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Bellini: La Sonnambula / Bartoli, Florez, D'arcangelo, Orchestra la Scintilla, De Marchi [Limited Edition, Deluxe Edition]

Suze De Marchi, Cecilia Bartoli, Juan Diego Florez, Ildebrando D'Arcangelo | Format: Audio CD

4.0 out of 5 stars See all reviews (11 customer reviews)

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Product details

Audio CD (10 Nov 2008)
SPARS Code: DDD
Number of Discs: 2
Format: Limited Edition, Deluxe Edition
Label: L'Oiseau-Lyre (Universal Classics)
ASIN: B001DXF73I

Average Customer Review: 4.0 out of 5 stars See all reviews (11 customer reviews)

Amazon Bestsellers Rank: 165,655 in Music (See Top 100 in Music)

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Disc: 1
1. Introduzione - Orchestra La Scintilla, Alessandro De Marchi
2. Viva! Viva Amina! - Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
3. Tutto � gioia, tutto � festa - Gemma Bertagnolli, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
4. Viva Amina - Gemma Bertagnolli, Peter Kalman, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro De Marchi
5. Care compagne, e voi, teneri amici - Cecilia Bartoli, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro De Marchi
6. Come per me sereno oggi rinacque il d�! - Cecilia Bartoli, Gemma Bertagnolli, Juan Diego Fl�rez, Ildebrando d' Arcangelo, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
7. Sovra il sen la man mi posa - Cecilia Bartoli, Gemma Bertagnolli, Juan Diego Fl�rez, Ildebrando d' Arcangelo, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
8. Io pi� di tutti, o Amina, teco mi allegro - Cecilia Bartoli, Gemma Bertagnolli, Peter Kalman, Liliana Nikiteanu, Javier Camarena, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro De Marchi
9. Perdona, o mia diletta, il breve indugio - Cecilia Bartoli, Juan Diego Fl�rez, Javier Camarena, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
10. Prendi: l'anel ti dono - Cecilia Bartoli, Juan Diego Fl�rez, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
See all 19 tracks on this disc
Disc: 2
1. Davver, non mi dispiace d'essermi qui fermato - Gemma Bertagnolli, Ildebrando d' Arcangelo, Orchestra La Scintilla, Alessandro De Marchi
2. Che veggio? Saria forse il tremendo fantasma? - Cecilia Bartoli, Gemma Bertagnolli, Ildebrando d' Arcangelo, Orchestra La Scintilla, Alessandro De Marchi
3. Oh ciel! che tento? - Cecilia Bartoli, Ildebrando d' Arcangelo, Orchestra La Scintilla, Alessandro De Marchi
4. Osservate, l'uscio � aperto - Peter Kalman, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
5. E menzogna - Cecilia Bartoli, Gemma Bertagnolli, Juan Diego Fl�rez, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
6. D'un pensiero e d'un accento rea non son - Cecilia Bartoli, Juan Diego Fl�rez, Liliana Nikiteanu, Peter Kalman, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
7. Non pi� nozze - Cecilia Bartoli, Gemma Bertagnolli, Juan Diego Fl�rez, Liliana Nikiteanu, Peter Kalman, Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
8. Introduzione - Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
9. Qui la selva � piu folta ed ombrosa - Chor des Opernhauses Z�rich, Orchestra La Scintilla, Alessandro de Marchi, Arend Prohmann, Philip Siney, Wolf-Dieter Karwatky
10. Larghetto maestoso - Orchestra La Scintilla, Alessandro De Marchi
See all 25 tracks on this disc

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21 of 22 people found the following review helpful

5.0 out of 5 stars VERY DIFFERENT - VERY REFRESHING - AND I LOVE IT! 24 Nov 2008

By L. Mitnick

Format:Audio CD

I live in the United States, where this recording won't be available until February 24th, but I was so excited when I heard about it, I decided to order it from Amazon in the United Kingdom. I'm a bel canto opera guy and while I certainly respect the opinions of my British counterparts, I am unable to come to the same conclusions as they. While I admit that there are times when Bartoli seems to aspirate in her vocal lines, I find that it adds to the childlike innocence of Amina. Whatever the case, she sings her two big numbers in the same key as Callas and Sutherland, but instead goes downwards for some of her embellishments. She never touches a top E flat, but then again neither did Cecilia Gasdia when she sang Amina in Chicago. I find Bartoli's singing very beautiful, lyrical, and am impressed by her embellishments which go down to low A flat (which Callas also did in 1955 under Leonard Bernstein). Nor is this the first time I've ever heard a "mezzo" sing this music - Marilyn Horne sang the final scene at a concert in Chicago in the 1970's --- to great effect. Florez requires no defense whatsoever. He's got the extreme top notes, and his voice is of great beauty. Together, I find his duets with Bartoli to be the ideal. I find this performance to be a valuable addition to my bel canto discography, and can now finally understand how sopranos like Malibran and Pasta sang this very intricate role. I'm not even sure that Bellini ever wrote any top E flats for the soprano in this opera to begin
with. Callas and Sutherland, of course, put them in, and both were wonderful. However, in both cases, they were not favored by a tenor like Florez. Nicola Monti, who partnered Callas and Sutherland (on her first studio recording)was lyrical and flowing, but was definitely short on top.... Read more ›

