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Rossini : La Cenerentola
 
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Rossini : La Cenerentola

20 Jun 2006 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
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Product details

  • Original Release Date: 1 Jun 1996
  • Release Date: 1 Jun 1996
  • Label: Warner Classics International
  • Copyright: 1993 Teldec Classics International GmbH
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 2:34:25
  • Genres:
  • ASIN: B001LD74PY
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 49,244 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 24 Dec 2012
Format: Audio CD
"Gramophone" panned this and yesterday's "CD Review" on BBC Radio 3 dismissed it airily in a sentence as lacking a Dandini who could cope with the coloratura, a Cenerentola who was too interventionist in her delivery of the text and a conductor who is all pace with no expression. None of these accusations is true; goodness knows what these people are on, especially as their alternative recommendations are so mundane but I'd like to do my bit to rehabilitate this excellent recording and insist that is the best available, even in the face of fierce competition from good sets on Naxos with DiDonato and a rival recording from Bartoli.

Frederica Von Stade was the most poignant and appealing Cenerentola ever but her recording is on DVD only and I am not a DVD man when it comes to enjoying opera at home. Otherwise, this recording offers an unrivalled cast. Southern Belle Canto Jennifer Larmore uses her flexible, caramel mezzo-soprano most elegantly and touchingly. Argentinean tenor Raúl Giménez proves once his credentials as one of the best and most elegant Rossinian tenors of recent years. Alessandro Corbelli does what he does best in a basso buffo role which is a gift to someone with a rich flexible voice and a command of Italian patter. Alastair Miles's agile, noble bass brings a touch of gravitas to what is otherwise fleet farce, managing the more florid parts of his role without sweat. I find Gino Quilico's Dandini amusing and very pleasant on the year; I have enjoyed his smooth baritone in many a recording and find no fault with him here, even if I concede that his voice is not perhaps quite a natural fit with the demands of the part, but he by no means embarrasses himself. The sisters are suitably odious and aptly characterised.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 7 reviews
32 of 33 people found the following review helpful
The 'Gramophone' reviewer is full of it. 11 April 1999
By madamemusico - Published on Amazon.com
Format: Audio CD Verified Purchase
I was so thrilled with this recording of "Cenerentola" that I assumed others would be too, but apparently some stodgy reviewer for Gramophone felt differently. I've been listening to opera, in person and on records, since 1964, and during that time I have heard most of the complete recordings of Rossini operas because I found his music witty and enervating. Unfortunately, I was generally disappointed with recordings from the LP era, including that 1953 "Cenerentola" that the Gramophone reviewer liked so much, because they were slow, stodgy and lacking in humor. I had to turn to ancient 78s by DeLucia, Supervia, Stracciari and Borgioli to get some idea of how Rossini was supposed to go. This new "Cenerentola" is fabulous, not only because all of the singers are good but because they sing with a joie-de-vivre and rhythmic pointing of the staccato rhythms that is a delight to hear. Their ensemble is unmatched, and whatever "character deficiencies" are exhibited by Quilico, Corbelli or Gimenez is more than compensated for by the fact that THEY SING ALL THE MUSIC THE WAY IT'S WRITTEN. But don't take my word for it. There are plenty of little excerpts you can pull up and listen to, and the rest of the recording is just as good. Remember, you heard it here first.
12 of 12 people found the following review helpful
One of the Best Versions of Rossini's Masterpiece 2 April 2005
By Michael - Published on Amazon.com
Format: Audio CD
Rossini's delightful LA CENERENTOLA is well served in this 1995 recording, which gathers some of the best Rossinians of our day. Larmore with her even, creamy mezzo soprano is a wonderful Angelina and a nice alternative to the more idiosyndratic Cecilia Bartoli. Gimenez exhudes elegance and poise as Don Ramiro. As Don Magnifico, Corbelli is, as always, a delight - ever the polished musician, subtle comedian, and master of rapid PARLANDO. (He can be heard as Dandini in the 1992 London recording.) Gino Quilico is a lightweight and stragely un-Italian Dandini (in this latter respect he makes an odd pairing with the VERY Italian Corbelli), while Miles sings Alidoro's magisterial aria with solemn dignity. Carlo Rizzi gives a quicksilver, fleet-footed reading of the score. This recording is at the forefront of modern recordings of this opera and a worthy condender with the London recording with Bartoli.
10 of 10 people found the following review helpful
Buy This If You Like Rossini! 16 Oct 2003
By A Customer - Published on Amazon.com
Format: Audio CD
LA CENERENTOLA is both my favorite Rossini opera and one of my favorite operas by any composer. This 1994 Teldec recording, led by Carlo Rizzi, features three of the principal singers from Teldec's 1992 recording of IL BARBIERE DI SIVIGLIA: mezzo-soprano Jennifer Larmore, tenor Raul Gimenez, and bass-baritone Alessandro Corbelli. These are three of the finest Rossinians before the public today, and they are just as excellent here as they are on that BARBIERE recording. Larmore sings Angelina ("Cenerentola") with a pure, warm, creamy tone and creates a character quite different from her vivacious Rosina in BARBIERE. Gimenez's gracious, silvery tenor is again the perfect complement to Larmore's rich sound; the two singers blend beautifully in their Act I love duet. Corbelli again takes the basso buffo role (Dr. Bartolo in BARBIERE, Don Magnifico in this opera). The bass "boom" in his voice gives Angelina's pompous stepfather a menacing quality that Bartolo does not have. Corbelli is also one of the finest "patterists" I have ever heard -- just listen to him in his three big comic arias! As Dandini, the Prince's comic valet, baritone Gino Quilico is youthful-sounding and witty. However, the ideal Dandini for me is Corbelli (he can be heard in this role on the London/Decca recording and video with Cecilia Bartoli and also in a Met telecast with Bartoli that is not yet on DVD). English bass Alistair Miles rounds out the principal cast as an authoritative yet gentle Alidoro, who fills the role of Angelina's "fairy godfather" (he is actually a "tutor" or advisor to the Prince). Rizzi conducts with ideal lightness of touch, and the recorded sound is spacious and well-balanced. Anyone wanting a fine recording of LA CENERENTOLA would do very well with this one. Also recommended: the Larmore/Gimenez/ Corbelli recordings of Rossini's two other major comedies, IL BARBIERE DI SIVIGLIA and L'ITALIANA IN ALGERI.
4 of 4 people found the following review helpful
An Outstanding CENERENTOLA 18 Nov 2010
By M. De Sapio - Published on Amazon.com
Format: Audio CD
Two outstanding studio recordings of LA CENERENTOLA came out in the 1990's; this 1995 release is one, and the other is the 1992 Decca featuring Cecilia Bartoli and conducted by Riccardo Chailly. Both are fine recordings featuring the cream of the "Rossini revival". On this set, Jennifer Larmore presents a quietly moving and introspective Angelina, her caramel timbre and even coloratura instantly attractive and, to my ears, preferable to Bartoli's less rich sound and aspirated coloratura. As Ramiro, Raul Gimenez is the operatic Fred Astaire - an embodiment of pure elegance and grace. Buffo star Alessandro Corbelli, a florid Dandini on the Decca set, turns his voice authoritative and magisterial as Don Magnifico. In addition to his skills of voice and characterization, he is the best "patterer" I've ever heard: just listen to him enunciate all the words in his second-act aria!

