 (2-Guild 2303/04) "Pin It")
Product Description
OP0845. COSÌ FAN TUTTE, Broadcast Performance, 5 July, 1951, w.Busch Cond. Glyndebourne Festival Ensemble;
Sena Jurinac, Alice Howland, Isa Quesnel, Richard Lewis, Marko Rothmüller & Sesto Bruscantini. (England) 2-Guild 2303/04. Very long out-of-print, Final Sealed Copy! - 795754230420
CRITIC REVIEWS:
"For the ideal melding of metal and warmth, Sena Jurinac is the Fiordiligi who has defined the role for our time. Her two arias, equally testing in different ways, do not find her wanting except perhaps in the very lowest register. While she went on to even greater things, the American mezzo Alice Howland did not: she died aged 84 in 1998 in New York with a relatively modest reputation as a lieder singer, vocal coach and author of THE ART SONG (1960). She sings very well, combines superbly with Jurinac and handles her one aria with aplomb.
Isa Quensel, who sang Despina for Busch in Stockholm, is fully in command of this gift of a soubrette role and even rattles off her recitatives like an Italian. The men could hardly be bettered. Richard Lewis, sometimes a little throaty, as always, is at his most fluently lyrical; and Busch has restored the strong act 2 aria 'Tradito, schernito dal perfido cor' denied to Nash in 1935. Marko Rothmuller can sound a little nasal and even metallic but I always enjoy his vocalism, and he runs the gamut from the rage of 'Donne mie' to the tenderness of 'Il coro vi dono'. How wonderful to have him in a complete role. As for Bruscantini, the best Alfonso over a span of exactly 40 years, although this is only his second Mozart part and his debut role at Glyndebourne, he is already into his stride. He controls the action in masterly fashion and is vocally perfect: the trio 'Soave il vento' with Jurinac and Howland is a highlight, as it should be. Some cuts remain - Busch had to consider his audience, many of whom came by train - but with typically high Glyndebourne standards of choral and orchestral performance, this is a set to treasure. Busch had the art of finding tempi which flowed without rushing or expanded without dragging. His sudden death two months later removed the one Mozart conductor who combined the warmth of Walter with the rhythmic acuity of Kleiber."
- Tully Potter, Classic Record Collector, Winter, 2009
“With her graceful bearing and a voice both rich and penetrating, Sena Jurinac was a star of the first generation of European singers to emerge after World War II. She made her début in Vienna on 1 May, 1945 — in the company’s first performance in a liberated Austria — as Cherubino in Mozart’s NOZZE DI FIGARO, a role she sang 129 times there. Though she made her first mark in Vienna, which became her artistic home, her radiant Mozart performances at the Glyndebourne Festival in the 1950s catapulted her to international stardom. She also made lauded appearances at the Salzburg and Bayreuth Festivals, the Royal Opera House in London, the Teatro Colón in Buenos Aires, La Scala in Milan and the San Francisco Opera.”
- Zachary Woolfe, THE NEW YORK TIMES, 26 Nov., 2011
CRITIC REVIEWS:
"For the ideal melding of metal and warmth, Sena Jurinac is the Fiordiligi who has defined the role for our time. Her two arias, equally testing in different ways, do not find her wanting except perhaps in the very lowest register. While she went on to even greater things, the American mezzo Alice Howland did not: she died aged 84 in 1998 in New York with a relatively modest reputation as a lieder singer, vocal coach and author of THE ART SONG (1960). She sings very well, combines superbly with Jurinac and handles her one aria with aplomb.
Isa Quensel, who sang Despina for Busch in Stockholm, is fully in command of this gift of a soubrette role and even rattles off her recitatives like an Italian. The men could hardly be bettered. Richard Lewis, sometimes a little throaty, as always, is at his most fluently lyrical; and Busch has restored the strong act 2 aria 'Tradito, schernito dal perfido cor' denied to Nash in 1935. Marko Rothmuller can sound a little nasal and even metallic but I always enjoy his vocalism, and he runs the gamut from the rage of 'Donne mie' to the tenderness of 'Il coro vi dono'. How wonderful to have him in a complete role. As for Bruscantini, the best Alfonso over a span of exactly 40 years, although this is only his second Mozart part and his debut role at Glyndebourne, he is already into his stride. He controls the action in masterly fashion and is vocally perfect: the trio 'Soave il vento' with Jurinac and Howland is a highlight, as it should be. Some cuts remain - Busch had to consider his audience, many of whom came by train - but with typically high Glyndebourne standards of choral and orchestral performance, this is a set to treasure. Busch had the art of finding tempi which flowed without rushing or expanded without dragging. His sudden death two months later removed the one Mozart conductor who combined the warmth of Walter with the rhythmic acuity of Kleiber."
- Tully Potter, Classic Record Collector, Winter, 2009
“With her graceful bearing and a voice both rich and penetrating, Sena Jurinac was a star of the first generation of European singers to emerge after World War II. She made her début in Vienna on 1 May, 1945 — in the company’s first performance in a liberated Austria — as Cherubino in Mozart’s NOZZE DI FIGARO, a role she sang 129 times there. Though she made her first mark in Vienna, which became her artistic home, her radiant Mozart performances at the Glyndebourne Festival in the 1950s catapulted her to international stardom. She also made lauded appearances at the Salzburg and Bayreuth Festivals, the Royal Opera House in London, the Teatro Colón in Buenos Aires, La Scala in Milan and the San Francisco Opera.”
- Zachary Woolfe, THE NEW YORK TIMES, 26 Nov., 2011