(Opera) Ricci - La Prigione Di Edimburgo (Robinson, Lee, Scano, von Lipinski - Geoffrey Mitchell Choir / Philharmonia Orchestra, Bellini) - 2004, MP3 (tracks) 320 kbps

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Federico Ricci - La Prigione di Edimburgo
Жанр: Opera
Страна-производитель диска: EU
Год издания: 2004
Издатель (лейбл): Opera Rara
Номер по каталогу: ORR228
Дата записи: 2000
Аудиокодек: MP3
Тип рипа: tracks
Битрейт аудио: 320 kbps
Продолжительность: 77'57
Источник: WEB
Наличие сканов в содержимом раздачи: да
1. Act I Scene 1: Scena: Allegro, o meititor
2. Act I Scene 2: Cavatina: De' felici miei prim'anni
3. Act I Scene 2: Cabaletta: Ah! Rinasce nel mio petto
4. Act I Scene 4: Scena: La pazza!
5. Act I Scene 4: Cavatina: Oh, come e vago, amabile
6. Act I Scene 4: Cabaletta: Chi di voi conosce amore …
7. Act I Scene 7: Barcarolla: Sulla poppa
8. Act II Scene 5: Scena: Qual sara il mio destino!
9. Act II Scene 5: Duetto: Lei … cagion de' mali miei
10. Act II Scene 5: Largo: Un figlio, il cui sorriso
11. Act II Scene 5: Andante Mosso: Sei bella
12. Act II Scene 10: Canzone: Dormi, dormi, bel bambino
13. Act II Scene 12: Scena: Tom
14. Act II Scene 14: Sestetto: In quest'ora tremenda
15. Act II Scene 14: Scena: Ove vai?
16. Act II Scene 14: Stretta: Oh Dio possente!
17. Act III Scene 4: Scena: Giovanna … questo figlio!
18. Act III Scene 4: Duetto: Voi quell'aria non avete
19. Act III Scene 4: Stretta: Oh momento di supplizio!
20. Act III Last Scene: Scena: Salva! Salva!
21. Act III Last Scene: Prieghiera: La sua man, oh Ciel tu guida
Federico Ricci - La Prigione di Edinburgo
Dean Robinson (Bass)
Colin Lee (Tenor)
Nicola Rossi Giordano (Tenor)
Elisabetta Scano (Soprano)
Rebecca von Lipinski (Soprano)
Nuccia Focile (Soprano),
Christopher Purves (Baritone)
Geoffrey Mitchell Choir
Philharmonia Orchestra
Conductor: Gabriele Bellini
Доп. информация:
La prigione di Edimburgo was a great success and was quickly mounted in literally dozens of opera houses all over Europe.
Giovanna is a madwoman who kidnaps Ida’s baby (they’re both sopranos, with remarkably similar ranges).
The father of Ida’s baby is Giorgio (tenor), a smuggler, who also happens to be the man who seduced Giovanna and who, we assume, drove her mad.
Tom (baritone) is the leader of the smugglers.
Giorgio is really the son of the Duke of Argyle, whose men come to arrest Ida for having an illegitimate baby and murdering it.
Incredulous and innocent, she says, “No, I’ll go get it,” but by then Giovanna has taken the baby and Ida is led away, very unhappy.
Ida is put on trial and condemned to death; Giorgio is distraught and Giovanna thinks she’s found a buddy in Ida.
Tom is made head jailer.
The crowd wants Ida dead and Giovanna points Giorgio to a bell tower in which she’s hidden the baby.
The prisoners set fire to their cells and it is spreading to the bell tower when Giovanna attaches the baby to a basket on a rope and lowers it to safety.
She burns as the rest are relieved and live happily ever after.
The plot is pulpy but the music is terrific, full of fine tunes, sensitive orchestrations (without a hint of German influence), and cordial vocal writing, not to mention a real sense of drama within the arias, duets, ensembles, and two finales.
Giovanna’s music is indeed unhinged, but not with wacky mad-scene runs; rather, the unexpected harmonic turns in her first scene and the sincerity of her lullaby to a non-existent baby tell us plenty about her.
There is a hint of the wistful tunefulness of Michael Balfe’s “I dreamt I dwelt in marble halls” in her first aria (or probably the other way around, since the Balfe was written in ’43), and her cabaletta is effectively unpredictable. The melody that begins the sextet that launches the first finale is so lush it could be Bellinian, and the Giovanna/Giorgio duet near the opera’s close would not be out of place in late Donizetti or early Verdi.
The performances are uniformly fine.
Both sopranos are excellent, with Elisabetta Scano, as Ida, more purposefully lyrical than Nuccia Focile’s loony, edgy Giovanna.
Tenor Nicola Rossi Giordano sings with real Italian flair and is worth hearing again, and baritone Christopher Purves is a fine Tom–he sings the opera’s most popular tune, a barcarolle.
Gabriele Bellini leads the orchestra and chorus with zeal and they play and sing superbly.
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