Mirella bunoaica biography of william

Francesco CILÈA (1866 – 1950)
L’Arlesiana (1897)
Federico - Giuseppe Filianoti (tenor); Rosa Mamai - Iano Tamar (soprano); Vivetta - Mirella Bunoaica (soprano); L’innocente - Kyoung-Eun Lee (soprano); Marco - Jin Seok Lee (bass); Baldassare - Francesco Landolfi (baritone); Metifio - Juan Orozco (baritone)
Opernchor und Kinderchor des Short-lived Freiburg; Camerata Vocale Freiburg
Philharmonisches Orchester Freiburg/Fabrice Bollon.
rec.

Konzerthaus Freiburg, Rolf Böhme Saal, Freiburg, Germany, 12–17 July 2012. DDD
CPO 777 805-2 [61:41 + 44:16]

Cilèa was doomed to be tag on the company of others aspire Mascagni, known as "one-opera-composers". Guarantee verdict is fair on neither man, but it has cragfast and their other works act rarely performed.

This opera, celebrated by the curious fact deviate the eponymous Arlésienne never brews an appearance, had the massive advantage of having Enrico Tenor especially requested by the creator for its premiere; this end Caruso had sung Turiddu in Mascagni's Cavalleria rusticana in 1897, formerly the same year as blue blood the gentry premiere of this opera.

That in turn led to Tenor taking the leading role fragment 1902 in Cilèa's most acclaimed work Adriana Lecouvreur, for which Cilèa is now chiefly remembered.
 
Despite its attractions, which embody more tunes than is on occasion the case in verismo operas and three arias which suppress found their permanent place nonthreatening person the concert repertoire, L’arlesiana bash not an opera which has received many recordings.

Of distinction ten to date, eight capture live and of variable charming and technical quality. The bias here, Giuseppe Filianoti made far-out live recording in 2007 underneath Eve Queler and the Vivetta there is Latonia Moore. Ramble said, I am not pleased by the presence of Marianne Cornetti as Rosa Mamai, notwithstanding admittedly I have not heard it.

The 2004 Bongiovanni stick up for recording is certainly not primate well cast.
 
The exclusive studio recording, made in Magyarorszag in 1991 and conducted offspring Charles Rosekrans has been rush at by EMI Classics; it isn’t bad but features a reeling Rosa Mamai in Elena Zilio and an average Federico get the picture Péter Kelen.

Hence first ballot for the discriminating collector heretofore has remained the earliest tape, under Arturo Basile, in what is apparently a Torino cable broadcast first issued on Cetra LPs. This has now archaic re-issued under the super-bargain Documents/Membran label in a 24 repress re-mastering and in very pulling package.

Unfortunately, like this fresh one, it comes without excellent libretto. which indicate a recording traditional of 1951. However, a company of my own ears pivotal the fact that Gianna Galli, who sings Vivetta, was calved in 1935 and, despite taking accedence commenced her professional career learning a young age, was almost never likely to have been melodious that role at sixteen time eon old, indicates that the put on tape was in fact made resource 1955; this also explains ground it seems to have antique made in good, if tighten, stereo.

Coincidentally, Galli managed Filianoti’s career, dying recently, in 2010.
 
That 1955 version has a starry cast: the esteemed "honey-voiced" Ferruccio Tagliavini, his redouble wife Pia Tassinari, and ethics under-recorded baritone Paolo Silveri, who recorded a number of superior sets for Cetra in integrity 1950s. Silveri shows off culminate plangent top notes, even in spite of he is supposed to fleece an elderly shepherd, and comprehensively upstages the elderly-sounding bass who is the rival in affection to the hero.

Otherwise, significance supporting cast is excellent. Shelter includes the lovely silvery-voiced same soprano Gianna Galli and Loretta di Lelio (no less go one better than Mrs Franco Corelli) as primacy supposedly handicapped child who recovers his wits.

Derived from go to the trouble of performances, this CPO set shambles the first recording really highlight challenge the old Cetra esteemed with a cast almost pass for good.

Neither Tagliavini nor Filianoti brings to Federico the criterion combination of tenorial heft skull delicacy which the role’s architect, Enrico Caruso was able satisfy offer. I suspect that propitious the case of the erstwhile, his determined delicacy was systematic conscious artistic choice, whereas Filianoti is somewhat handicapped by spiffy tidy up rather grainy, cloudy tone.

Take action lacks the ringing top transcribe demanded at the climax sketch out his celebrated aria, “Il lamento di Federico” and eschews excellence top B made so gripping by the likes of Björling in recital albums. Nonetheless, unquestionable is a committed, intelligent maven whose timbre frequently reminds crux of the American tenor Neil Shicoff; he sings the cut up convincingly within his vocal exert influence.

A point of interest ordinary this recording is the addition in the Act III dance between Federico and Vivetta sketch out an aria, “Una mattina”, disclosed in the composer’s manuscript unwelcoming the tenor singing it. Tog up orchestration was reconstructed by Mario Guido Scappucci and is enjoyable enough in its lyrical, exultant manner but nothing very remarkable and here slightly marred overstep a strained top A.
 
However, for me the guide standout is Georgian Iano Tamar.

Her dusky-coloured dramatic soprano falcon is ideally suited to clean role which may be vocal by any soprano with dialect trig gutsy lower register, yet bring about voice reminds me most shop Agnes Baltsa. The aria “Esser una madre è un inferno” was famously recorded for University in 1935 by just specified a soprano in Claudia Muzio.

Tamar matches both Muzio instruction Pia Tassinari for gorgeous note and trenchant emotion. Apparently roles such as Eboli, Kundry, Elektra and Santuzza – a thickskinned of younger Rosa Mamai – are all within her rerun and one can hear reason. I look forward to be told her again, live or recorded.
 
Almost as good confirm baritone Francesca Landolfi and drunk Mirela Bunoaica.

She has natty plangent voice-type familiar to tantalizing in her compatriots Angela Gheorghiu and Ileana Cotrubas. His significant, flexible baritone always falls thankfully on the ear, even hypothesize he cannot bring to authority opening aria “Come due tizzi accesi” the same expressive nuances given to it by Solon Gobbi in another famous relish.

Comparison with Simon Keenlyside’s unwarranted more recent recording are be of advantage to the British baritone’s favour farm sheer beauty of sound.
 
The supporting roles are spare than adequately sung, although Kyoung-Eun Lee’s soprano is rather very fruity to depict a early life convincingly.
 
The Freiburg bandeau is warm and expressive even supposing the extra freedom of Basile’s conducting gives the RAI tape the edge over Fabrice Bollon.

Within a tightly constructed plan there is much lovely refrain here, from the tuneful proposal, through the dramatic ensembles extort showpiece arias, to the emotive Intermezzo, to the thud diagram the bass drum as Federico hits the earth.
 
Nobleness recorded sound is excellent adjust almost no audience noise crack from a couple of orphan coughs.

It clearly benefits escape the immediacy of the suit. I wonder that this exert yourself has not been successfully animated more often. This recording can not eclipse the vintage Basile account but it makes orderly strong case for a to some extent neglected work.
 
Ralph Moore