Gino Quilico's (Dandini) light baritone makes a good contrast with Corbelli's duskier voice, and he is amusing in the role. But his Italian is unidiomatic, and he mostly fakes the coloratura; hearing him matched against Corbelli in their Act II duet makes for an incongruous stylistic combination. As Alidoro, Alastair Miles has a warm voice, but his unusual vibrato and a certain "swallowed" quality at the end of notes are an acquired taste. In Adelina Scarabelli and Laura Polverelli we have two stepsisters perfectly differentiated in timbre, and Scarabelli is a wonderful comedienne.

Conductor Carlo Rizzi keeps a light, sparkling tone throughout, ensemble numbers fleet-footed and crisp; the problem is he seems to do little else. The orchestral playing seriously lacks character and color at times. This may be partly a result of the recording, which sounds as if it were made in a vast gallery or ballroom with the orchestra pushed behind the singers. In addition, the singers occasionally struggle to keep up with Rizzi's speedy tempos in the ensembles (the latter portion of the sextet is much too fast to be conversational). On Decca, Chailly finds much more depth in the score, which better-chosen tempos and more attention to detail. Rossini's score is not wallpaper music; it has substance, and Chailly recognizes this. The recitatives on this recording are accompanied by an anachronistic harpsichord rather than the elegant pianoforte and cello combo on Decca.

In summary, Jennifer Larmore's subtle Angelina, Raul Gimenez' elegant Ramiro, and Alessandro Corbelli's masterfully comic Don Magnifico are the reasons to own this recording; together they make an unbeatable Rossinian team. For a more insightful rendition of the orchestral score, buy the Decca version.
4 of 5 people found the following review helpful
An excellent recording 14 Jan 2000
By A Customer - Published on Amazon.com
Format: Audio CD
I agree with the previous reviewer wholeheartedly. This is a marvellous performance, full of sparkle and very well recorded. Jennifer Larmore is a superb Rossinian, with a vocal technique that makes her by far the best of the current Rossini mezzos. All the singers work well both together and as individuals, and Carlo Rizzi's conducting is enjoyably pacey without becoming rushed.
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