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Verdi Arias

5.0 out of 5 stars 1 customer review

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Product details

  • Orchestra: London Symphony Orchestra
  • Conductor: Colin Davis
  • Audio CD (19 Nov. 2001)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Warner Classics
  • ASIN: B000059ZI3
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 326,648 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. "La Traviata: E strano, è strano... Sempre libera"
  2. Il Corsaro: Egli non riede ancora... Non so le tetre immagini
  3. "Verdi : Don Carlo : Act 5 ""Tu che le vanità"" [Élisabeth]"
  4. Il Trovatore:Tacea la notte placida... Di tale amore
  5. Luisa Miller: Sinfonia
  6. "Luisa Miller: Tu puniscimi, o Signore... A brani, a brani, o perfido!"
  7. Simon Boccanegra: Come in quest'ora bruna
  8. Verdi : Il Trovatore: Act 4 Timor di me? ... D'amor sull'ali rosee ... Tu vedrai che amore
  9. Verdi : La Traviata : Act 3 Prelude
  10. "Verdi : La Traviata: Act 3 ""Tenesta la promessa... Addio del passato"" [Violetta]"

Product Description

Here is another contribution to 2001's ongoing Verdi celebrations, and like every selection from his operas, it is a treasure trove. The programme combines some relatively unfamiliar but lovely arias from such early operas as Il corsaro and Luisa Miller, with some of the most famous from later ones like Simon Boccanegra and Don Carlo, offering a fine opportunity to trace the development of Verdi's style and the ever greater depth and intensity of his musical characterisation. It opens with Violetta's first, life-and love-affirming aria (from La traviata) and ends with her final, despairing farewell. Also included are the two equally contrasting first and last act arias from Il trovatore. In all these widely diverse roles, Barbara Frittoli, who in only a few years has emerged as a world-class soprano, is superb. Her voice is meltingly beautiful, warm, pure, capable of much subtle nuance and inflection; her coloratura is easy and crystal-clear, her breath control impeccable. But what is even more striking is her unfailing, concentrated, inward expressiveness and emotional versatility, though she seems most comfortable in the lyrical arias. She creates real, believable characters without exaggeration or external effects, showing great restraint in taking liberties with tempo changes and fermatas. In the moving, dramatic scene from Luisa Miller, she is joined by an excellent bass, but in the second mournful, ominous aria from Il trovatore, the tenor is sadly missing. The orchestra is splendid, and is highlighted in two substantial instrumental selections. --Edith Eisler

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