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Puccini: Il Trittico Box set


Price: £13.17 & FREE Delivery in the UK on orders over £20. Details
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£13.17 & FREE Delivery in the UK on orders over £20. Details Only 2 left in stock. Sold by positivenoise and Fulfilled by Amazon. Gift-wrap available.

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Product details

  • Audio CD (17 Mar. 2014)
  • Number of Discs: 3
  • Format: Box set
  • Label: Decca (UMO)
  • ASIN: B00HCUB776
  • Other Editions: Audio CD
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 300,886 in Music (See Top 100 in Music)

Disc: 1
1. O Michele? Michele? - Renata Tebaldi, Robert Merrill, Mario del Monaco, Renato Ercolani, Silvio Maionica, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
2. Dunque, che cosa credi? - Renata Tebaldi, Robert Merrill, Piero de Palma, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
3. O eterni innamorati, buona sera! - Lucia Danieli, Renata Tebaldi, Silvio Maionica, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
4. To! guarda la mia vecchia! - Silvio Maionica, Lucia Danieli, Robert Merrill, Mario del Monaco, Renato Ercolani, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
5. Hai ben ragione - Mario del Monaco, Renato Ercolani, Renata Tebaldi, Lucia Danieli, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
6. Ho sognata una casetta - Lucia Danieli, Renata Tebaldi, Mario del Monaco, Silvio Maionica, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
See all 13 tracks on this disc
Disc: 2
1. Ave Maria, piena di gratia - Renata Tebaldi, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
2. Sorelle in umiltà, mancaste alla quindena - Miti Truccato Pace, Giuliana Tavolaccini, Anna di Stasio, Lucia Danieli, Jeda Valtriani, Dora Carral, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
3. O sorelle in pio lavoro - Dora Carral, Renata Tebaldi, Miti Truccato Pace, Anna di Stasio, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
4. Ho un desiderio anch'io! - Giuliana Tavolaccini, Dora Carral, Renata Tebaldi, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
5. Laudata Maria! E sempre sia! - Jeda Valtriani, Dora Carral, Giuliana Tavolaccini, Miti Truccato Pace, Renata Tebaldi, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
6. Suor Angelica! Madre, Madre, parlate! - Lucia Danieli, Renata Tebaldi, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
See all 13 tracks on this disc
Disc: 3
1. "Povero Buoso!" - Lucia Danieli, Paolo Washington, Agostino Lazzari, Miti Truccato Pace, Silvio Maionica, Dora Carral, Antonino di Nino, Giovanni Foiani, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
2. O Simone? - Antonino di Nino, Miti Truccato Pace, Lucia Danieli, Silvio Maionica, Paolo Washington, Giovanni Foiani, Agostino Lazzari, Dora Carral, Renato Ercolani, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
3. "Ai miei cugioni Zita e Simone" - Lucia Danieli, Paolo Washington, Antonino di Nino, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
4. "Dunque era vero!" - Paolo Washington, Miti Truccato Pace, Silvio Maionica, Giovanni Foiani, Lucia Danieli, Dora Carral, Agostino Lazzari, Antonino di Nino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
5. E non c'è nessum mezzo... - Lucia Danieli, Miti Truccato Pace, Dora Carral, Paolo Washington, Giovanni Foiani, Silvio Maionica, Antonino di Nino, Agostino Lazzari, Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
6. Firenze è come un albero fiorito - Agostino Lazzari, Orchestra del Maggio Musicale Fiorentino, Lamberto Gardelli
See all 16 tracks on this disc

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By Viva Verdi on 4 April 2014
Format: Audio CD
Tebaldi is most at home here in Il Tabarro as she unloads both barrels. She and Del Monaco launch into this dark tale as if it's their last recording - wonderful pell-mell drama, and they are ably matched by Robert Merrill (the alternative final aria offered here as a bonus). It's great stuff and one of the best, if not the best Tabarro recording.

Sour Angelica pushes Tebaldi beyond her limits (in 1962). She (and Gardelli) cut a taxing passage involving top Cs (she also opts to avoid a top C in Tabarro, which is fair enough). She's all you need for "Senza Mamma", though I've always find her slightly sour in the high tessitura. The showdown with Giulietta Simionato as La Zia is wonderful.

In Gianni Schicchi Tebaldi knows she has to hold back for the role of the young Lauretta. She does so with a sweet-voice, and delicate phrasing. Fernando Corena is the buffo par-excellence. He may not have the top notes here, but he does have charm. I love the mutterings as he reads the will to decide if he should help the reprobates or not. The Schicchi is full of theatrical atmos, and whilst it's not as great as the earlier Gobbi recording on EMI it's still one worth getting.

The recorded sound is excellent. Gardelli emerges as the great conductor he was to become - seeking out all the detail he can find. A final mention for Lucia Danieli, who is in all three operas, and a wonderful Mezzo overshadowed by the wealth of Italian talent in the 50s and 60s.
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1 of 2 people found the following review helpful By Viva Verdi on 4 April 2014
Format: Audio CD Verified Purchase
Tebaldi is most at home here in Il Tabarro as she unloads both barrels. She and Del Monaco launch into this dark tale as if it's their last recording - wonderful pell-mell drama, and they are ably matched by Robert Merrill (the alternative final aria offered here as a bonus). It's great stuff and one of the best, if not the best Tabarro recording.