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7 of 7 people found the following review helpful

3.0 out of 5 stars a very awake sleepwalker 10 May 2009

By Lost & Found

Format:Audio CD

I acquired this set by circumstance, rather than by choice, though the idea of a new "Sonnambula" ; a modern recording, in great sound, and with a "stellar" cast more than tickled me.

I saw that this recording is based on a re-interpretation of the classic score, including plenty of usually omitted passages, repeats, etc, and that the main role is sung by a mezzo, rather than a soprano. This unusual choice has precedents; Bellini and Donizetti occasionally rewrote passages or even entire roles to suit their primadonnas' voices. So, it was obvious from the start that this recording would have a "new" sound to my ears, and that some of the stratospheric high notes typical of the role would be missing. Not a huge loss; high notes aren't the main ingredient of an opera role, and in fact, Sonnambula's most outstanding passage, the "sleepwalking scene" has no high notes. However...

Miss Bartoli ( of whom I'm not a great fan ) isn't able to adapt her predominantly "Rossinian" style of singing to the more complex emotional demands made by Bellini on his singers. She produces plenty of ornamentations, and fireworks, but in a mechanical, soul-less manner; It's like listening to a machine gun firing volleys into the air.

Bartoli does very well in her more familiar Rossini roles, where agility and a certain virtuosistic "clarity" seems appropriate, but in tackling Bellini, her vocal artistry resembles the outcry of a very hyper poodle - there's just too many "staccatos" . I hope her many fans will forgive my very personal opinion of this recording: - It has many joys in it ; a very bright orchestra, with plenty of detail the older recordings available cannot evidenciate; the different speeds and tempos keep you on your toes, and the unfamiliar passages are a delight....

Juan Diego Florez is in fine voice, and mostly at ease with the very "high" role of Elvino, apart from a couple of snatched top notes; however, he seems to lack some of the fire and depth of other tenors in the same role. D' Arcangelo's contribuition to the set as the Count is melodic and sweet toned, and Bertagnolli as Lisa is so superb, I kept forgetting she is the villain of the piece.

This brings me back to miss Bartoli: two mezzosopranos singing in the same opera in very different styles : I begin to wonder if perhaps Bertagnolli sounds so outstandingly good because she is actually singing "Bellini" whilst Bartoli does "Bartoli". No amount of extra ornamentation and embellishments help in making her Amina what she is supposed to be; "a simple orphan girl in a rural village". Simplicity is just not one of Cecila Bartoli's talents. Beyond that, the "simple orphan girl" is supposed to undergo dramatic
events and personal growth, and Bartoli avoids any of that, and concentrates on her singing. Her singing sound very "affected" to my ears, in a self-conscious way, and her heavy aspirations and in-breaths before any phrase she sings ( to my ears ) make her efforts sound studied, over-mannered and over-demanding, in a "look-at-me, look-at-me!" kind of a way.

Beyond that, I agree with the other reviewers in noticing a significant indifference between the two protagonists; in plain terms, they are just "singing all the notes".
And there are indeed many notes, including some very odd ultra-low ones; listening to this recording ( whilst remembering other ones ) it seems that Bartoli sings any notes but the ones required - her rendition is so heavily ornamented, and so "oblique" that the actual melodies ( well, the usual ones ) are missing.

So - is this a good Sonnambula ? Yes and No. It has a great orchestral sound, and very pleasing packaging - however, it would not be my recording of choice, as it is not a "true" Bellini opera, nor do I care much for the particular interpretation. It's an amusing hybrid.
I would, however, praise some of Bartoli's other recordings, her Vivaldi album, for instance. Read more ›

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15 of 17 people found the following review helpful

3.0 out of 5 stars Not up to the competition 7 Dec 2008

By S. Wells

Format:Audio CD

Like one of the other reviewers, I live in the US and ordered this set from the UK - not because I was so anxious to have it, but simply because it was cheaper (no longer the case). That's not to say that I didn't await its arrival with some considerable expectation of pleasure. I regret to say that I was disappointed with this offering.

