Classical Music

Bellini 's first opera is also the most complicated when it comes to reconstructing the composer's various versions and revisions of it. A major step forward came in 2001 when a series of hitherto unknown sources housed in the Fondo Mascarello in the library of the Milan College of Music allowed many previous gaps to be filled and a number of questions to be answered. Above all it enabled knowledge of Adelson e Salvini to be revised radically. In its sole authentic complete version, Adelson e Salvini is a French-style opera semiseria in which musical numbers are separate from spoken dialogue. Adelson e Salvini is surprisingly fresh in approach and heralds the great things that would later come from its composer.

Vincenzo Bellini is widely regarded as the last and greatest composer of bel canto opera, and his most famous operas, Norma, is one of the leading works in the genre. Even Richard Wagner said of Norma: “If we weep from emotion on hearing it, it’s nothing to be ashamed of.” This release is a new production of the opera, directed by Grammy Award-nominated director of opera, theatre, and film, Kevin Newbury. Sondra Radvan stars as a captivating Norma in a performance in which the New York Times described as “powerful, elegant.” Gregory Kunde performs as Pollione. operatraveller.com wrote of his performance: “something very special. The word ‘historic’ is used perhaps a little too often but tonight there really is no other adjective to describe the sensational performances offered to us by Sondra Radvanovsky and Gregory Kunde.”

Classical Music

The three-act opera semiseria Adelson e Salvini by Vincenzo Bellini was based on the 1772 novel Epreuves du Sentiment by Francois-Thomas-Marie de Baculard d’Amaud, and draws on a previously performed French play of 1803 by Prospere Delamare. With libretto by Andrea Leone Tottola, the opera was first written as Bellini’s final project at the Naples San Sebastiano Conservatory. It was first performed in early 1825. This new release features that original 1825 version, presented by a stunning lineup of soloists, the Orchestra Accademica del Conservatorio Santa Cecilia, Roma, and Ensemble vocale del Conservatorio Santa Cecilia, Roma.

The story of Shakespeare’s star crossed lovers has been adapted and retold by composers, librettists, playwrights, and choreographers for centuries. Since the Renaissance, everyone seems to have put their own spin on the story. This release features Vincenzo Bellini’s frequently overlooked gem “I Capuleti e i Montecchi.” This work is unique in that it is not simply a retelling of Shakespeare’s story set to music. Rather, the opera tells the account of the last 24 hours in Romeo and Juliet’s lives. Desperation and melancholy draw to a tragic cataclysm as the young lovers choose to end their lives. This production, directed by Christof Loy and conducted by Fabio Luisi, originates in Zurich, and was wonderfully received by both audiences and critics. Joyce DiDonato dazzles in the role of Romeo alongside Ukrainian soprano Olga Kulchynska, who plays Giulietta.

The story of Shakespeare's star crossed lovers has been adapted and retold by composers, librettists, playwrights, and choreographers for centuries. Since the Renaissance, everyone seems to have put their own spin on the story. This release features Vincenzo Bellini's frequently overlooked gem "I Capuleti e i Montecchi." This work is unique in that it is not simply a retelling of Shakespeare's story set to music. Rather, the opera tells the account of the last 24 hours in Romeo and Juliet's lives. Desperation and melancholy draw to a tragic cataclysm as the young lovers choose to end their lives. This production, directed by Christof Loy and conducted by Fabio Luisi, originates in Zurich, and was wonderfully received by both audiences and critics. Joyce DiDonato dazzles in the role of Romeo alongside Ukrainian soprano Olga Kulchynska, who plays Giulietta.

La sonnambula was written by Bellini as a vehicle for two of the supreme singers of his age and accordingly is a fine example of the school we call bel canto, where beauty of voice and the virtuosity of the singers is integral to conveying the emotions in the soul of the composer. The fact that Bellini was one of the great melodists, writing long, beautiful vocal lines, that he was a master orchestrator and that he could write stirringly for the chorus all conspire to make La sonnambula an extremely enjoyable example of Italian opera in it's prime.

Classical Music

Bellini, V.: Il Pirata / Beatrice di Tenda (Highlights)

BELLINI: Norma (1831 Edition for 2 Sopranos)

DILBËR - COLORATURA ARIAS KLA

Classical Music

The Teatro La Fenice opened in 1792 and is one of the most renowned and most beautiful theaters in the world. Since nearly 20 years it has celebrated the traditional New Year‘s concert every year, which became immediately vast popularity in Italy and abroad making it one of the best-known and desired New Year's events. The orchestra of Teatro La Fenice, conducted by Daniel Harding, presents a colourful array of arias and orchestral pieces. As soloists soprano Federica Lombardi and tenor Freddie De Tommaso sing famous arias as Casta Diva and Nessun dorma among others from the operas Carmen, La traviata, La bohème, Turandot, William Tell and La clemenza di Tito. On top Jacopo Tissi, now principal of the Dutch National Ballet, is dancing a scene from Tchaikovsky´s ballet The Sleeping Beauty in this thrilling and exhilarating concert.

After collections celebrating the label’s 40th year that focused on sacred, orchestral, and chamber/soloist music, respectively, Capriccio’s fourth and last Anniversary Box now features the singing stars in the label’s history. There’s that pioneer of ‘counter-tenorism’, Jochen Kowalski, for example. We hear unexpected works from icons like Peter Schreier (with lute accompaniment) and Hermann Prey (singing Operetta music), Italian fare from Alfredo Kraus and Ramón Vargas, and Cecilia Bartoli – discovered and first recorded by Capriccio – in her first (and presumably only) Wagner role! Also opera rarities the kind with which Capriccio made a name for itself – with a cast that would have turned heads even at the finest opera houses.