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Roberto Il Diavolo [Live, Import, Box set]

Merighi/Christoff/Scotto Audio CD
4.0 out of 5 stars  See all reviews (1 customer review)
Price: 31.97 & FREE Delivery in the UK. Details
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Product details

  • Audio CD (7 Oct 2013)
  • Number of Discs: 3
  • Format: Live, Import, Box set
  • Label: Opera D'Oro
  • ASIN: B00006HCSF
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 630,620 in Music (See Top 100 in Music)

Product Description

OPP 1341; OPERA D'ORO - Stati Uniti; Classica Lirica

Customer Reviews

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
4.0 out of 5 stars A historical achievement 10 Feb 2013
By Owl
Format:Audio CD
This is a recording of the first post-war revival of `Robert le Diable' at the Maggio Musicale Fiorentino on 7 May 1968, a very significant event in the Meyerbeer rediscovery. For years this was the only version--in all its imperfections--of the score one could hear. It is sung in Italian as `Roberto il Diavolo' (as indeed the opera often was in the 19th century: see the widely disseminated Boosey score), and most seriously is badly cut. Indeed, one wonders how the conductor, Nino Sanzogno, could have sanctioned such a situation? Alice's important act 1 cavatina of mission is missing, as are the trio and duet for Robert and Bertram in act 3, crucial pieces at the heart of the opera. The ballets are absent in act 2 and truncated in act 3. On the other hand the act 1 finale--the Gambling Scene, with all its wonderful choral and orchestral variation and virtuosity--is present in large measure, as are the big Chorus of the Spell in act 4 (when the court are made to fall into enchanted sleep), as well as the act 4 finale (usually reduced to a part of the stretta). The title role is undertaken in stirling spinto style by the relatively unknown Giorgio Merighi, and Alice by the similarly obscure Stefania Malagu. She sings her part in the big act 5 trio with engagement and success. The chief interest vocally, however, lies in the assumption of Isabelle by Renata Scotto (who sings with real star quality in acts 2 and 4), and Boris Christoff (a truly demonic and resonant Bertram). Here he assumes the satanic tradition of much 19th-century opera, also made so famous by his renowned Russian predecessor Feodor Chaliapin. This recording has been around several decades on a variety of labels. The more expensive ones have more effective sound quality. Read more ›
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 3.5 out of 5 stars  4 reviews
5 of 5 people found the following review helpful
4.0 out of 5 stars Great Artists in a Committed Performance 18 Jan 2007
By Edward Flaspoehler - Published on Amazon.com
Format:Audio CD
There are only two reasons to own this recording: Renata Scotto and Boris Christoff. The singing of these two artists on this recording is extraordinary. Scotto's interpretation of Isabella's third act aria, translated into Italian as "Roberto, tu che adoro," is a demonstration of vocal artistry at its best. Christoff, with his distinctively hollow sound, brings a menace to Bertram that other recorded basses cannot supply.

It is true, this performance is cut to shreds, and in omitting a crucial scene in Act three, is dramacially pointless. And the mono AM radio sound is far from being up to the standard of modern surround sound stereo. But if you can deal with these limitations, Meyerbeer's great music does shine through in the parts that are left, in a performance that, although sonically inferior, is still one of the best on records.

There is no doubt that the stereo version of the complete opera with Sam Ramey and an outstanding cast from the Paris Opera is overall superior to this one. But to hear these two great artists, Scotto and Christoff, committed to doing their best in unfamiliar repertoire, this is a good supplement to more complete versions.
2 of 2 people found the following review helpful
4.0 out of 5 stars Superb re-creation 30 Jan 2010
By Edward Quade Winter - Published on Amazon.com
Format:Audio CD|Verified Purchase
The problem with modern revivals of Meyerbeer's operas is in cutting them down. Nowadays, we will tolerate most of Wagner's five hour sing-a-thons (one or two of Strauss's) but virtually nobody else's. Another catch is that, of Meyerbeer's four French grand operas, this one has the most "patched together" feel in its original form. Meyerbeer was trying to make a daring leap forward in the form and he would try his scenes again and again in rehearsals, adding, cutting, rescoring, recomposing, till he got what he wanted. The result was the legendary, almost hysterical triumph of 1831. But nowadays the joints creak a little, with some dismaying starts and stops, some wrenching shifts of tempo and mood. This revival has been abridged not just to make it shorter, but to make it run more organically. Rambaldo's Act V plea to his son, which in the original sounds like someone sloppily cut down the original, now sounds like a smooth and uncut unit. The final effect is to emphasize Meyerbeer's genuine melodic talent and his incomparable dramatic power. The cast is mostly good, with Renata Scotto and Boris Cristoff both in their considerable prime. The orchestra is fair, the chorus needs a good talking to. The "live" sound is pretty good if once you get past the noisy page turns from the pit. The "wrong language" thing we can live with. This is a superb introduction to an opera that even Wagner and Mahler admired. It is still the best recording of it available.
5.0 out of 5 stars perfect 17 Aug 2012
By X. Le Marechal - Published on Amazon.com
Format:Audio CD|Verified Purchase
all perfect !!! on time in good shape le produit est arrivé à temps et en bonne etat !
bon vendeur
8 of 18 people found the following review helpful
1.0 out of 5 stars Roberto Il Diavolo 4 Sep 2002
By Judith A. Weller - Published on Amazon.com
Format:Audio CD
The current volume being offered is an old Italian recoding starring Renata Scotto as the female lead and Boris Christoff in the title role. This recording has been around several decades on a variety of labels. It simply isn't worth it. It is heavily cut -- it is the Italian version not the original French. This is a magnificent opera but you would never know it listening to this version. There is a recording of the French version with Samuel Ramey in the title role taped during a live production at the Opera in Paris -- get this one. It is the only one worth owning.
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