Rossini: Sigismondo / Wilson, Munich Radio Orchestra

$34.99
Label
BR Klassik
Release Date
August 2, 2019
Format
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    Featuring ⌄
    • COMPOSER
      ROSSINI, GIOACHINO
    • PERFORMER
      Park, Pizzolato, Kelly, Tarver, Ring, Loconsolo, Hong, Weinberg, Chor Des Bayerischen Rundfunks, Mue
    Product Details ⌄
    Works ⌄

    1. Act I: Sinfonia

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Olga Watts

      Conductor: Keri-Lynn Wilson

    2. Act I Scene 1: Introduction: O prence misero (Chorus, Anagilda, Radoski, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Rachel Kelly, Gavan Ring, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    3. Act I Scene 2: Recitative: Né fia, german, che rieda (Anagilda, Radoski, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Rachel Kelly, Gavan Ring, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    4. Act I Scene 3: Cavatina: Non seguirmi … omai t'invola (Sigismondo, Anagilda, Ladislao, Radoski)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Marianna Pizzolato, Rachel Kelly, Kenneth Tarver, Gavan Ring, Olga Watts

      Conductor: Keri-Lynn Wilson

    5. Act I Scene 3: Recitative: Signor, mentre t'adora - Scene 4: O dubbi miei! (Ladislao, Sigismondo, Anagilda)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Kenneth Tarver, Marianna Pizzolato, Rachel Kelly, Olga Watts

      Conductor: Keri-Lynn Wilson

    6. Act I Scene 5: O tranquillo soggiorno - Cavatina: Oggetto amabile (Aldimira)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Olga Watts

      Conductor: Keri-Lynn Wilson

    7. Act I Scene 5: Recitative: Signora … (Zenovito, Aldimira)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Guido Loconsolo, Hyesang Park, Olga Watts

      Conductor: Keri-Lynn Wilson

    8. Act I Scene 5: Recitative: Di caccia il suono - Scene 6: Chorus: Al bosco! (Zenovito, Aldimira, Chorus)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Guido Loconsolo, Hyesang Park, Olga Watts

      Conductor: Keri-Lynn Wilson

    9. Act I Scene 7: Lo sposo! - Scene 8: Recitative: Il loco è questo - Scene 9: Ti veggo, sì … - Scene 10: Mio re! - Scene 11: Venga Ulderico (Aldimira, Zenovito, Sigismondo, Anagilda, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Guido Loconsolo, Marianna Pizzolato, Rachel Kelly, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    10. Act I Scene 11: Recitative: Che avvenne? - Aria: Vidi … (Sigismondo, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Marianna Pizzolato, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    11. Act I Scene 12: Recitative: Giusto cielo, m'aita! (Aldimira, Sigismondo)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Marianna Pizzolato, Olga Watts

      Conductor: Keri-Lynn Wilson

    12. Act I Scene 12: Recitative: Se un tradimento reo - Duettino: Un segreto è il mio tormento (Sigismondo, Aldimira)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Marianna Pizzolato, Hyesang Park, Olga Watts

      Conductor: Keri-Lynn Wilson

    13. Act I Scene 13: Recitative: Il re dov'è? (Ladislao, Zenovito)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Kenneth Tarver, Guido Loconsolo, Olga Watts

      Conductor: Keri-Lynn Wilson

    14. Act I Scene 13: Aria: Tu l'opra tua seconda (Zenovito)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Guido Loconsolo, Olga Watts

      Conductor: Keri-Lynn Wilson

    15. Act I Scene 14: Recitative: Io dispor che costei (Ladislao, Zenovito)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Kenneth Tarver, Guido Loconsolo, Olga Watts

      Conductor: Keri-Lynn Wilson

    16. Act I Scene 15: Recitative: Ella ricusa? - Duet: Perché obbedir disdegni? - Scene 16: Che creder deggio mai (Ladislao, Aldimira, Anagilda, Radoski, Sigismondo)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Kenneth Tarver, Hyesang Park, Rachel Kelly, Gavan Ring, Marianna Pizzolato, Olga Watts

