Don Pasquale  /  Le Caid  (Anatoly Orfenov, Abramov, Burlak, Sakharova)  (2-Aquarius AQVR 412)
Item# OP3291
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Product Description

Don Pasquale  /  Le Caid  (Anatoly Orfenov, Abramov, Burlak, Sakharova)  (2-Aquarius AQVR 412)
OP3291. DON PASQUALE (in Russian), recorded 1950, w. Onisim Bron Cond. USSR Radio Ensemble; Anatoly Orfenov, Georgy Abramov, Ivan Burlak, Galina Sakharova, etc., with charming narration by Osip Abdullov, etc. [This delightful performance offers an enchanting Russian performance which is remarkably idiomatic within the context of Italian opera-buffa! Among other superb performances this features the noteworthy Orfenov, too seldom encountered!]; LE CAÏD (Thomas) (in Russian), recorded 1938, w. Alexander Orlov Cond. USSR Radio Ensemble; Georgy Abramov, Raisa Puryzhinskaya, Sergei Fomichev, Lina Shukhat, etc. [While the wonderful Abramov will not erase our memory of Plançon's tour-de-force 'Air du Tambour-Major', his authoritative rendition is not to be missed] (Russia) 2-Aquarius AQVR 412. - 4607123632024


“The link between these recordings is the bass-baritone Georgy Abramov. He was heard in many broadcasts from 1931 until his death (1966)….Between 1938 and 1950, Abramov’s voice, as heard here, has darkened and become fuller, rendering his Pasquale more attractive vocally than his Drum Major. As the former, he creates a clear picture of the old man as he moves from the lively ‘Un foco un solito’ early in Act I….What is expected is vocal dexterity, which Abramov supplies, as in the tongue-twisting ‘Aspetta, aspetta’, in which he is matched by Ival Burlak’s lighter toned and well-focused Malatesta. Also expected is clarity of voice from Anatoly Orfenov as Ernesto, at ease in the upper reaches of his role. He ends ‘Com è gentil’ with a graceful diminuendo and is at his most lyrical in the slightly recessed ensuing ‘Tornami à dir’, in which Galina Sakharova’s Norina joins him….Neat, fleet singing is hers in the aria ‘Quel guardo’ and in ensembles, such as the duet ‘Vado, corro’ which gives Burlak another opportunity to show what an admirable baritone he was.”

- J. T. Hughes, THE RECORD COLLECTOR, 2019

"Rossini's operas were all the rage during the first half of the nineteenth century, and what better way to make a cartload of money than to write a take-off on one of his operas? LE CAÏD is at heart a parody of Rossini's L'ITALIANA IN ALGERI. Then, as now, one comedian could poke fun at another, with no disrespect intended - and Rossini was alive and quite well in 1849, though he hadn't composed any operas in two decades. No doubt, having himself grown tired of Italian opera, Rossini could enjoy the silly antics of LE CAÏD characters: Virginie, Fatma, Birotteau, Michel, and their not-so-European-sounding plotmates Ali-Bajou (to be sung by a ‘comic tenor’) and Aboul-Y-Far (a ‘comic bass’).”

- Blair Johnston,

“In 1933 Orfenov found himself in a choir of Opera Theatre Studio under the direction of Stanislavski and a year after that he was a soloist of the Theater. In 1942 Orfenov began his career at the Bolshoi Theater, where he sang up to 1955. From 1950 he was engaged in teaching, as a lecturer in the Gnesin Musical-Pedagogical Institute (1950-1971), in Bolshoi Theatre (1963-1969), Cairo Conservatory (1971-1973), and Bratislava Conservatory (1974-1980). In 1980 to 1984 he was a director of the opera group of the Bolshoi.”

- Z. D. Akron

“Ivan Burlak was a verismo-style artist with a light, bright baritone voice featuring an explosive high range, a member of the Bolshoi ensemble beginning in 1921.”

- Ned Ludd