Ferruccio Furlanetto

Recorded in Aix-en-Provence in 1977

Montserrat Caballé, Samuel Ramey, Ileana Cotrubas, René Kollo, Eva Marton, and Ruggero Raimondi were amongst the many opera stars from all over the world who came together at the great Arena in Verona on 8th August 1988 to support José Carreras and the establishment of his foundation to fight leukaemia. The much-loved tenor had recently recovered from this life threatening illness and the recordings included in this special two-CD set are the aural documents of this memorable gala.

Although Placido Domingo was unable to take part that evening, he too supported his friend, providing a recording of a song by zarzuela composer Jacinto Guerrero at Carreras’s disposal for the concert in aid of foundation and this album. The discs include highlights from La Bohème, Il Barbiere di Siviglia, Manon Lescaut, La Giaconda, Otello, La Traviata and many other operas.

August 8th, 1988 was a great evening for José Carreras. It went on until after two o’clock in the morning, but the packed audience in the Arena in Verona did not want to go yet. They held aloft signs and banners on which they hailed the singer, who had returned to life, with heartfelt words in many languages. He was the last to perform after the greats of opera had sung for him throughout the evening. For the first time since his convalescence Carreras again stood in front of an orchestra. His strength was only sufficient for a single song - Lara’s Granada - with which his voice could outshine the waves of the instruments.

Celebrating the genius of Mozart, this exciting release features 15 of his most celebrated operatic arias, performed by legendary bass-baritone Ferruccio Furlanetto.

The compilation traces Mozart’s four most famous operas and details nine separate characters in the space of an hour. From Figaro’s military-style ‘Non più andrai’ to the Count’s display of jealous insecurity in ‘Hai già vinta la causa!’ – two of four arias from Le nozze di Figaro – Furlanetto also explores the servant-nobleman roles in Don Giovanni, performing the infamous ‘Madamina! il catalogo è questo’ and ‘Champagne Aria’ among others. Così fan tutte, Mozart’s third and final collaboration with librettist Lorenzo da Ponte, sees the bass-baritone take on the role of Guglielmo, while in Die Zauberflöte, written just a couple of months before the composer’s death, the singer contrasts the naivety of Papageno the birdcatcher (‘Der Vogelfänger bin ich ja’ and ‘Ein Mädchen oder Weibchen’) with the wisdom and purity of Sarastro (‘In diesen heil’gen Hallen’).

Representing the pinnacle of Mozart’s mature style, these arias run the full gamut of emotions and reveal Furlanetto’s range of technical and expressive virtuosity. To find the same artist singing such a wide variety of roles in his career, let alone on the same disc, is a rare thing: this recording is a fine addition to the Newton Classics vocal library.

Booklet note by Mozart opera conductor and scholar Ian Page.

Recorded in 1991.

After its successful premiere, Rossini’s opera “Armida” was quickly forgotten, only to be triumphantly revived by Maria Callas in 1952, and ever since it is considered a masterpiece. This performance with primarily Italian forces, has all the wit, charm, beauty and sparkle that any Rossini opera can wish for. Some big names here: Cecilia Gasdia, Chris Merritt,William Matteuzzi and Ferruccio Furlanetto. Great addition to the Brilliant Classics Opera Collection.

Armida is today considered one of Rossini’s greatest operas, but following its premier in Naples in 1817 it quickly faded from the standard operatic repertoire. Its plot of knightly duties, love and supernatural worlds (foreshadowing Weber in places) inspired the composer to write some of his most original and inimitable music, with unusual combinations of instruments and some beautiful extended solos for cello and violin.The love music is undeniably heartfelt and sincere; Rossini’s inspiration may have been assisted by his romantic involvement with the soprano Isabella Colbran, a major star of the time and the first to perform the title role.

Armida was revived in 1952 with Maria Callas in the lead role, and this began a trajectory that saw the work rise back to its rightful place in the repertoire. It is now considered one of Rossini’s masterpieces.