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CARRERAS | RICCIARELLI | GARDELLI
VERDI: I Due Foscari
ARTISTS
Piero Cappuccilli | Doge
José Carreras | Jacopo
Katia Ricciarelli | Lucrezia
Samuel Ramey | Loredano
Vincenzo Bello | Barbarigo
Elizabeth Connell | Pisana
Franz Handlos | Servo
Mieczyslaw Antoniak | Fante
ORF Symphony Orchestra and Chorus, Vienna
Lamberto Gardelli
TRACK LISTING
VERDI: I Due Foscari
I due Foscari was Verdi's first commission for Rome and he had first sketched out a synopsis for the opera in the summer of 1843. The libretto, by Piave, is a setting of Lord Byron's historical tragedy The Two Foscari and Verdi wrote the opera during the latter half of 1844; it was premiered in Rome at the Teatro Argentina on 3 November 1844 and the London premiere took place at Her Majesty's Theatre, Haymarket, on 10 April 1857.
'The cast here is first rate, with Ricciarelli giving one of her finest performances in the recording studio to date and with Carreras singing tastefully as well as powerfully. The crispness of discipline among the Austrian Radio forces is admirable ... the Philips sound is impressively present and clear.'
The Penguin Guide to Compact Discs
'Here we have possibly the most worthwhile contribution of conductor and all three principals to opera on disc. Gardelli's unfussy, direct, supportive conducting can hardly be praised enough. When Verdi interpreters are so few and far between how admirable it is to hear Gardelli provide the right tempos, dynamics and rhythmic emphasis every time. Carreras....is here in pristine voice, singing his great prison scene with the utmost sincerity, adumbrating the character's desperation. Cappuccilli is absolutely in his element as the gloomy old Doge and father, a portrait to set alongside his superb Boccanegra. The breath control and cantabile he displays in his first aria, ''O vecchio cor'', is a classic of Verdi singing...Ricciarelli sings this difficult role with lustrous tone and unflinching attack: she has done nothing better on record. She floats a glorious A over the chorus in her first aria and finds no difficulty in the divisions, where she (and Verdi) condemn injustice. The very young Samuel Ramey makes much of little as the intriguing, vicious Loredano.
The recording, made in Vienna, is up to the high standards of the Philips Verdi series, and the radio forces there contribute effectively to the set's undoubted success. It should be desired by every Verdian.' Gramophone
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