Amor ti vieta: Great Opera Arias
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Music CD Cover
Composer: Georges BizetComposer: Arrigo Boito
Composer: Gaetano Donizetti
Composer: Umberto Giordano
Composer: Charles Gounod
Composer: Ruggero Leoncavallo
Composer: Giacomo Puccini
Composer: Giuseppe Verdi
Conductor: Gottfried Rabl
Orchestra: Wiener Rundfunkorchester
Performer: Ruggero Leoncavallo
Performer: Umberto Giordano
Performer: Enrico Caruso
Edition: Music CD
CD Release Date: 2004-08-10
Music Label: RCA
Soundtracks:
- Amor ti vieta
- Una furtiva lagrima
- No! Pagliaccio non son
- Un di all'azzurro spazio
- Ora e per sempre addio
- Oh tu che in seno agl'angeli
- Salut, demeure chaste et pure
- Recondita armonia
- E lucevan le stelle
- Che gelida manina
- Questa o quella
- Ella mi fu rapita
- Donna non vidi mai
- La fleur que tu m'avais jet?e
- Dai campi, dai prati
Free Music Notes for Amor ti vieta: Great Opera Arias
Free Music Review: A fascinating experiment - which works
Hit: 5 Stars
Like many, I was dubious about the prospects of my liking this re-mastering of the original acoustic 78's set against entirely new orchestral accompaniments, but I was immediately captivated by the sensitivity and naturalness of Rabl's arrangements; he follows all of Caruso's idiosyncratic, but artistically justified, rubati and it's a treat to hear the musical details lost in the swish, woosh and crackle of the originals. While the accompaniments are incredibly well co-ordinated with the voice, don't expect miracles in the acoustic matching of the voice against the orchestra; there is always some sense of these coming from two different worlds - because they do, technically, temporally and perhaps even artistically - but I still think it was well worth doing, especially as Caruso's voice is so carefully cleaned up without any loss of its resonance and power. The purists - and I, too, sometimes - will still want to listen to their beloved originals but these too have been cunningly enhanced, by Nimbus, Naxos and RCA for issue on CD and one could argue that the only really authentic way of listening to Caruso's recordings is by putting a shellac 78 on an old wind-up gramophone, as I do. This is in fact the third of three such discs, now available cheaply in a box set. To convince yourself of their merit, sample the original "Pagliacci" aria on disc 1, thoughtfully provided for comparison, then the re-mastered version with the digital accompaniment. Or try my favourite Verdi aria, "O tu che in seno" from "Forza", on disc 3 (this one, being reviewed); I think you'll be entranced, as I was. Caruso's voice rings out in all its majesty and power but is for once suitably supported by the proper orchestral sound instead of the boxy, blatty, tinny row we usually dimly catch in the background.
Amor ti vieta: Great Opera Arias Poster
This disc can make a hardened realist believe in miracles. The first is technological: superimposing a new instrumental background on "vocals" recorded between 1902 and 1913. To listeners who cherish Pearl's re-issues of the Caruso Edition, where the voice comes through in all its glory while the orchestra sounds like a village band several miles away, this is naturally a vast improvement. It is also strangely disorienting: with brand-new accompaniments played by an excellent orchestra, the vocal sound shows its age; instead of leaping out from its surroundings, it almost seems upstaged by it. However, the ear quickly adjusts, just as it did to the originals' orchestral sound. The second miracle is Caruso's unique vocal and dramatic artistry. The program features favorite arias as well as unfamiliar ones, such as the disc's title track from Giordano's Fedora and Canio's final aria, rather than the famous earlier one, from Leoncavallo's I Pagliacci. An aria from Verdi's Otello, which he was to sing for the first time at the Metropolitan Opera in 1921, brings home the tragedy of his death at 48 that year. The disc includes some of his earliest recordings (with the orchestra taking over the original piano accompaniments played by the composers), as well as several he made after his operations, when his bright, honeyed, "golden" voice took on its famous baritonal quality: darker, warmer, somewhat heavier. In close juxtaposition, the difference is quite startling, creating the illusion of hearing two different singers. What remains unchanged are his incomparable technique and his inimitable style, though the early tendency toward what now seem excessive slides, portamentos, fermatas, gradually abates. His top notes retained their thrilling, heroic ring, his agility its effortless ease; his breath-control remained uncanny, his charm infectious. Perhaps most striking is his ability to create mood and character, drawing you instantly into the heart of the scene and the person portrayed. --Edith EislerClassical Music CDs
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