Classical Music

Born in 1944 in Sundsvall, Swedish opera singer, dramatic soprano, and appointed Court Singer Siv Wennberg has led an impressive career. She has performed leading roles in operas by Wagner, Grieg, Sibelius, and Verdi. On the releases issued in this series, Siv Wennberg demonstrates an enormous musical breadth, equally at home in the dramatic episodes as in the wonderful world of romances. These releases include live recordings as well as studio work, arias, songs with orchestra, songs with piano, duets with other notable musicians such as Nicolai Gedda, live recitals, and much more.

Ruggero Raimondi takes the lead role in this performance of Verdi's comic opera recorded at the Opera Royal de Wallonie in Liege, Belgium in 2009. Paolo Arrivabeni conducts. Falstaff, the lyric comedy was Giuseppe Verdi�s last opera. It is an operatic favorite, long admired by critics and opera goers alike because of its brilliant orchestration, scintillating libretto and refined melodies. This production recorded at the Op�ra Royal de Wallonie in Li�ge, Belgium was staged by Stefano Poda and features the well known Italian Bass Ruggero Raimondi as the title-role. Directed by Stefano Poda. Starring Sabina Pu rtolas, Luca Salsi, Cinzia de Mola. Language: Italian Subtitles: English, French, Italian, German

The winner of the Compoamor Prize as best 2015 production, this Otello - a Macerata Opera Festival and Festival Castell de Peralada coproduction - was entrusted to a star of teh current direction firmament, the Spanish director and set designer Paco Azorin, and conducted by Riccardo Frizza. Frizza gives back to this Verdi score all of its beauty, its refined orchestral and harmonic writing, at the same time leading with confidence the singers: the solid Othello of the American tenor Stuart Neill, an imposing figure and a very interesting voice, rich in nuances; the lyrical Desdemona of Jessica Nuccio, debuting in this role; and the excellent Jago of Roberto Frontali, a fine singer and charismatic actor. Azorin's direction cleverly employs the length and breadth of the great stage of the Arena Sferisterio, also thanks to an inspiring use of lighting and projections.

VERDI: Ernani

Written for exceptional singers, Il Trovatore has remained popular ever since its first performance at the Teatro Apollo in Rome on January 19, 1853, when even the toughest critics were convinced of its place in the repertoire. People are attracted to Il Trovatore because of its rousing melodies, its brutal, powerful plot, and its simple structure: elements tha tmake it one of the best examples of Verdi's theatre pieces. Recorded live at the Sferisterio theatre of Macerata in the summer of 2016, under conductor Daniel Oren's vibrant and incisive direction, this production boasts a first-rate cast and elegant direction from Francisco Negrin. The sets and costumes by Louis Desire and lightning by Bruno Poet were well received by the Sferisterio audience.

The winner of the Campoamor Prize as best 2015 production, this Otello – a Macerata Opera Festival and Festival Castell de Peralada coproduction – was entrusted to a star of the current direction firmament, the Spanish director and set designer Paco Azorín, and conducted by Riccardo Frizza. Frizza gives back to this Verdi score all of its beauty, its refined orchestral and harmonic writing, at the same time leading with confidence the singers: the solid Othello of the American tenor Stuart Neill, an imposing figure and a very interesting voice, rich in nuances; the lyrical Desdemona of Jessica Nuccio, debuting in this role; and the excellent Jago of Roberto Frontali, a fine singer and a charismatic actor. Azorín’s direction cleverly employs the length and breadth of the great stage of the Arena Sferisterio, also thanks to an inspiring use of lighting and projections.

Also available as a hybrid Super Audio CD.

Insightful interpretation and the intensity of a live performance enhance the strength of this outstanding recording.

Released in 2010, this CSO Resound recording of Verdi’s Requiem is based on concert performances from January 2009 at Orchestral Hall (Symphony Center)m, Chicago.

The discs set forth the first recording of the CSO under the direction of its new director Riccardo Muti. They offer a vivid interpretation of this familiar work which captures the dynamic character of the concerts while also providing excellent sonics. A welcome addition to the discography of this venerable work, the CSO recording is notable for the bringing out of details of execution that set it apart from others.

The famous opening section of the Dies Irae is full of dynamic contrast, from the thunderous percussion and brass playing to almost whispered choral sounds. Such extroverted gestures stand in contrast to the sometimes chamber-like solicitous treatment of the opening. In rendering such varied emotions, Muti arrives at an interpretation that never treats the music passively. In bringing this performance together he confers his sense of the wholeness of the piece on the entire ensemble, orchestra, chorus and soloists.

