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- Gioacchino Rossini.
- The Bondmaid;
What other items do customers buy after viewing this item? Il Barbiere di Siviglia Digital Remaster: Act One, Scene One: Ecco ridente in cielo Conte. La ran la le ra Largo al factotum Figaro. Ah, che bella vita! Act One, Scene Two: Una voce poco fa Rosina. A un dottor della mia sorte Bartolo.
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- String Quartet No. 3 in D Major, Op. 18, No. 3 - Violin 2.
- Rossini : Il barbiere di Siviglia / Royal Opera, 19th September | Opera Britannia.
Dunque, lei vuol battaglia? Ma vedi il mio destino! Quando mi sei vicina Bartolo. Il vecchiotto cerca moglie Berta. Ah, qual colpo inaspettato! Il Barbiere di Siviglia: ADD Number of Discs: Box set , Import Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
Share your thoughts with other customers. Write a customer review. Showing of 7 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Audio CD Verified Purchase. The last CD won't play. The Marriage of Figaro has been my fave, and I've always accepted what I've heard about the Rossini barber--emotionally light, maybe a little frantic.
I am pleased to find it vivaciously over the top more than frantic, and musically remarkably inventive. Not the emotional depth of the Mozart, but then I wasn't expecting that. One person found this helpful. This is close but not the exact recording I was after. Like many of my generation, I have been indelibly imprinted with this performance as the first I encountered and still the best I know, despite the fact that it employs illegitimate orchestration and implements several cuts such that it now fits onto two CDs.
Those cuts are not that damaging and were standard in that era; the only serious omission is Almaviva's last big aria, "Cessa di piu resistere"; otherwise it is only recitativo scenes which are missing and we still get Bertha's perky aria, so often cut. For the complete score in a scholarly edition with the instrumentation Rossini actually wanted, the super-bargain Naxos issue remains the best bet although there is also a nice modern one starring Elina Garanca, Nathan Gunn and Lawrence Brownlee which is beautifully sung but perhaps a little po-faced compared with this one.
This recording was made in London in following the troubled La Scala production the previous year - although you would hardly guess that there had been difficulties, as it exudes fun and high spirits. Perhaps more than any other principal, he seemed to have internalized the Bel Canto style to such a degree that his utterances felt natural and discursive.
He is making quite a name for himself in the high, florid bel canto repertoire, and while I see the role of Gennaro as perhaps a bit beefier than the Elvinos and Lindoros for which Mr. Angelini has garnered much praise, he handled it with great ease. His variations in the da capos of the arias — thank God we got them both — were a model of style which any tenors incapable of making their own should note. The tone was open and free, the intonation secure, the technique so solid that it enabled him to play with the musical line virtuosically.
MA makes a larger-than-usual presence on stage as Don Ottavio with his bright, fine tenor. Don Ottavio is ultimately one of the winners in this game. The usually cheesy, little role of Don Ottavio was here a poignant figure, caught up in the feelings of love, fear and hatred. His voice is beautiful and fresh and he sings with much emotion. The tall, handsome tenor brought to the part a lacrymose and lithe voice, which found its comfort zone in the higher regions of its scale. The sustained pressure at the top, culminating in high C, held no terrors whatsoever, so much so that the artist graced his song with even higher alternatives, propelling him to go up to the C sharp and high D options to dazzling effect.
These qualities were to become the hallmark of his work throughout the entire evening, qualifying him as the finest Rossinian in the entire cast. The tenor role demands plenty of bel canto trills, arpeggios and roulades, which Angelini manages with exuberance and clear lyricism. Angelini astonished the audience with a high E flat, and Gilmore with an F above high C. Angelini possesses a beautifully lyrical voice, easily large enough to fill the great American halls, with a tenor trill and his own extraordinary range above the tenor high C.
As with Bellini sopranos, to be a Bellini tenor a singer must have skills, and Angelini does! The coloratura was perfect and moved very well. I tensed at each high note, but Angelini scaled them easily. His upper range was full-bodied and supremely technical. Tenor Michele Angelini handles all of these challenges without a single stumble. He is a perfect example of a tenor leggiero. His high notes ring true and clearly and he handles the coloratura passages of the role with ease and lightness.
Superb breath control, beautiful tone and a dramatic sensibility to make us feel Elvino's excitement in the first act and his deep grief of the second. Elvino's behavior might seem overly dramatic to today's theatre goers, though Angelini never condescended to the ridiculous, instead giving the opera more credibility than it may merit.
Also the tenor MA, in the thankless role of Elvino, has a beautiful voice that has earned much success and predicts a brilliant career.
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Although his role is utterly stupid — to the extent that the audience laughs openly of it — he managed to get deserved applause and bravos for his excellent musical performance, with two flawless chest-voiced High C's [E-flats, ed. The tenor MA presented a graceful Elvino full of vocal fireworks and dreaded high notes that others less bold would omit. There is an opinion that can still be said to be valid, but now I feel like I particularly want to emphasize how great it was to experience MA partly because he sang and acted leaving nothing to be desired. He is an arresting performer with a beautfiul voice.
It is easy to see why he covers for Juan Diego Flores. We look forward to following what promises to be a major career. We especially appreciated the expressive way he used the fioritura in the cabaletta. Angelini is the major vocal discovery here, a flexible lyric tenor with an agile portamento and a pleasing, rounded low end.
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His sky-scraping final aria "Di che si l'arbitra'" was a heroic, compelling vocal workout, all the more so since the singer dressed himself, complete with tying a tie in a full Windsor knot without dropping a note. His high notes, C and above, rang out with a dark, burnished color. Quite a change from the nasality most high tenors rely on, sacrificing color. He was announced as getting over a sinus infection, but still sang with remarkable agility and power. Scipione's opening aria, "Risolver non osa confusa," is a concoction of runs and trills remarkable for its audacity, but Angelini brought it off with apparent confidence.
Angelini whose tenor had many darker baritone colors, making the agility in his runs, cadenzas and trills all the more remarkable. One foresees enjoying him as Idomeneo or Belmonte. The young MA manages to avoid being overwhelmed by the crazy vocal writing of Libenskof, and this is already a great merit. One must admire his vocal extension and his propensity for agility in his singing. He will be seen in Gotham's full production of this opera, composed by Mozart at fifteen, this spring. Angelini is a Rossini specialist as well and is on the roster at the Met.
He is a wonderful lyric tenor, who takes the most seemingly difficult runs and ornaments as though they were easy. MA sings Don Ottavio's arias with a flowing elegance in his beautifully sleek and carrying lyrical tenor as the blameless nobleman. MA's tenor, as Don Ottavio sliced through the stones achingly in the stunning space. His voice is beautiful and has a solid sound, it moves gushingly supple and free of tension.
REVIEWS — Michele Angelini Tenor
MA's sweet voice rich with high notes resonates naturally, the intonation is perfect, motifs spring up like golden torrents. MA tenor sings beautifully and manages to create in a vocally audible manner a virtuous nobleman, who keeps his earthly passions in check. His power and versatility were impressive, particularly so for a young man.