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Album Savings: £10.31 compared to buying all songs
- Original Release Date: 18 July 1995
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Lucrezia: First Moment - 1 | Richard Haan | 1:50 | £0.89 | ||
| Play | 2. Lucrezia: First Moment - 2 | Ludovit Ludha | 2:18 | £0.89 | ||
| Play | 3. Lucrezia: First Moment - 3 | Igor Pasek | 1:03 | £0.89 | ||
| Play | 4. Lucrezia: First Moment - 4 | Jan Durco | 2:30 | £0.89 | ||
| Play | 5. Lucrezia: First Moment - 5 | Ludovit Ludha | 1:06 | £0.89 | ||
| Play | 6. Lucrezia: First Moment - 6 | Stefania Kaluza | 4:08 | £0.89 | ||
| Play | 7. Lucrezia: Second Moment - 1 | Adriana Kohutkova | 1:27 | £0.89 | ||
| Play | 8. Lucrezia: Second Moment - 2 | Michela Remor | 4:24 | £0.89 | ||
| Play | 9. Lucrezia: Second Moment - 3 | Denisa Slepkovska | 1:12 | £0.89 | ||
| Play | 10. Lucrezia: Second Moment - 4 | Stefania Kaluza | 2:30 | £0.89 | ||
| Play | 11. Lucrezia: Second Moment - 5 | Stefania Kaluza | 4:34 | £0.89 | ||
| Play | 12. Lucrezia: Second Moment - 6 | Stefania Kaluza | 1:46 | £0.89 | ||
| Play | 13. Lucrezia: Second Moment - 7 | Stefania Kaluza | 1:42 | £0.89 | ||
| Play | 14. Lucrezia: Second Moment - 8 | Richard Haan | 4:26 | £0.89 | ||
| Play | 15. Lucrezia: Second Moment - 9 | Stefania Kaluza | 1:46 | £0.89 | ||
| Play | 16. Lucrezia: Third Moment - 1 | Stefania Kaluza | 2:25 | £0.89 | ||
| Play | 17. Lucrezia: Third Moment - 2 | Michela Remor | 6:27 | £0.89 | ||
| Play | 18. Lucrezia: Third Moment - 3 | Michela Remor | 3:40 | £0.89 | ||
| Play | 19. Lucrezia: Third Moment - 4 | Michela Remor | 6:19 | £0.89 | ||
| Play | 20. Lucrezia: Third Moment - 5 | Igor Pasek | 2:22 | £0.89 |
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1 review
Not among Respighi's best works; performances are decent but not excellent
25 Feb 2012
Format:Audio CD|Amazon Verified Purchase
Lucrezia was Respighi's last opera ("in one act and three moments"), and is heavily influenced by Respighi's fascination with archaic forms and techniques - the recitatives, for instance, are deeply indebted to Monteverdi - yet there is obviously a strain of verismo and Straussian opulence in the music as well. Overall, however, it is written in a simpler, more straightforward idiom than much of Respighi's more familiar music. Although it it a fine work, worth hearing by anyone with a modicum of interest in Respighi's music it can hardly be said to be among his most rewarding stage works, and few of the ideas are really memorable. I have not heard the alternative recording on Bongiovanni myself, but it appears to have received a, shall we say, not unanimously enthusiastic reception. That is a pity, for the Marco Polo version at hand is not much more than adequate either.
Stefania Kaluza, as La Voce, gives the best performance; at least she has a rich voice that makes a convincing impression particularly in the dramatic movements. Michela Remor in the title role is good in the softer parts, less so in the more dramatic scenes. The male roles, and the smaller roles, are no more than acceptable at best and occasionally not even that. Partially, however, the shortcomings can be blamed on a recording that places the singers dangerously close and spotlights any possible shortcoming in the singing while simultaneously hardening everything. The orchestra is better recorded, but at a distance that to some extent obscures some of Respighi's finer textures, especially when the singers are present.
As for the orchestral performance itself, Adriano certainly comes across as a sympathetic and thoughtful Respighi interpreter; he does what he can to clarify the arguments and structures, and to refine the textures produced by the occasionally rough (but overall good) Slovak Radio Symphony Orchestra. There are limits to what he can achieve, however, for as mentioned above this is hardly one of Respighi's more inspired works. In the end, I do not wish to sound too negative - there are fine things here, and the performances certainly do not ruin one's enjoyment. Do check it out if Respighi in "archaic mode" appeals, but be aware that his best operas are so much better.
Stefania Kaluza, as La Voce, gives the best performance; at least she has a rich voice that makes a convincing impression particularly in the dramatic movements. Michela Remor in the title role is good in the softer parts, less so in the more dramatic scenes. The male roles, and the smaller roles, are no more than acceptable at best and occasionally not even that. Partially, however, the shortcomings can be blamed on a recording that places the singers dangerously close and spotlights any possible shortcoming in the singing while simultaneously hardening everything. The orchestra is better recorded, but at a distance that to some extent obscures some of Respighi's finer textures, especially when the singers are present.
As for the orchestral performance itself, Adriano certainly comes across as a sympathetic and thoughtful Respighi interpreter; he does what he can to clarify the arguments and structures, and to refine the textures produced by the occasionally rough (but overall good) Slovak Radio Symphony Orchestra. There are limits to what he can achieve, however, for as mentioned above this is hardly one of Respighi's more inspired works. In the end, I do not wish to sound too negative - there are fine things here, and the performances certainly do not ruin one's enjoyment. Do check it out if Respighi in "archaic mode" appeals, but be aware that his best operas are so much better.
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