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Verdi: I Due Foscari Box set


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Product details

  • Audio CD (24 Mar. 2011)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Box set
  • Label: Import Music Services
  • ASIN: B000S08YF0
  • Other Editions: Audio CD
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Bestsellers Rank: 103,362 in Music (See Top 100 in Music)

1. I Due Foscari - An Opera in 3 Acts - 36 tracks on 2 CDs - Giuseppe Verdi

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

4.7 out of 5 stars
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Most Helpful Customer Reviews

10 of 10 people found the following review helpful By Ralph Moore TOP 100 REVIEWER on 22 Oct. 2008
Format: Audio CD
With "Nabucco", "I Lombardi" and "Ernani" already under his belt, Verdi could hardly be said to be a novice composer when he wrote "I Due Foscari" for Rome in 1844, and yet somehow this opera seems to have been relegated to the "interesting but justly neglected" category, as if it were an immature and unrewarding work. It is, in fact, a subtle and intimate opera, full of mellow, touching duets and relying more upon plangent melody and perecptive musical characterisation rather than dramatic events - of which there are, admittedly, precious few. The cast and recording quality are of the highest order - typical of the whole Philips/Gardelli early Verdi project - and while I do not completely agree with earlier reviewers that Ricciarelli and Cappuccilli are flawless - their vocal production is at time a little breathy and deliberate - they are both very fine and Carreras is undoubtedly in his youthful, peak form (as is the young Ramey). Hearing this set might prompt you to sample the other recordings featuring Carreras in that excellent series: "Un Giorni di Regno" (1973); "Il Corsaro" (1975); "La Battaglia di Legnano" (1977) and "Stiffelio (1979), coupling Carreras with a succession of wonderful leading ladies: Ricciarelli, Caballe, Norman and Sass. These sets form the best of Carreras' recorded legacy and with the demise of studio recordings of opera, we can perhaps now feel even more appreciative of a series which certainly does not sound its age. (Those recordings where another tenor was used - a young Domingo in "I Lombardi" (1971) and "I Masnadieri" with Bergonzi - are equally recommendable.)

The opera itself is short at an hour and three-quarters and leaves you wanting more. There is mercifully little "rum-ti-tum" stuff typical of second-rate early Verdi; rather there is much gentle, delicate scoring that makes extensive use of melodic themes. An interesting and unusual addition to anyone's Verdi collection.
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5 of 5 people found the following review helpful By GlynLuke TOP 100 REVIEWER on 5 July 2013
Format: Audio CD Verified Purchase
If I could go back to a time in the past before I was born, a dream of mine would be to find myself in a town somewhere in Italy sometime in the mid-nineteenth century, one of those towns which possessed a small, well-patronised opera house, where I would take my seat in the stalls and - this is a fantasy, remember - watch and listen to the latest of that chap Verdi`s unpredictable, rather forward-looking operas.
Perhaps it would be a delightfully dark work such as this one, with its mournful, solemn Doge (by no means Verdi`s last portrayal of a doge), youthful ardent hero, and young sprightly heroine, with a villain or two for good measure.
If the singers - local talent, with any luck! - were of the promising calibre of Jose Carreras in his gleaming-voiced prime, Katia Ricciarelli at her girlishly winning best, and that fabled master of the heroic long breath, the greatly good Piero Cappuccilli, then my joy would no doubt be complete.
Throw in a sturdy bass like Samuel Ramey and a reliably thrilling mezzo such as Elizabeth Connell, and I`d have an evening to remember...

Verdi`s self-confessed `years in the galley` nevertheless produced some genuinely wonderful operas, which combine melodic variety with dramatic pathos, suitably fraught storylines with impassioned emotion. (Try Stiffelio or Il Corsaro in this series of recordings of Verdi`s earlier operas by Gardelli; what a huge debt of gratitude we owe to this enterprising conductor.)
Cappuccilli, whose voice I could listen to all night, if only for its relentless technical brilliance, can sound a trifle unyielding in the early scenes, but this is partly down to the role, that of the sad, ineffectual Doge.
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12 of 13 people found the following review helpful By Filippo Secondo (aka AB) on 30 Oct. 2007
Format: Audio CD Verified Purchase
If you're weary of 'standard' Verdi, start (re)discovering his neglected works, especially via the Gardelli/Philips cycle of the early operas. You will then muse on the inexplicable mystery behind unjustly undervaluing these works: the plot (which operatic story isn't entirely/partly silly/dull?), or the music? Fully convinced that it isn't the latter factor, I can't think of any early Verdi score that has failed to move me. That nothing really happens in I DUE FOSCARI is due mainly to the fact that its plot derives from the 'romantic' pen of Byron, who was fully aware of the play's dramatic weakness and insisted that his major concern was highlighting the characters' passions (while the play - which I've recently read - is overlong, its operatic adaptation lasts just under 120 minutes). This being primarily a drama of 'emotion', rather than of 'action', Verdi succeeded in portraying them 'feelingly', excelling himself in one number after another: the passionate solos (with irresistibly rousing cabalettas), ensembles (magnificent duets for father/daughter-in-law and husband/wife, who also share a memorable trio and quartet with the opera's villain, a moving supplication episode, and a heartbreaking abdication/death scene), and choruses (not least the charming barcarole) are all superb, first-class Verdi (you'll cry your eyes out). The late Cappuccilli (Doge), Carreras (Jacopo), Ricciarelli (Lucrezia), and Ramey (Loredano) are on top form, sensitively directed back in 1976 by Gardelli (early Verdi's best conducting champion).Read more ›
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