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Embedded Japanese subtitles with optional subtitles in English, French, German, Italian, and Spanish Recorded in September 1973 | | | Usually despatched in 8 - 10 working days. |
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| |  | Magda Olivero: Artist & DivaIncludes a complete performance of Tosca from 1961
Plus an interview with Olivero from 1963 “The production of Tosca dates from 1960. Ah, those naïve times when people believed it was set in Scarpia's Rome (not in Mussolini's, for example). The date is 1800 and the Battle of Marengo is news. And the scenery is for real.
You could nose your way around Sant'Andrea della Valle, and feel quite at home in the Palazzo Farnese.
As for the prima donna, Magda Olivero (born 1910, debut 1932) has thought out every move, every expression, creating the conviction of living the whole role afresh here and now. She also sings with distinction. Try her in phrases like 'le voce delle cose' for delicacy and the great twooctave lunge of 'Io quella lama piantai nel cor' for power. Her Scarpia isn't so very far inferior to Gobbi: suave and brutal by turns, with fine resonance. Cavaradossi is likeable, both vocally and dramatically; Angelotti, for his brief operatic life, is outstanding.
The documentary of 2003 puts 1960 in perspective.
It includes glimpses of Olivero singing in Milan the previous year, marking the 25th anniversary of Callas's death. It's a weirdly ethereal sound, sometimes very flat, but flat in a beautiful way. She sings Panis angelicus, and at a late stage is joined by her tenor pupil Danilo Formaggio. In interviews Olivero tells of the tenors in her career, from Schipa to Domingo, including a long story about appeasing Gigli.
But the best things are three excerpts filmed in 1965: a delicately acted scene from Iris, authentic voice and style for Alfano's Risurrezione, and the great solo from Act 1 of La traviata. The last is astonishing in every way: the 'Ah, fors' è lui' muses privately; the 'Follies' are sudden, impetuous; the 'vortici' brilliant with nervous energy; top Cs that swell and diminish as you thought they did only in text-books; and a top E flat which you hadn't thought would be in her voice at all. And this is a youngster of 55.
It's a pity we don't get a taste of her pre-war recordings: that would have deepened the perspective.
Seeing her at 92 leaves us with admiration and wonder for this extraordinary woman and her unquenchable devotion to her art.” Gramophone Classical Music Guide, 2010 | | | Usually despatched in 8 - 10 working days. |
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Alessandro Maddalena (Il Marchese di Calatrava), Elena Suliotis (Leonora di Vargas), Mario Sereni (Don Carlo), Carlo Menippo (Don Alvaro), Franca Mattiucci (Preziosilla), Ivo Vinco (Padre Guardiano), Alfredo Mariotti (Fra Melitone), Angela Rocco (Curra), Augusto Frati (Un Alcalde), Mario Guggia (Mastro Trabuco) Orchestra e Coro del Teatro di San Carlo di Napoli, Pasquale de Angelis | | | Usually despatched in 8 - 10 working days. |
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| |  | Voce Verdiane al Regio di Parma
Adriana Guerrini, Amelita Galli-Curci, Aurora Rettore, Beniamino Gigli, Benvenuto Franci, Carlo Castellani, Gina Cigna | | | Usually despatched in 8 - 10 working days. |
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| |  | Il Salotto Volume 8 - Notturno - Music for the Night
Notturno is the eighth volume of Opera Rara’s acclaimed Il Salotto series and is essentially an album of duets, 14 in all. Literally translated as ‘nocturne’ the songs on this disc bear little resemblance to the piano pieces of the same name as exemplified by those of Chopin. The term notturno is perhaps closer to the 18th century notturno, which basically meant an instrumental serenade performed late at night. Similarly, notturni were written for salon performances at a musical soirée. In any case, it is a mistake to assume that the vocal notturno is limited to specific subject matter, such as songs of the night or musical moods, such as dreamy languor. L’aurora, the final track on the disc, from Donizetti’s song collection Notti d’estate, in fact, is about dawn and has along with most of the other nottorni from this collection, a brisk tempo reflecting an affirmative message. While the tone of the songs on this disc is primarily up-beat, they are not entirely bereft of references to love’s heartache. In Donizetti’s Ti sento sospiri, the mood is nevertheless joyful because the focus is on a remedy – a single pleasure. Verdi’s piece simply entitled Notturno compares the object of the speaker’s love unfavourably to a female nightingale because the latter offers comfort to her mate. The most poignant moment comes with Bellini’s song La ricordanza, a recollection of lost love. The source of the relationship’s demise is left a mystery and adds to the song’s allure. With an introduction and notes to the songs by George Loomis the eminent musicologist and music critic, the fully illustrated 68 page booklet keeps the listener involved with this intriguing programme. “Here are all the virtues of an Opera Rara release and a poignant reminder of how much we owe to Patric Schmid who died so suddenly. Best of all… Rossini's 'Les Amants de Séville', a so-called sin from the composer's old age that is soon forgiven when sung so gracefully by Larmore and Ford.” BBC Music Magazine, February 2006 ***** | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | The Power & The Majesty - Essential Choral ClassicsA stunning collection of celebrated vocal music interpreted by the master of choral music
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| |  | Joseph Calleja - The Golden Voice
'This is a discerning, often thrilling recital by a singer in his first full bloom.' Daily Telegraph | | | Usually despatched in 2 - 3 working days. |
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Staged and Directed by Götz Friedrich “Solti's finest reading. Splendid singers grace this lavish version, well dubbed, though the production is rather Germanic and Bacquier's Falstaff mannered.” BBC Music Magazine, March 2006 **** | | | Usually despatched in 8 - 10 working days. |
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| |  | Verdi: Complete Preludes, Overtures and Ballet Music
4 CD for price of 3 | | | Usually despatched in 2 - 3 working days. |
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Gramophone Magazine