Ernani   (de Fabritiis;  Corelli,  Ligabue,  Cappuccilli,  Raimondi)   (2-Myto 044.299)
Item# OP0584
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Ernani   (de Fabritiis;  Corelli,  Ligabue,  Cappuccilli,  Raimondi)   (2-Myto 044.299)
OP0584. ERNANI, Live Performance, 15 July, 1972, Fabritiis Cond. Arena di Verona Ensemble; Corelli, Ligabue, Cappuccilli, Ruggero Raimondi, de Palma, etc. (Slovenia) 2-Myto 044.299. Long out-of-print, final copies! - 608974502997


"Franco Corelli had been singing for well over a decade when he made his Met debut in 1961 at the age of 40. The first attraction in any Corelli performance is the voice itself. Solid and evenly produced from bottom to top, with no audible seams between registers. The middle and lower parts of the voice are dark and richly colored. The top is stunningly brilliant, and never thins out or turns hard. It is a once-in-a-generation kind of voice if your generation is lucky, and in the four decades since his retirement in 1976 we have had nothing like it for visceral power. Some critics complained because Corelli would hold high notes well beyond their value in the score. But if we listen to singers from the past whose careers overlapped with the great Italian opera composers, and who often worked with them, we can easily conclude that the composers expected it. (A recording of an aria from Francesco Cilea's ADRIANA LECOUVREUR by tenor Fernando de Lucia, with the composer accompanying at the piano, exposes liberties that go far beyond anything Corelli ever did, and Cilea echoes those 'distortions' at the keyboard.)"

- Henry Fogel, FANFARE

"Though Piero Cappuccilli never achieved international stardom, he was enormously admired within the field of opera for his rich and abundant voice, fine vocal technique and exceptional breath control. In the great Italian tradition he fused words and music into elegant phrases. He focused on Italian repertory, particularly the operas of Verdi, singing 17 major roles. Some critics found his full-voiced singing blunt and burly. And in striving for expressive restraint, he could sometimes come across as stiff. But at his best, with his handsome physique and vocal authority, he made a powerful impact onstage.

In 1960, just three years into his professional career, he was tapped by the producer Walter Legge to sing the role of Enrico in a recording of LUCIA DI LAMMERMOOR, starring Maria Callas and conducted by Tullio Serafin. That EMI work remains a classic. In the mid-1970's, Claudio Abbado chose him for the title roles in Verdi's SIMON BOCCANEGRA and MACBETH at La Scala. These productions led to studio recordings that remain prized by opera buffs."

- Anthony Tommasini, THE NEW YORK TIMES, 21 July, 2005

"After singing with success at most of the Italian opera houses, Ilva Ligabue won considerable acclaim in the lead role of BEATRICE DI TENDA at La Scala in 1961, followed by Margherita in Boito's MEFISTOFELE.

She then began appearing abroad, notably in Germany, also singing at the Vienna State Opera, the Paris Opera, and became a regular guest artist at the Glyndebourne Festival and the Aix-en-Provence Festival, where she was especially admired as Fiordiligi in COSI FAN TUTTE. She also appeared in Buenos Aires, Chicago and New York.

A sensitive and intelligent singer and a fine actress, other notable roles included Amelia in UN BALLO IN MASCHERA and Desdemona in OTELLO."

- Z. D. Akron