(Opera, Vocal) Ramon Vargas - Rossini / Donizetti: Opera Arias - 2000, MP3 (tracks), 192 kbps

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Ramón Vargas - Rossini / Donizetti: Opera Arias (Tenor arias from Italian bel canto repertoire)
Жанр: Opera, Vocal
Страна-производитель диска: Швейцария
Год издания: 2000
Издатель (лейбл): Claves records
Дата записи: 1991
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 192 kbps
Продолжительность: 01:04:52
1. Il barbiere di Siviglia (The Barber of Seville) - Ecco ridente in cileo [04:38];
2. Il barbiere di Siviglia (The Barber of Seville) - Se il mio nome saper voi bramate [02:41]
3. L' italiana in Algeri (The Italian Girl in Algiers) - Languir per una bella [06:44];
4. L' occasione fa il ladro - D'ogni più sacro impegno [05:19];
5. La donna del lago (The Lady of the Lake) - Eccomi a voi, miei prodi [07:22];
6. Linda di Chamounix - Se tanto in ira agli uomini [06:11];
7. Le duc d'Albe (Il duca d'Alba) - Angelo casto e bel [07:10];
8. L' elisir d'amore - Una furtiva lagrima [04:59];
9. Anna Bolena - Vivi tu, te ne scongiuro [03:13];
10. Don Pasquale - Chercherò lontana terra [08:42];
11. Lucia di Lammermoor - Fra poco a me ricovere [07:53].
Ramón Vargas (tenor),
English Chamber Orchestra,
Marcello Viotti, Conductor,
Nigel Woodhouse (Guitar).


This recording, made in 1991, was once out of print, but has been re-released thanks to Vargas' well-deserved increase in renown in the late 1990s. The singing here displays the traits that have raised him to stardom: a sweet timbre, delicacy of touch, and exceptional ornamentation. He articulates each note in rapid-fire fashion, a stylistic choice that will please some listeners and displease others. The very lowest notes at the bottom of the perilous leap to a low G in "Eccomi a voi" are not as powerful as the rest of his range, and a few times, most noticeably in "Languir per una bella," the pianissimo passages can sound breathy, but these are small flaws compared to everything else he offers--especially in the more lyrical outpourings where his timbre and delivery often match the music perfectly.
What is seriously lacking, however, is more than monochromatic emotion; in the Lucia di Lammermoor aria, for example, there is only a perfunctory difference between the angry and the lachrymose outbursts. However, even among an excellent crop of Rossini-Donizetti-Bellini tenors, this recording still stands out for fine vocalism, if not dramatic intensity or individuality. The arias vary nicely between the standards and some rarer choices.
Viotti's conducting is soft-edged, standing in contrast to the usual crispness we hear today in Rossini conducting, but not at all lethargic or overwrought.
Anne Feeney
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