Simon Boccanegra  (Abbado;  Cappuccilli, Ghiaurov, van Dam, Fioani, Carreras, Freni)  (2-DG 289 499 752)
Item# OP2000
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Product Description

Simon Boccanegra  (Abbado;  Cappuccilli, Ghiaurov, van Dam, Fioani, Carreras, Freni)  (2-DG 289 499 752)
OP2000. SIMON BOCCANEGRA, Live Performance, recorded 1999, w.Abbado Cond. La Scala Ensemble; Piero Cappuccilli, Nicolai Ghiaurov, José van Dam, Giovanni Fioani, José Carreras, Mirella Freni, etc. 2-DG 415 692. Final Sealed Copy! - 028944975222

CRITIC REVIEWS:

“This famous recording has become a classic, a studio performance following a series of performances at La Scala in the Strehler staging. The close, slightly claustrophobic recording exactly mirrors the mood of nefarious activities and intrigues following Boccanegra's rise to be Doge of Genoa, he and his lovely daughter victims of the dark deeds round them. In his plebeian being, clement exercise of authority and warm, fatherly love, Simon Boccanegra is made for Cappuccilli, who, under Abbado's tutelage, sings it not only con amore but with exemplary, delicately tinted tone and unbelievably long-breathed phrasing.

As his daughter Amelia, Freni was just entering her quasi-spinto phase and expands her lyric voice easily into the greater demands of this more dramatic role. Similarly heavier duties hadn't yet tarnished the youthful ardour and sap in the tone of the 30-year-old Carreras. As the implacable Fiesco, Ghiaurov exudes vengeful command, and van Dam’s evil machinations as the villain Paolo.

Over all presides Abbado in what remains one of his greatest recordings, alert to every facet of the wondrous score, timing every scene, in an opera tricky to pace, to near-perfection, and bringing theatrical drama into the home. This set should be essential to any reputable collection of Verdi.”

- Gramophone Classical Music Guide





“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 rôles. 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 rôle 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 rôles 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





“Nicolai Ghiaurov, the Bulgarian bass was one of the leading opera singers of his day whose warm, rich bass voice made him ideal for roles like King Philip in Verdi's DON CARLO or the title role in Moussorgsky's BORIS GODOUNOV, both of which were among his signature roles. His vocal power and striking stage presence helped gain him the kind of accolades opera usually reserves for its tenors and sopranos.

His Metropolitan Opera debut, in November 1965, as Mephistopheles in Gounod's FAUST, received rapturous reviews. ‘The man indeed is sensational’, Harold C. Schonberg wrote in THE NEW YORK TIMES. ‘He not only has a remarkable voice, but he is also big in every way’. He added, ‘He has presence, the kind that Pinza and Chaliapin had, the kind that jumps over the footlights and seizes the listener in a palpable embrace’. By then, Mr. Ghiaurov was already a star in Europe; his American debut, at the Chicago Lyric Opera, had taken place two years earlier. His Met debut would have come earlier, too, he told an interviewer in 1965, but a tenor accidentally got in the way. At a party in Milan, Rudolf Bing, the Met's general manager, made Mr. Ghiaurov an offer, which was overheard by Franco Corelli. According to Mr. Ghiaurov, Corelli ‘became very excited’ and said to Bing, ‘How dare you offer him so little? From then on, everything was ruined in that discussion’, Mr. Ghiaurov said.

As beloved as he was in New York, Mr. Ghiaurov never created a home base there of the kind he had in Europe; he sang 81 performances of 10 roles at the Met, including a gala in 1991 celebrating the 25th anniversaries his debut, Ms. Freni's and the tenor Alfredo Kraus's; he also appeared in the Met's centennial gala in 1983. His last performance there was in 1996, in RIGOLETTO.

He remained active in Europe, however. In 2001, he tried out a new role, Dosifey, the old believer, in Moussorgsky's KHOVANSHCHINA, in a new production in Zürich, having often sung Khovansky in the same opera. In December in Venice, he sang Basilio in Rossini's BARBER OF SEVILLE, the role in which he made his operatic debut in Sofia in 1955.

His remarkable vocal longevity was often attributed to his choice of roles suited to his voice and to his care in later years not to overextend himself with too many performances.

After his operatic debut, Mr. Ghiaurov's progress was rapid: Bologna in 1958, La Scala in 1959, Covent Garden in 1962. ‘It is not entirely good to move up with such speed’, he told an interviewer. ‘I do not have the long experience with the smaller roles first. Almost from the beginning it is the big roles’.”

- Anne Midgette, THE NEW YORK TIMES, 3 June, 2004





“Claudio Abbado was named music director of La Scala in 1968 and held the position until 1986, when he became music director of the Vienna State Opera. He also made débuts at Covent Garden and the Metropolitan Opera in 1968, both in productions of DON CARLOS. His repertory included Mozart and Wagner as well, but his real specialties were Rossini and Verdi, whose music he performed with respect for the artistry they embody rather than the showmanship they allow. Mr. Abbado was known for the directness and musicality of his performances. He almost always conducted from memory, insisting that using the score meant that he did not know the work adequately. Mr. Abbado disdained the trappings of a modern, media-driven conducting career. As communicative as his podium manner was, he seemed slightly awkward coming on and off the stage. Explaining this in a 1973 interview, he compared himself to the conductor Hans Knappertsbusch, whose habit was to refuse curtain calls. ‘I used to be somewhat like that’, he said. ‘Now I take the time to be polite. Look, I like the reaction of the audience. I’m not sincere if I don’t say that, but it still embarrasses me to take bows. I’m not a showman’.”

- Allan Kozinn, THE NEW YORK TIMES, 20 Jan., 2014