Notes and Editorial Reviews
It is now twenty years since Peter Moores declared his intention to support recordings of core operatic repertoire in English translation. This began with the Goodall Ring in the Seventies and now includes two Verdis – Traviata and Otello – Donizetti’s Mary Stuart and Janácek’s Cunning Little Vixen (all EMI) and, most recently, Rossini’s Barber of Seville (on Chandos).
The accessible, colloquial translation of Tosca by Edmund Tracey gives even the most familiar passages of music a startling immediacy and in this recording you can hear almost every word, which is marvellous.
Dennis O’Neill gives Cavaradossi all the dramatic fervour and intense sound required. His voice is vividly rich and expansive
throughout with only a smidgen of strain at the very top of his range.
Jane Eaglen’s Tosca is a high-voltage performance. Her ability to judge all the subtle nuances of sound and phrasing in this role is acutely displayed in Act II. Gregory Yurisich has the right depth of vocal colour and vehemence to deliver Scarpia. More menace in the tone, however, would not have gone amiss, particularly in the second act. Andrew Shore is an amusing and characterful Sacristan.
Performance: 5 (out of 5), Sound: 4 (out of 5)
-- Elise McDougall, BBC Music Magazine
Works on This Recording
Tosca by Giacomo Puccini
Gregory Yurisich (Baritone),
Peter [bass voice] Rose (Bass),
Ashley Holland (),
Jane Eaglen (Soprano),
Andrew Shore (Bass Baritone),
Christopher Booth-Jones (Baritone),
John Daszak (),
Dennis O'Neill (Tenor),
Charbel Michael ()
Geoffrey Mitchell Choir,
Peter Kay Children's Choir
Written: 1900; Italy
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