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Verdi: La Battaglia di Legnano (2 CDs)

Verdi: La Battaglia di Legnano (2 CDs)

18 Oct 1989

£11.99 (VAT included if applicable)
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1
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8:12
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2
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2:53
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3
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3:45
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4
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3:25
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5
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3:57
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6
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2:02
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7
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2:00
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8
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3:53
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9
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3:15
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10
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1:29
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11
30
6:28
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12
30
2:27
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13
30
2:28
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14
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2:20
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15
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3:07
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16
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4:11
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Disc 2
1
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5:05
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2
30
3:59
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3
30
6:44
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4
30
3:04
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5
30
2:01
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6
30
3:01
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7
30
2:45
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8
30
6:54
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9
30
4:41
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10
30
3:44
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11
30
5:23
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12
30
4:01
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Product details

  • Original Release Date: 18 Oct 1989
  • Release Date: 18 Oct 1989
  • Number of Discs: 2
  • Label: Decca Music Group Ltd.
  • Copyright: (C) 1989 Universal International Music B.V.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:47:14
  • Genres:
  • ASIN: B003TWE9OE
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 224,680 in MP3 Albums (See Top 100 in MP3 Albums)

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5 of 5 people found the following review helpful By Stanley Crowe on 14 July 2013
Format: Audio CD
You won't leave the opera house (or your CD player) whistling the greatest hits from "La Battaglia di Legnano," Verdi's fourteenth opera, written in 1848. The piece is more sober and less strikingly melodic than even some of his earlier pieces ("Nabucco," for example), but it has its own character and its own integrity, even if psychological credibility isn't part of the picture, and what remains in the mind are striking scenes rather than individual moments of singing. The Act 3 scene in the tombs where Arrigo swears an oath as a Knight of Death is creepily effective. The whole short Fourth Act, in which the dying Arrigo brings about the reconciliation of his friend Rolando and his wife (and Arrigo's former beloved) Lida is powerful, set as it is in the context of an Italian victory over the Austrian Barbarossa. (Barbarossa plays the enemy of all that's good and true here, an equivalent of Nabucco or Attila). The Act 2 scene in which Barbarossa bursts in on the scene in Como and declares himself the future of Italy is powerful too. What makes it all work, though, is a superb cast and great leadership from Lamberto Gardelli in this installment of the early Verdi series that Philips recorded in the 1970's. Once again, no praise is too high for Jose Carreras, who gives himself to another little-known role here with total commitment and lovely singing. As we look back on Carreras's career, I think we'll appreciate even more than we now do what he did to bring these early operas to the public when his voice was at its most beautiful. It's also a pleasure here to report that I've never heard Katia Ricciarelli sound better: the role of Lida lies well for her, and she too sings with beauty and dramatic force.Read more ›
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3 of 3 people found the following review helpful By Ralph Moore TOP 50 REVIEWER on 6 July 2010
Format: Audio CD
To my knowledge there are only two studio recordings of this opera: one which is one of the many excellent mono recordings made by the RAI forces from 1951, conducted by Previtali with the usual sturdy cast of that era and this 1977 Gardelli set starring Carreras, Ricciarelli and Manuguerra as part of the wonderful Philips "Early Verdi" series. It's rarely performed; Italians tend to regard it a rather passé "pièce d'occasion" and the rather clumsy attempt by Cammarano to meld a personal tragedy with another patriotic rallying-call, in combination with his penchant for dramatic confrontation regardless of psychological verisimilitude, can leave the audience less than involved. In addition, the hero acts like a total oaf: his vicious condemnation of the hapless Lina for marrying his best friend when she believed he had been killed in battle is unattractive and incomprehensible.

Musically, there doesn't seem to be quite the spark and invention which make the neglect of other operas of that era such as "Stiffelio" so puzzling; nonetheless, even second-rank Verdi always affords many pleasures and there is still some lovely music here. Try, for example, the duet at the beginning of Act 3 between husband and wife or Lina's scena and cavatina in Act 1.

Furthermore, both recordings feature singers of the first rank. In the Previtali set, baritone Rolando Panerai will be familiar to many. His distinctive, flexible, flickering voice featured in so many recording over forty years, but some might also be surprised by the quality of the relatively unknown tenor Amedeo (sometimes "Amadeo") Bertini and soprano Caterina Mancini: big-voiced, stalwarts who would be much more celebrated were they singing today.
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