Ballo   (Abbado;  Cappuccilli, Pavarotti, Lechner, Schemstchuk, Nadar)    (2-Orfeo C 907 162)
Item# OP3168
Regular price: $19.90
Sale price: $9.95
Availability: Usually ships the same business day

Product Description

Ballo   (Abbado;  Cappuccilli, Pavarotti, Lechner, Schemstchuk, Nadar)    (2-Orfeo C 907 162)
OP3168. UN BALLO IN MASCHERA, w.Abbado Cond.Vienna Staatsoper Ensemble; Piero Cappuccilli, Luciano Pavarotti, Gabriele Lechner, Ludmilla Schemstchuk, Magda Nadar, etc. (Austria) 2-Orfeo C 907 162, Live Performance, 26 Oct., 1986. [In stunning aural clarity - a thrilling performance brilliantly conducted by Abbado!], w.Elaborate Libretto-Brochure. Final Sealed Copy! - 4011790907222


"Luciano Pavarotti's repertoire comprised only a few roles, but his performances and recordings of them wrote and rewrote history. This was the case in 1970 as Nemorino (in L'ELISIR D'AMORE) alongside Joan Sutherland and in 1972 as Rodolfo (in LA BOHÈME) under Karajan, with Mirella Freni as Mimí. But while Pavarotti's Riccardo (Gustavo III) in Verdi's UN BALLO IN MASCHERA in his studio recording of 1983 is given pride of place because of its surface brilliance (not least thanks to Georg Solti on the podium), in his live TV broadcast of the same role three years later under Claudio Abbado he offers a striking sense of musical and dramatic immediacy. In this recording of that broadcast from the Vienna State Opera, we can hear a performance both highly nuanced and possessed of an immense radiance, from his very first 'Amici mei' to his touching death scene."

- Orfeo

"Pavarotti's first teachers were Arrigo Pola and Ettore Campogalliani, and his first breakthrough came in 1961, when he won an international competition at the Teatro Reggio Emilia. He made his début as Rodolfo in Puccini’s LA BOHEME later that year."

- Bernard Holland, THE NEW YORK TIMES, 6 Sept., 2007

“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

“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