      Conductor: Keri-Lynn Wilson

    17. Act I Scene 17: Finale: Quale, o ciel, d'idee funeste (All)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Hyesang Park, Marianna Pizzolato, Rachel Kelly, Kenneth Tarver, Gavan Ring, Guido Loconsolo, Il Hong, Olga Watts

      Conductor: Keri-Lynn Wilson

    18. Act II Scene 1: Introduction: In segreto a che ci chiama? (Chorus)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Olga Watts

      Conductor: Keri-Lynn Wilson

    19. Act II Scene 2: Recitative: Ah! Superato il bosco - Scene 3: Aldimira! (Sigismondo, Ladislao, Anagilda, Chorus)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Marianna Pizzolato, Kenneth Tarver, Rachel Kelly, Olga Watts

      Conductor: Keri-Lynn Wilson

    20. Act II Scene 3: Chorus: Viva Aldimira (Chorus, Anagilda, Radoski)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Rachel Kelly, Gavan Ring, Olga Watts

      Conductor: Keri-Lynn Wilson

    21. Act II Scene 3: Recitative: Come attento Radoski - Scene 4: Ella! … è dessa (Aldimira, Sigismondo, Radoski, Anagilda)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Marianna Pizzolato, Gavan Ring, Rachel Kelly, Olga Watts

      Conductor: Keri-Lynn Wilson

    22. Act II Scene 4: Come! … - Duet: Tomba di morte (Aldimira, Sigismondo)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Marianna Pizzolato, Olga Watts

      Conductor: Keri-Lynn Wilson

    23. Act II Scene 5: Recitative: M'ingannaste, occhi miei? (Radoski, Anagilda)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Gavan Ring, Rachel Kelly, Olga Watts

      Conductor: Keri-Lynn Wilson

    24. Act II Scene 5: Sognava contenti - Scene 6: O ciel! tu riserbasti (Anagilda, Radoski, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Rachel Kelly, Gavan Ring, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    25. Act II Scene 7: Misero me! - Aria: Giusto ciel - Scene 8: Venga Egelinda - Scene 9: Che più vuoi? (Ladislao, Sigismondo, Radoski)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Kenneth Tarver, Marianna Pizzolato, Gavan Ring, Olga Watts

      Conductor: Keri-Lynn Wilson

    26. Act II Scene 9: Recitative: Non tradirmi! - Scene 10: Ad Ulderico or or n'andiam (Aldimira, Radoski, Sigismondo)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Gavan Ring, Marianna Pizzolato, Olga Watts

      Conductor: Keri-Lynn Wilson

    27. Act II Scene 11: Alla partenza - Aria: Ah! signor (Radoski, Sigismondo, Aldimira, Chorus)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Gavan Ring, Marianna Pizzolato, Hyesang Park, Olga Watts

      Conductor: Keri-Lynn Wilson

    28. Act II Scene 12: Recitative: Io rivedrò Aldimira? (Ulderico, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Il Hong, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    29. Act II Scene 12: Recitative: Ecco, l'indegno! (Ulderico, Ladislao)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Il Hong, Kenneth Tarver, Olga Watts

      Conductor: Keri-Lynn Wilson

    30. Act II Scene 13: Quartet: Genitor … deh vien! (Aldimira, Sigismondo, Ladislao, Ulderico)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Hyesang Park, Marianna Pizzolato, Kenneth Tarver, Il Hong, Olga Watts

      Conductor: Keri-Lynn Wilson

    31. Act II Scene 16: O sorte barbara (Chorus, Sigismondo, Ulderico, Ladislao, Aldimira)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Marianna Pizzolato, Il Hong, Kenneth Tarver, Hyesang Park, Olga Watts

      Conductor: Keri-Lynn Wilson

    32. Act II Scene 17: Recitative: E tu che per salvarlo (Ulderico, Aldimira, Ladislao, Sigismondo)

      Composer: Gioachino Rossini

      Ensemble: Münchner Rundfunkorchester

      Performer: Il Hong, Hyesang Park, Kenneth Tarver, Marianna Pizzolato, Olga Watts

      Conductor: Keri-Lynn Wilson

    33. Act II Scene 17: Finale: Qual felice amico giorno (All)

      Composer: Gioachino Rossini

      Ensemble: Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester

      Performer: Hyesang Park, Marianna Pizzolato, Rachel Kelly, Kenneth Tarver, Gavan Ring, Guido Loconsolo, Il Hong, Olga Watts

