense drama and sorrowful emotion demanded by the opera's finely etched characters. This star-studded Donizetti Opera Festival production received wide critical acclaim.

Zoraida di Granata, a stirring tale of love, betrayal and reconciliation, set in the Moorish kingdom of Granada in Andalusia in 1480, gave the 24-year-old Donizetti his first major operatic triumph. It marked his establishment as a true musical dramatist with a sure sense of craftsmanship and a flair for the dramatic. The opera's virtuosic central roles, fine choruses and powerful set-pieces show Rossini's unavoidable influence, though it is more a presence rather than imitation. This performance of the 1822 edition, not the 1824 revision, is performed on original instruments by Gli Originali and conducted by Alberto Zanardi.

Zoraida di Granata, a stirring tale of love, betrayal and reconciliation, set in the Moorish kingdom of Granada in Andalusia in 1480, gave the 24-year-old Donizetti his first major operatic triumph. It marked his establishment as a true musical dramatist with a sure sense of craftsmanship and a flair for the dramatic. The opera's virtuosic central roles, fine choruses and powerful set-pieces show Rossini's unavoidable influence, though it is more a presence rather than imitation. This performance of the 1822 edition, not the 1824 revision, is performed on original instruments by Gli Originali and conducted by Alberto Zanardi.

Il diluvio universale ('The Great Flood') was premiered in Naples in 1830 but is better known in the much-revised version performed four years later in Genoa and Paris. The story, loosely drawn from the Bible, concerns Noah and his family, their conflicts, and the impending catastrophe of the flood. The opera offers a stream of attractive music, powerful choruses and refined harmonies, and represents a crucial stage in Donizetti's musical thought. This acclaimed 2023 Donizetti Festival performance, conducted by Riccardo Frizza, employs the original 1830 edition.

ECHO

Acknowledged as a definitive model of Italian Romantic melodrama, Lucia di Lammermoor was one of Donizetti's greatest triumphs, and it's popularity led him to produce a French version for Parisian audiences. Lucie de Lammermoor became the 'other Lucia', with the opera's tragic tale of feuding families and doomed romance modified in a way that deepens the characters and makes it an even more brutal and emotional theatrical experience than the original. This new Lucie de Lammermoor made it's debut in 1839 with enormous success, becoming a cornerstone of French culture.

The Donizetti Opera Festival in Bergamo continues to present early works by Donizetti that have been unjustly neglected for decades. Alfredo il Grande, a love story that explores the defeat of the invading Danish army by the victorious Britons, was first performed in 1823 and was revived in this production two centuries later. Skilfully orchestrated, it features memorable arias for the hero Alfredo, and includes a superb concluding rondo for the heroine Amalia, as well as a radiant quintet. The opera is heard here in Edoardo Cavalli's 2021 critical edition. Gramophone called it 'a vocally accomplished performance' and 'a fine revival'.

Classical Music

Vocal Recital: Ludwig, Walther - MOZART, W.A. / DONIZETTI, G

BENIAMINO GIGLI - DONIZETTI, P

Classical Music

Donizetti: Il duca d' Alba (Sung in Italian) [Live]

Donizetti: Lucia di Lammermoor (1956)

As if in answer to last month’s Singertalk, a major company issues a recital by this admirable tenor – and not before time. It is eight years since his debut recital was recorded on Claves (11/92), and despite his notable successes in the world’s leading opera houses (not to mention a warm recommendation in these columns) this long and precious span of youth in a tenor’s career has been allowed to pass without another recital as follow-up. Happily the voice as recorded has changed little, the fresh bloom of 1991 being only slightly affected by its steady but judicious usage, which in turn has brought experience and authority.

The earlier disc confined itself to Rossini and Donizetti, while the new one has a wider scope and includes at least one surprise in Lensky’s aria from Eugene Onegin, sung in Russian. The performance is a good one but, though a welcome extension, it suggests a limitation that is felt in some degree when he sings in Italian too. He has not yet the art of infusing the voice with emotions: he can express but not quite ‘be’. Still, his gifts and achievements are real enough. The voice is a clear, unforced lyric tenor, singing, in this programme, exactly what is right for it. Flexible and capable of softness, it is put scrupulously to the service of the music, guided by a well-schooled feeling for phrase and carry-over (for instance, in the lovely ‘linkage’ of the reprise in ‘Angelo casto e bel’). His French is good, and the Dream Song from Manon is a particularly skilled and tasteful piece of singing. To Roberto Devereux’s cabaletta and in declamatory recitative he brings spirit and energy without bluster, and the aria from Un ballo in maschera shows something of what may lie in him for the future, both in expressive capability and in the voice itself.

He is working here with the same conductor as in the still-available and recommended recital on Claves. The orchestra is different, with playing less refined than that of the English Chamber Orchestra, but still alert and responsive. The recorded sound is slightly more reverberant but clear and well balanced.

-- Gramophone

Also available on Blu-ray

Recorded during the 2018 Donizetti Festival, Il Castello di Kenilworth was first staged at Naples’ San Carlo in 1829. Drawn from a novel by Sir Walter Scott and adapted by librettist Leone Tottola, this rare opera was unjustly long neglected. This recording features the original version, with the role of Warney entrusted to a tenor (which the composer changed into a baritone in the 1836 revision of the score).Il Castello di Kenilworth is the first of the several successful works to follow that Donizetti based on British history, introducing the character of Queen Elizabeth I, torn by the inner struggle between a monarch’s duty and a woman’s feelings. The fundamental pivot of the drama is the antagonism between the two female characters who both dwell and suffer in their loneliness, in a male-dominated world. The performance received excellent reviews, praising the richness of the costumes, the sobriety of the stage setting, and, mostly, the vocal and acting skills of the whole cast, which features first-rate singers like opera stars Jessica Pratt and Carmela Remigio, who share the stage with talented tenors Stefan Pop and emerging talent Xabier Anduaga “A first-class cast, with an imaginative production team, under the musical direction of Riccardo Frizza, have been assembled, and it is not an exaggeration to say that together they have produced a compelling case for “Il Castello di Kenilworth” to be given further consideration. […] It was musically engaging, full of bel canto charm, with some wonderful melodies, and notwithstanding its formulaic format, was dramatically convincingly. (Alan Neilson – Operawire)

This sparkling opera buffa is a premiere from the 2016 Donizetti Festival of Bergamo, with the part of Pasquale in Neapolitan dialect. It is the story of two rich merchant brothers from Lisbon, who are used to weighing everything against their barganing power. Also the marriage of Pasquale's niece Isabella is a "bargain" to them: she must marry another merchant, so as not to break with family tradition. The gags among the various characters are hilarious - especially those between the two brothers, who have competely different characters - creating an almost surreal atmosphere. Olivo, interpreted by Bruno Taddia, is teh real protagonist: as Isabella's father, he portrays a gruff, inflexible man, and does so with self-assurance and ease but never over the top. No less convincing is Filippo Morace as his brother Pasquale: istrionic and exhilarating as a na ctor, musically precise, and excellent in his Neapolitan dialect performance. Laurea Giordano, also thanks to her physique du role, is perfect as Isabella, the heartbroken girl torn between love for the young Camillo and obedience towards her grouchy father.