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Donizetti: La Figlia del Reggimento
 
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Donizetti: La Figlia del Reggimento

~ Gaetano Donizetti (Composer), Mario Rossi (Conductor), Milan RAI Lyric Orchestra (Orchestra), Cesare Valletti (Vocals), Eraldo Coda (Vocals), et al.
4.0 out of 5 stars See all reviews (2 customer reviews)
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Product details

  • Orchestra: Milan RAI Lyric Orchestra
  • Conductor: Mario Rossi
  • Composer: Gaetano Donizetti
  • Audio CD (21 Jan 2002)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Warner Fonit
  • ASIN: B00005QHUQ
  • Average Customer Review: 4.0 out of 5 stars See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 58,825 in Music (See Bestsellers in Music)

    Popular in these categories:

    #22 in  Music > Opera & Vocal > Opera > By Composer > Operas-Complete > Donizetti
    #23 in  Music > Classical Instrumental > Composers > C-G > Donizetti
    #96 in  Music > Classical Instrumental > Record Labels > Warner

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4.0 out of 5 stars (2 customer reviews)
 
 
 
 
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20 of 20 people found the following review helpful:
4.0 out of 5 stars Good fun and elegance in this Italian production., 16 Dec 2001
By John Austin "austinjr@bigpond.net.au" (Kangaroo Ground, Australia) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
If I could have only one Donizetti opera on my desert island it would be this one, either in its original French version "La fille du régiment" or in Donizetti's 1840 Italian revision "La figlia del reggimento". If I could have only one recording of it, I would chose this 1950 Italian performance conducted originally for Cetra by Mario Rossi. Rossi manages to stress the elegant, aristocratic character of the score, without allowing proceedings to develop into farce.

The singers include the remarkable Lina Pagliughi, famous as the coloratura soprano who sang Gilda in two recordings of Verdi's "Rigoletto", firstly at the age of 19 and secondly with Ferruccio Tagliavini and Giuseppe Taddei in 1953 when she was 46. The young Pagliughi came to the notice of the ageing Luisa Tetrazzini who first wanted to adopt her and then later helped supervise her training in Italy. Pagliughi's singing here might suggest part of the Italian tradition dating back to Tetrazzini, which included Toti dal Monte and Amelita Galli-Curci. In the role of Maria, Pagliughi's limpid, legato singing - a descending scale like a string of pearls - is most affecting in the beautiful F Minor "Convien partir" at the end of Act One, and she elsewhere conveys plenty of charm and vivacity. Of a weight perhaps four or five times that of other prima donnas, Pagliughi sings airily of the occasion when she was picking flowers near a precipice and slipped and fell into the arms of the young TyroleanTonio.

The Tonio with strong arms in this performance is Cesare Valletti, who copes easily with the high C's in the passage in which he expresses his joy at the prospect of marrying Maria. The cast also includes Sesto Bruscantini and Rina Corsi, singers who avoid the temptations to clown around in their parts.

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4.0 out of 5 stars Lovely - but sometimes transposed!, 10 Jun 2008
By Ralph Moore (Bishop's Stortford, UK) - See all my reviews
(REAL NAME)      
While I agree with most of what Mr Austin wrote in his previous review, beware - Valletti sings Tonio's big "nine high C" aria transposed down a semitone so he is singing B's. I immediately wondered why his top notes sounded so effortless and somehow not really thrilling - although he makes a beautiful sound, reminiscent of Tito Schipa (who also did not really have a top C). I soon realised that this was the result of a downward transposition and it's difficult not to feel a little cheated given how celebrated this aria has become as sung by Pavarotti and Florez, although Valletti's performance is otherwise really charming and not without steel when he needs it. Pagliughi, by contrast, essays a splendid top E natural in her aria "Le Ricchezze" (track 7, side 2). The sound in this 1950 mono recording is a little congested in ensembles but otherwise crystal clear. Pagliughi is clearly singing in a manner drawn from an older tradition before more lower register and vocal colour became the norm - and very lovely it is. Bruscantini is perfect as Sulpizio: urbane, witty, not mugging it up but singing with that characteristically flickering vibrato and pellucid diction. For reasons of the transposition, this cannot be a first choice "Figlia" - but my other favourite versions (the Sutherland/Pavarotti studio recording and Sills' live performance) are in French and it's good to have the Italian version as authorised by Donizetti, if somewhat cut.
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