Opera Explained: VERDI - Falstaff (Smillie)

Opera Explained: Verdi - Aida

Classical Music

Nikolaus Harnoncourt was praised for his chamber music, evolving from the Piano access to "Aida" in 1997 in Zurich. Against both nothing is to say, in principle, only a guarantee for an exciting, rousing opera recording is not self-evident. I must say that I really enjoy the recording until the score in his hand and made music excellent and brilliant the many carefully worked out details that almost meticulous compliance with the dynamic demands of Verdi and transparency in the spotless ensembles especially in the of the Vienna Philharmonic could appreciate orchestral passages (with over four lasting several months, recording sessions, I expect that as well). - Thomas Tillmann, http://www. Omm. De

Gundula Janowitz, Vol.1: Verdi Requiem with Karajan, Lieder

Verdi was justifiably pleased with MacBeth, his tenth opera and his first on a Shakespearian subject-it would long remain his own favourite among his 'early period' operas. Eighteen years later, at the invitation of the The tre Lyrique in Paris.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

VERDI: Overtures / Preludes / Ballet Music

This generous CD of excerpts from Verdi's Il trovatore is very good indeed. It contains more than half of the opera, comprising both of Leonora's arias, much of Azucena's second act (and last act) music, Ferrando's opening spiel, Manrico's third act scene, and some ensembles, including the first and last act finales. The singers are among the most expressive on any available recording of this opera, with Maurizio Frusoni a manly, fearless Manrico, Daniela Longhi an involved Leonora, Roberto Servile a bit light as di Luna, and Irina Tschistiakova a clear-toned, nice-and-loony Azucena. Will Humburg leads an exciting series of globs of the opera.

Verdi wrote his Egyptian opera Aida in response to a commission from the Khedive of Egypt for the opening of the new Cairo Opera House, after rejecting requests for an anthem to celebrate the opening of the Suez Canal a year earlier. The first performance was conducted by the famous double-bass player Bottesini. Spectacle, of which some stage directors have made much, is provided particularly in the return of the victorious Radames in triumph. The story was the invention of the French egyptologist Auguste Mariette, elaborated in French prose by Camille Du Locle, before the final Italian text was drafted. Aida remains a popular part of Italian opera repertoire. Familiar concert excerpts from Aida inevitably include the tenor Celeste Aida (Heavenly Aida) and Aida's Ritorna vincitor (Return victorious). The grand march has celebrated many an unoperatic festivity and has allowed spectacular extravagance in more ostentatious productions of the opera. O patria mia (O my homeland) for Aida in the third act adds a particular poignancy, while the final death scene of Radames and Aida is also sometimes to be heard in dramatic isolation.