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| | Bellini - La Sonnambula / Orgonasova, Giménez, Ellero d'Artegna, Dilbèr, Papadjiakou, Zedda | | | Music Artist : | | Vincenzo Bellini | | Music Style : | | General | | Record Label : | | Naxos | | Release Date : | | 1997-08-05 | | Discs : | | 2 | | Store Price : | | $17.99 | | Artistopia's Price: $17.99 | | Usually ships in 24 hours | | |
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CD Tracks/Songs
Disc 11. La sonnambula, opera: Act 1. Scene 1. Coro d'Introduzione. Viva Amina!
2. La sonnambula, opera: Act 1. Scene 1. Cavatina. Tutto ? gioia
3. La sonnambula, opera: Act 1. Scene 1. Stretta dell'Introduzione. Viva Amina!
4. La sonnambula, opera: Act 1. Scene 1. Recitativo e Cavatina. Care compagne
5. La sonnambula, opera: Act 1. Scene 1. Recitativo. Io pi? di tutti
6. La sonnambula, opera: Act 1. Scene 1. Recitativo e Duetto. Perdona, o mia diletta
7. La sonnambula, opera: Act 1. Scene 1. Recitativo e Cavatina. Domani, appena aggiorni
8. La sonnambula, opera: Act 1. Scene 1. Recitativo e Coro. Contezza del paese avete voi?
9. La sonnambula, opera: Act 1. Scene 1. Recitativo e Duetto. Basta cos?
Disc 21. La sonnambula, opera: Act 1. Scene 2. Scena. Davver, non mi dispiace
2. La sonnambula, opera: Act 1. Scene 2. Recitativo e Duetto. Che veggio?
3. La sonnambula, opera: Act 1. Scene 2. Stretta del Finale Primo. Non pi? nozze
4. La sonnambula, opera: Act 2. Scene 1. Coro d'Introduzione. Qui la selva
5. La sonnambula, opera: Act 2. Scene 1. Scena ed Aria. Reggimi, o buona madre
6. La sonnambula, opera: Act 2. Scene 2. Scene ed Aria. Lasciami: aver compreso
7. La sonnambula, opera: Act 2. Scene 2. Quartetto. E fia pur vero, Elvino
8. La sonnambula, opera: Act 2. Scene 2. Scena ed Aria, Finale. Signor? Che creder deggio?
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Other Artist Albums
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Customer Reviews of This Album/CD |
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 Quality recording of a great opera
Submitted on: 2009-05-02 |
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| This is a superb quality recording; and, a joy to listen to with the great Luba Orgonasova voice to enjoy. It will make for many enjoyable hours of listening. |
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BEST SONNAMBULA ON DISC
Submitted on: 2009-03-09 |
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| If this were a studio recording, it would be superb; as the record of a live performance, it is astounding. In my opinion, Mme. Orgonasova's assumption of the title role combines the drama of Callas and the facility of Sutherland without the vocal flaws of the one or the droopiness of the other. Dessay comes close, but the less said about the latest recording with Bartoli, the better. Gimenez handles HIS killer role beautifully, and the rest of the cast is fine. The theater audience is amazingly silent, not even stepping on the closing notes with their thunderous (and well-deserved) applause. For those who place this opera at the bottom of the Bellini barrel, Zedda makes the best case yet in its favor. |
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A truly wonderful live performance, with only weak point in the sound recording.
Submitted on: 2007-06-28 |
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This is a recording of a live performance made more than 10 years ago.
The sound is a bit distant, but clear enough.
The performance itself is simply first class. The protagonists all performed well: Raul Gimenez is a true bel canto tenor, but of course, grossly underrated. He may not have the looks, but his voice and technique are truly first class. Whether in solos or in ensembles, his singing are just right on the spot - not one bit more, nor one jot less. Listening to him sing, you really know why the style earned its name 'bel canto'. The musical lines just simply float with his voice. His Elviro is every bit on par as any other top performer of this role these days. Organasova is no less good vocally than Giemenez. Yes, she is a lyrical spinto, not lyrical coloratura. But her coloratura is so well balanced that you would not hear one bit of jarring tone from her. Also, her voice balanced out well with that of the secondary soprano role sung by Uighur soprano Dilber, who is true lyrical coloratura. Listen to her solo in Act II, and listen how the audience responded with thundering applause. I don't hear any shrillness in her voice in this recording. Rather, it is so light and girlish that you would at once realise that she is a contrasting character with Organsanova's principle role Amina. But she does rise up to the occasion in that single solo aria, demonstrating for once that Lisa is truly jubilant in succeeding to supplant Amina.
The only slight disappointment is the bass role of the Count, who should have been more affecting in the aria of home coming.
The orchesetra and choir are equally good in this performance.
It would have been worth a much more expensive pricing, but for the slightly distant sound. |
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Gorgeous singing. Bel Canto at its finest
Submitted on: 2006-03-03 |
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Beautiful. Simply beautiful. I was not familiar with this Opera, but was familiar with the beautiful voice of Luba Orgonasova, and simply had to hear more, and found this rare recording, and of course had to own it. Well, it is simply gorgeous. And Raul Fimenez is a tenor who I was not familar with at all, but could not believe the beauty of his singing.
I highly recommend this recording to anyone who loves Bel Canto. |
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 An excellent budget-price recording
Submitted on: 2003-11-21 |
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| If I were EMI or DECCA I would be very worried by this recording. Naxos seems to be able to pull together casts of a similar or even better standard and then sell off operas for budget price. All three of the major roles in La Sonnambula call for singers with a high level of Bel Canto virtuosity. The Amina must have a gorgeous legato for her two cavatinas and also a highly developed florid coloratura technique for their cabalettas as well as the ability to pull off stratosphericly high notes. Luba Orgonasova has all these abilities. "Ah non credea mirarti" is bel canto at its most beautiful, but she also has a good dramatic understanding of the work, which is aptly demonstrated by her part in her second duet with Elvino. Luckily her Elvino is the outstanding Raul Gimenez, who copes with the extremely high tessitura well and also has a respectable florid technique of his own. His "Prendi per me sei libero" is stunning stuff. My biggest reservation (and the reason I give this only four stars) is the phlegmatic bass of Francesco Ellero d'Artagna. His attempts at dramatic acting are very much undermined by the generally unpleasant sound of his voice. Papadjiakou is stunning in what is given to her in the role of Teresa, and the Lisa is well-sung if a bit shrill. Alberto Zedda shows a keen understanding of Bellini's marvellous score. Altogether an excellent buy at bargain price. |
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