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Notes and Editorial Reviews
The role of Fides calls for a Brünnhilde range with an Amneris-type voice, requiring extraordinary vocal flexibility and dramatic punch -- Marilyn Horne has them all, and she brings out the pathos of the part without sentimentalizing it.
...Whenever Marilyn Horne's Fides holds the stage, it matches the energy of the piece itself. The role calls for a Brünnhilde range with an Amneris-type voice: the vocal flexibility and dramatic punch needed are extraordinary. Miss Horne, as she has shown in her Decca discs of the character's most famous passages (SXL6149, 5/65 and SET309-10, 5/66), has them all, and she brings out the pathos of the part without sentimentalizing it. She opts for all the more difficult
alternatives and executes them with a supreme confidence. In brief, I found hers a thrilling performance.
-- Gramophone [5/1977]
...Of great voices the present recording can offer at least one. Marilyn Horne, even at this date (1976), was no longer singing with the firmness of earlier years, as is clear if this performance of "Ah, mon fils" and the Prison scene is compared with that included in her magnificent first LP recitals. Even so, much of the richness remains and the majestic virtuosity is unimpaired... The Royal Philharmonic under Henry Lewis play well, colourful orchestration being among the score's most attractive features...
-- Gramophone [10/1989]
Works on This Recording
Le Prophète by Giacomo Meyerbeer
Jean Dupouy (Tenor),
James McCracken (Tenor),
Marilyn Horne (Mezzo Soprano),
Renata Scotto (Soprano),
Jules Bastin (Bass),
Jerome Hines (Bass),
Christian Du Plessis (Baritone)
Royal Philharmonic Orchestra,
Ambrosian Opera Chorus
Written: 1849; Germany
Average Customer Review: ( 1 Customer Review )
Good, but not as great as Les Hugunots! May 10, 2013
By Keith Messersmith (Ashland, PA) See All My Reviews
"Never heard this opera before buying this recording, and was very well pleased. I don't think it is better than Les Hugunot, but was very well satisfied. Everything is on a grand scale and everyone acquits themselves admirably. The only one I have trouble with is Scotto. Much of her music is rather high lying, and it is very uncomfortable to listen to, although her dramitic instincts are without fault. But at the time it was recorded who else would have tackled the roll? Orchestra, chorus, and conducter all top notch. Very highly reccomended."