I greatly admire Miss Bartoli and have most of her recordings. In this one she isn't up to her usual standard. She's usually such a thoughtful and intelligent artist that she may have simply spent too much time thinking about this role. To say that it is studied would be kind. "Contrived" would be a more accurate term. I've not heard so many gasps and gulps on a recording since the last time I listened to Richard Tucker. (Sorry, Tucker fans.) Miss Bartoli's singing here is overtly, and overly, emotive. The result is a porcelain-doll preciousness that I find distasteful.

I'll also level some criticism at the erratic conducting of maestro de Marchi. His tempi at times have a lugubrious slowness that ill fits the gentle pathos of this opera. At other places there are sudden accelerations that almost jar the teeth out of one's head. The first act chorus "In Elvezia non v'ha rosa" starts at a pleasant pace but the speed nearly doubles at the words "e innocente tortorella." Granted, I'm looking at the standard Ricordi score, not the critical edition on which this recording is based, and there's no presto subito, or even accelerando, instruction here.

These points are too bad given the otherwise high quality of this recording. I agree with the other American reviewer that Juan Diego Florez is probably the best Elvino on record. But, who buys a recording of "Sonnambula" for the Elvino?... Like another reviewer, I agree that Miss Bartoli and Mr. Florez don't blend well together. It sounds almost as if they recorded their duets at different times and in different places and a sound engineer spliced them together. (The booklet indicates that both duets are transposed, as are other scenes which feature both Amina and Elvino.) When individual tracks are available for download, I'd suggested getting Elvino's Act II scene and skipping the rest of this set.

However, I don't mean to say that the contributions of the basso and seconda donna are negligible. Ildebrando D'Arcangelo is splendid as Count Rodolfo, as is Gemma Bertagnolli as Lisa. Mr. D'Arcangelo has a rolling basso cantante voice that's beautifully suited to this role. The role of Lisa is given to a proper seconda donna in this performance rather than relegated to a squeaky soubrette. Actually, when available, you may also want to get the Act II quartet "Lisa mendace anch'essa!" Even the comprimarios cover themselves with glory. It really is too bad that the leading lady and the conductor let down the rest of the show.

For, make no mistake about it, this is Miss Bartoli's show. The "special edition" book is full of portraits of Miss Bartoli that are just as contrived and precious as her singing. The cover photo is a good example. There are many more. There are also the usual portraits of all the rest of the singers with the notable exception of the tenor. The last page of the book has the only photo of Mr. Florez, with Miss Bartoli, and even his pose shows he's second fiddle to the female.

I truly wish that I could give this recording an enthusiastic recommendation. I regret that I can't. With so many other fine recordings of this opera available, this one simply isn't up to the competition. My favourite studio recording remains Joan Sutherland's first take, now available at a budget price. Similarly budget priced and highly enjoyable are the recordings on the Naxos and Arts labels. If you don't mind dated sound and traditional cuts, you can't do better than the live 1957 Callas performance from Cologne. Read more ›

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› See all 11 customer reviews (newest first) on Amazon.co.uk

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Most Recent Customer Reviews

3.0 out of 5 stars Impressing, but boring

Wow! Some brilliant belcanto singing! Florez is just superb. He has the clarity, the agility, the height. D'Arcangelo is having a dark and warm voice full of character. Read more

Published 22 months ago by Per Arne Rudberg

5.0 out of 5 stars opera and quality are excellent

You can't do anything wrong with this edition. The opera has a lovely theme, Bartoli and D'Arcangelo are great and the CD quality is excellent.

Published on 25 Feb 2011 by Anonymus

5.0 out of 5 stars An honest appraisal

I really like this opera and this performance. That probably sounds unhelpful to those considering a purchase or seeking to find one who agrees or disagrees with their own view. Read more

Published on 29 Oct 2010 by Kevin Brough

5.0 out of 5 stars La Sonnambula recording with Cecilia Bartoli

Wonderful - cannot fault this recording
Fabulous singing from all the soloists and excellent orchestration

Published on 11 Mar 2009 by K. Osborne

5.0 out of 5 stars For Opera-lover.

Cicilia Bartoli is simply the greates opera singer to day.
You can't et it better - try it!
Max Gommesen.

Published on 4 Feb 2009 by Max Gommesen

4.0 out of 5 stars Spangly Sonnambula

I'm slightly puzzled that Bartoli is being described as the first mezzo-soprano to sing a "Malibran" version of this score, and indeed that she is single-handedly restoring lost... Read more

Published on 31 Dec 2008 by lionheart

2.0 out of 5 stars Very disapointing

It is really boring to listen to this recording of La Sonnanbula. What a disappointment! One has to go back to the Callas version right away. Read more

Published on 26 Nov 2008 by Joao Paulo Andre

4.0 out of 5 stars Lovely - yet somewhat unsatisfying

I adore Cecilia Bartoli's voice and her intelligence and musicality. Listening to her is almost unfailing delight. Read more

Published on 12 Nov 2008 by Ingrid Heyn

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