Pavarotti's Riccardo is a reading at the height of his powers, a portrait to match Bergonzi and Björling.
The most cogent reason for acquiring this set is Pavarotti's Riccardo, a superior reading to that on his later performance with Solti and catching him at the very height of his powers. It is a portrait to match that of Bergonzi for Leinsdorf and, even further back, Björling in the historic Metropolitan/Panizza performance—high praise indeed. Nobody else is in the same class, though Milnes is a sound, if conventional, Renato. Tebaldi is caught here late in her career in a role she doesn't appear to have sung on stage. The grand spinto manner is still there, of course, and that is worth much— especially inRead more the Prayer, where she isn't under pressure—but the voice itself is no longer quite what it was and betrays signs of wear. Still, she and Pavarotti generate a deal of passion and excitement in the love duet.
Un ballo in mascheraby Giuseppe Verdi Performer:
Mario Alessandrini (Baritone),
Pier Francesco Poli (Baritone),
Nicholas Christou (Baritone),
Leonardo Monreale (Bass),
José Van Dam (Bass Baritone),
Helen Donath (Soprano),
Regina Resnik (Mezzo Soprano),
Sherrill Milnes (Baritone),
Renata Tebaldi (Soprano),
Luciano Pavarotti (Tenor)
Santa Cecilia Academy Rome Chorus,
Santa Cecilia Academy Rome Orchestra
Period: Romantic Written: 1859; Italy Length: 125 Minutes 42 Secs. Language: Italian
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