      Conductor: Keri-Lynn Wilson


The Italian composer Gioachino Rossini is best known for his operas. Many of their overtures and arias were catchy tunes at the time and have remained so to this day. Although it is Rossini’s comic operas that are primarily performed today, more than half of his stage works are in fact based on serious themes. One veritable rarity is the stage work "Sigismondo", which premiered in 1814 at the famous Teatro La Fenice in Venice but was only ever rarely performed afterwards. Presumably, the story on which it was based had no appeal for the audience at that time, because musically, the work is hardly less impressive than the "Italian Girl in Algiers", written during the previous year, or the "Barber of Seville", which followed two years later. The subject of the opera is, however, based on a long tradition. Rossini shows his protagonist, the fictional King Sigismondo, in extreme states of mental distress. Confusion and insanity reveal inner feelings, and it is only delirium that finally brings the truth to light. This "madness opera" is highly topical, both in its subject matter and its musical language – after all, Rossini is among the top ten most-performed composers of our time. A concert performance of this little-known and unjustly neglected masterpiece was given at Munich’s Prinzregententheater on October 14, 2018 - in the original language, and by performers highly familiar with Rossini’s music, which seems so easy but is in fact extremely difficult to sing. This extraordinary opera event – a festival of singing that received tumultuous applause as well as great critical acclaim – is now being released on BR-KLASSIK as a live recording.

 

REVIEW:

 

It would appear at first glance that the release of this recording of one of Rossini’s more egregious operas has been primarily designed as a promotional exercise for the conductor Keri-Lynn Wilson. How else does one explain that hers is the only artist biography in the 36-page German-English booklet?

 

She is good. But the singers are good too: an exceptional cast to be assembled for a Sunday radio transmission. But that’s Germany for you, the one country in Europe which still has the desire and the wherewithal seriously to invest in opera.

 

Singing Rossini live under a skilled if sometimes hard-driving conductor is not without its perils, as is occasionally evident with the one soprano in the cast, the gifted Hera Hyesang Park, who sings the role of the exiled wife of the delusional Polish king Sigismondo. But she, too, generally acquits herself with distinction, not least in Aldimira’s striking Act 2 aria.

 

Sigismondo, an old-fashioned travesti role, is sung by Marianna Pizzolato. Both she and Kenneth Tarver as the king’s devious and sexually ambitious Prime Minister are class acts. It’s also good to hear the young Irish mezzo Rachel Kelly in the comprimario role of the minister’s sister, Anagilda.

 

Keri-Lynn Wilson — or Mrs Peter Gelb as one’s probably not allowed to call her — is an experienced conductor who has worked in leading houses across the world. Here the drive and authority of her conducting work wonders for the piece. I like the way she rescues the Overture from buffo banality by giving it a rumbustious, even dangerous feel. I also like the way the performance culminates in an electrifying account of the Act 2 quartet. Identifying and realising any work’s one true climax is a skill that eludes all too many stick-wavers.

 

Rossini wrote Sigismondo for Venice’s Teatro La Fenice in the autumn of 1814. He was 22 and on the cusp of a move to Naples and the second great phase of his career. The impresario of La Fenice warned him that the libretto wasn’t up to much and Rossini seems to have agreed. Still, he set to and came up with some vital and at times forward-looking music that had the singular merit of appeasing the first-night audience. Which is why it doesn’t perhaps matter that BR-Klassik has been negligent in its presentation—no text and translation, such as one has with Bongiovanni’s highly recommendable 1992 Rovigo theatre recording conducted by Richard Bonynge, nor the kind of track-by-track synopsis such as Naxos provides in its altogether less well-sung and less efficiently recorded 2016 Rossini in Wildbad performance.

 

 

– Gramophone