As to the soloists, they equally strong in their abilities, with their distinctive timbres used well. Barbara Frittoli soars when appropriate, and at the same time works well with Borodina in the “Recordare” duet. In the same way, Mario Zeffiri brings out the pathos of the “Ingemisco” section, with vibrato coloring passages purposefully. In the trio “Quid sum miser” he blends well with Frittoli and Borodina. The bass Ildar Abdrazakov is equally suited to his part, with a dark timbre that is particularly effective in the “Confutatis” section of the Dies Irae. The four soloists work together in ensemble in the “Domine Jesu Christ” passage to bring the Dies Irae to its conclusion. The duet between Frittoli and Borodina in the Agnus Dei is particularly touching, with Borodina’s rich sound emerging well.

Through the recording, the CSO offers a warm, opulence that supports the voices, as in the opening of the Offertorio and the Lux aeterna. At the same time the CSO Chorus is impressive for its focus, unified diction and solid intonation. The combined voices seem effortless. These aspects are essential to the recording which is immediate and natural. In many ways the forces involved encapsulate the style and meaning of the entire piece in the final section, Libera me. It is among the finest passages of the recording. Frittoli gives a sense of urgency throughout much of the section, a sense that resolves at the conclusion. Along the way, the choral and orchestral timbres support and delineate her text, as Verdi brings the Requiem to a conclusion. The reprise of the Dies Irae brings a spirit of unity again, with an edge to which Frittoli responds. This interaction contributes to making this reading continually appealing.

Such appeal is apparent because of the power of the performances. This interpretation has a sense of relevance arising from the manifest engagement of all concerned. Within the continuous tradition of performance, this recording, with its fine sound, excellent interpretation and abundantly apt musicianship, demonstrates the appeal that Verdi’s Requiem continues to retain.

This is issued as a two-disc set with a generous booklet that contains the full text and translation, as well as an interview with Muti and performer details. Those familiar with the CSO may wish to add it to their own collections, and those who prefer downloads will find that the CSO makes those available, too.

Insightful interpretation and the intensity of a live performance enhance the strength of this outstanding recording.

-- James L Zychowicz, MusicWeb International

Part of the 200th anniversary series "Tutto Verdi," this admirable Ernani starring the likes of Marco Berti and Carlo Guelfi will become the first recording of this work available on Blu-ray. Staged by legendary director Pierluigi Pier'Alli of La Scala fame, this version from the Tetro Regio di Parma is sure to become legend itself!

Verdi: Aida

Verdi: Aida

Illicit love, suspicion, deception and supernatural portents of doom lead to a shocking drama at a masked ball in 1790s Sweden. The incomparable Placido Domingo stars as the dashing King Gustavus III, whose reforms have inspired talk of assassination among the conservative nobility. Katia Ricciarelli is Gustavus's beloved Amelia, married to his closest friend, Anckarstrom, sung by Piero Cappuccilli. Claudio Abbado conducts the distinguished cast, supported by the Orchestra of the Royal Opera house and Royal Opera Chorus, in Otto Schenk's classic production of this Verdi favorite for The Royal Opera. This recording, with English subtitles, is preserved in its original Standard Definition and 4:3 picture format.

Classical Music

Giuseppe Verdi finished his first volume of Romances with none other than two of Gretchen's songs from Goethe's Faust, which gives the publication a particularly fascinating perspective. Imagine the late bloomer from Busseto, who was just working on his first opera, and was considering all possible text sources - it might be conjecture but not completely absurd to see a first, tentative approach to Goethe with the pieces "Meine Ruh ist hin" ("My peace is gone") and "Neige, neige, du Schmerzenreiche" ("Lean down, you who are full of sorrow"). It may be only postulation, but consider if we had lost not just the planned King Lear, but a Faust as well...! The second volume of six Romances (1845) is more colorful and varied, as humorful and melancholy strains alternate. The gloomy yet beautiful evening scene "Il tramonot" ("The Sunset") [16] stands next to "Zingara" with it's bolero rhythms and musically blazing eyes [3], and next to the desire of the prisoner for the freedom of the lovely evening star ("Ad una stella") [15]. After that, in the cheery chattering of the "Spazzacamino" [2] ("The Chimneysweep"), it's easy to understand why his harmonies in three-quarter time aren't all that elegant: "I look coarse and black, and everyone who gets too close to me gets black as well..." At the end, Felice Romani's glowing ode to his wife ("Il mistero") [17] leads on to a sparkling paean to wine: apparently both are cardiotonic medicines, if we are to believe the last words in each.

VERDI: Forza del Destino (La)