Sour Angelica pushes Tebaldi beyond her limits (in 1962). She (and Gardelli) cut a taxing passage involving top Cs (she also opts to avoid a top C in Tabarro, which is fair enough). She's all you need for "Senza Mamma", though I've always find her slightly sour in the high tessitura. The showdown with Giulietta Simionato as La Zia is wonderful.

In Gianni Schicchi Tebaldi knows she has to hold back for the role of the young Lauretta. She does so with a sweet-voice, and delicate phrasing. Fernando Corena is the buffo par-excellence. He may not have the top notes here, but he does have charm. I love the mutterings as he reads the will to decide if he should help the reprobates or not. The Schicchi is full of theatrical atmos, and whilst it's not as great as the earlier Gobbi recording on EMI it's still one worth getting.

The recorded sound is excellent. Gardelli emerges as the great conductor he was to become - seeking out all the detail he can find. A final mention for Lucia Danieli, who is in all three operas, and a wonderful Mezzo overshadowed by the wealth of Italian talent in the 50s and 60s.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 2 reviews
17 of 17 people found the following review helpful
Wonderful Tebaldi Recording 11 Jan. 2007
By Marc Musnick - Published on Amazon.com
Format: Audio CD Verified Purchase
When this was recorded, Renata Tebaldi was beginning to experience vocal difficulties. Nevertheless, her voice is still beautiful sounding here and this is one of her most committed performances on disk. The problems were with the upper voice and those familiar with Tabarro and Angelica might feel let down that she eschews the high Cs in both works. But it really doesn't matter. Her artistry is evident throughout and I actually like the dark hue to her voice although she successfully atempts at singing with three different types of voices. In Tabarro, she is a dramatic soprano, as Angelica, a spinto and as Georgetta, a lyric. This recording is a testament to one of the greatest opera singers of the 20th century and one of the greatest interpretors of Puccini's operas.

She's joined by del Monaco, Merrill, Simionatto and Corena. All in wonderful voice. Lamberto Gardelli, one of the most underrated and forgotten Italian maestros conducts firmly and strongly.

I love these new Decca editions which are graced by the original European album covers.
4 of 4 people found the following review helpful
A star vehicle for Tebaldi later in her career 2 Sept. 2011
By Ralph Moore - Published on Amazon.com
Format: Audio CD
By this stage of her career Tebaldi was losing the top notes so she avoids high C's here and those high notes she essays are sometimes harsh - yet otherwise her voice is in excellent condition, all the more so when you consider that ideally three different soprano voice types are required: dramatic, spinto and lyric. This is why Pappano chose to use three different sopranos in his modern digital set, so Tebaldi's success in all three is a testament to her technique and artistic versatility - the latter being especially impressive in a singer who was never credited with having Callas' dramatic intensity, even though certain of her roles such as Gioconda give that judgement the lie. She is mightily impressive in "Il tabarro", spurred on by Del Monaco's fabulous histrionics, her evident maturity making her characterisation of Giorgetta as a bored house (actually, barge) wife all the more convincing; Luigi is her passport to freedom and romance, an escape from the stultifying oppressiveness of her life on the river with an older husband. Del Monaco is really too forceful and heroic for the young stevedore so easily subdued and strangled by Michele but his "meglio non pensar" aria and duet with Tebaldi are thrilling. Merrill uses his beautiful baritone aptly to portray Michele's smouldering jealousy and violence; he is touching in his misery as when enacting Rigoletto and is closer in timbre to Milnes (another succesful recorded performance for Leinsdorf) than Gobbi, whose incisive tone and dramatic inflections remain inimitable but who is also saddled with so-so co-singers and mono sound.

Tebaldi lightens her voice most succesfully in "Suor Angelica" and is aptly matched with the formidable Giuletta Simionato as la Zia principesssa. She manages an even more restrained and almost girlish sound to depict Lauretta as a naive innocent in "Gianni Schicchi" but neither the cast in general nor Corena's coarse, hammy Schicchi in particular is much of an asset to the final opera, especially in comparison with Gobbi's superlative tour de force in the 1959 stereo set under Santini or the subtly amusing Schicchi of van Dam under Pappano - who delivers something of a comic surprise given his usual demeanour as a serious, noble-voiced artist.

So the "Schicchi" is a lemon and the "Suor Angelica", fine though it is, must yield to the ethereal delights of the version in Pappano's set (see my review), whereas "Il tabarro" here remains by favourite blood'n-guts-verismo performance. Fans of Tebaldi and the vastly experienced conductor Gardelli need not hesitate and as these performances never seem to be available separately you must find the 3 CD set at an affordable price.

My ideal listening assemblage of recordings for this trilogy is the Gardelli "Il tabarro" here in excellent 60's Decca sound, the Pappano "Suor Angelica" and the Gobbi "Gianni Schicchi" under Santini, both the latter being EMI recordings.
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