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COMPOSERCATALANI, ALFREDO
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ORCHESTRA / ENSEMBLECoro Artisti Del Coro Associati Orchestra Lirico-Sinfonica Del Teatro Del Giglio Di Lucca
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PERFORMERDe Bernar
Catalani: Edmea / Frusoni, Noto, Chingari, Bernart
- Bongiovanni
- February 2, 2018
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RELEASE DATEFebruary 02, 2018
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UPC8007068209422
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CATALOG NUMBERGB2093/94-2
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LABELBongiovanni
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NUMBER OF DISCS2
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GENRE
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Sinfonia
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Conductor: Massimo De Bernart
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Act I Scene 1: La ruota gira (Chorus)
Composer: Alfredo Catalani
Ensemble: Artisti del Coro Associati, Orchestra lirico sinfonica del Teatro del Giglio di lucca
Conductor: Massimo De Bernart
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Act I Scene 1: Allor che il raggio (Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act I Scene 2: Angelo mio! Rivederti (Oberto, Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maurizio Frusoni, Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act I Scene 3: Egli parte … Divora le tue lagrime (Ulmo)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Marco Chingari
Conductor: Massimo De Bernart
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Act I Scene 4: Ulmo, rimani. Appressati (Conte, Ulmo, Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Graziano del Vivo, Marco Chingari, Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act I Scene 4: Edmea, ti arrendi (Conte, Ulmo, Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Graziano del Vivo, Marco Chingari, Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act II Scene 1: Son zingari o briganti? (Fritz, L'oste)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Pierre Lefebvre, Guido Pasella
Conductor: Massimo De Bernart
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Act II Scene 2: Chi mi sa dire? (Edmea, Ulmo, Fritz, L'oste, Chorus)
Composer: Alfredo Catalani
Ensemble: Artisti del Coro Associati, Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maria Sokolinska Noto, Marco Chingari, Pierre Lefebvre, Guido Pasella
Conductor: Massimo De Bernart
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Act II Scene 3: Nel vino, nel gioco (Chorus)
Composer: Alfredo Catalani
Ensemble: Artisti del Coro Associati, Orchestra lirico sinfonica del Teatro del Giglio di lucca
Conductor: Massimo De Bernart
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Act II Scene 4: È vano! È vano! Forse in quell'astro (Oberto)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maurizio Frusoni
Conductor: Massimo De Bernart
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Act II Scene 5: Lo vedete (Conte, Barone, Oberto, Chorus)
Composer: Alfredo Catalani
Ensemble: Artisti del Coro Associati, Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Graziano del Vivo, Angelo Nosotti, Maurizio Frusoni
Conductor: Massimo De Bernart
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Act II Scene 5: Io son dell'Elba la pallida fata (Edmea, Conte, Oberto, Ulmo, Chorus)
Composer: Alfredo Catalani
Ensemble: Artisti del Coro Associati, Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maria Sokolinska Noto, Graziano del Vivo, Maurizio Frusoni, Marco Chingari
Conductor: Massimo De Bernart
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Act II Scene 5: Osserva là, non vedi tu? (Edmea, Oberto, Ulmo, Conte, Fritz)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Angelo Nosotti, Maurizio Frusoni, Marco Chingari, Graziano del Vivo, Pierre Lefebvre
Conductor: Massimo De Bernart
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Act II Scene 5: Il lago riprendiamo (Fritz, Conte, Oberto, Ulmo, Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Pierre Lefebvre, Graziano del Vivo, Maurizio Frusoni, Marco Chingari, Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Preludio
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Conductor: Massimo De Bernart
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Act III Scene 1: Torniamo all'arcolaio (Edmea, Chorus)
Composer: Alfredo Catalani
Ensemble: Artisti del Coro Associati, Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act III Scene 2: E poss'io dubitar … O bel sogno d'amor (Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act III Scene 3: Tu sei qui … sul mio cor (Oberto, Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maurizio Frusoni, Maria Sokolinska Noto
Conductor: Massimo De Bernart
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Act III Scene 3: Ti sovvieni! Fu là! (Edmea, Oberto)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Maria Sokolinska Noto, Maurizio Frusoni
Conductor: Massimo De Bernart
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Act III Scene 4: Ah! Tu a me innanzi (Conte, Oberto, Edmea)
Composer: Alfredo Catalani
Ensemble: Orchestra lirico sinfonica del Teatro del Giglio di lucca
Performer: Graziano del Vivo, Maurizio Frusoni, Maria Sokolinska Noto
Conductor: Massimo De Bernart
Featuring ⌄
Product Details ⌄
Works ⌄
Edmea (1886) is Catalani’s third theatrical opera. After the success of Dejanice (1883), Catalani started to look for a new libretto. Unable to convince Boito, attracted into Verdi’s orbit, he made do with Antonio Ghislanzoni, who had been resting for at least fifteen years on the laurels from the triumph of Aida. The poet gave the maestro the ready-made libretto of Edmea, which had bene written already for Salvatore Auteri Mazocchi and not set to the music. The libretto, drawn from a drama by Alexandre Dumas Jr., The Danicheff, is an unlikely story conceived in function of a prima donna in a state of lunacy, according to an operatic tradition revived in those years by Thomas heroine of Ophelia in Hamlet. Edmea is undoubtedly an attempt of the musician to please his audience with a relatively easy listening product, with emphasizing the vocal score, pushing it toward the extreme notes; in particular the tenor’s part is not only sharp but also kept more than due in the theatrical zone of the register passage. The main interest of the opera is in the orchestra, often splendidly used with very subtle sensibility for aims that exceed by far a mere elaborated support to singing. The orchestra language is always careful, present, alive and consistent, elegant and varied with languors and succen excitements. The musician from Lucca show his unmistakable expressive signature and succeeds to make himself unforgettable.
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