Rossini: La gazza ladra

Arthaus Musik: 102203

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Rossini: La gazza ladra

Catalogue No:

102203
(102 203)

Discs:

1

Release date:

2nd April 2007

Barcode:

0807280220391

Medium:

DVD Video

Format:

NTSC

Region:

all
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Rossini: La gazza ladra

Sung in Italian. Live Recording from the Cologne Opera in 1987

Directed by Michael Hampe and Set Design/Costumes by Mauro Pagano


Carlos Feller, Nucci Condo, David Kuebler, Ileana Cotrubas, Brent Ellis, Alberto Rinaldi & Elena Zilio

Chorus of the Cologne Opera & Gürzenich Orchestra of Cologne, Bruno Bartoletti

Recording Date: 1987
Place of recording: Live Recording from the Cologne Opera
Running Time: 182 min
Sound Format: PCM Stereo

Menu Languages NTSC: D, F, GB, SP
Subtitle Languages NTSC: D, F, GB, I, SP

DVD Video

$36.50

Usually despatched in 2 - 3 working days.

BBC Music Magazine

Proms 2007

***

“Hampe's production is conventional, though the individual performances are all acceptable, with Ileana Cotrubas's Ninetta offering something more.”

Gramophone Magazine

September 2007

“Sets, costumes and acting are all under sensible direction and there are none of those silly diversionary indulgences that have become so habitual in recent years. There are four good vocal performances: by Elena Zilio and Nucci Condò, both sturdy mezzos; by David Kuebler, an accomplished lyric tenor; and by the grand veteran Carlos Feller... Ileana Cotrubas as the heroine sometimes touches the heart but at this stage in her career rarely delights the ear. Bartoletti and his players do justice to Rossini's score, as do the video director and his crew to the events onstage.”

Gramophone Classical Music Guide

2010

“In an odd way, La gazza ladra is as disorientating as Shakespeare's Measure for Measure, which answers the old definition of tragi-comedy as a form of drama bringing characters near to death 'which maketh it no comedy', yet ends happily so that it is no tragedy either. On first acquaintance Rossini's opera semiseria can have you seriously worried. The title, overture and opening scenes induce the sure expectation of a comedy of nothing more serious than errors. The Mayor's dastardly designs upon Ninetta give the framework for a plot and the father's return as a deserter from the wars thickens it; but it still comes as quite a profound shock when Ninetta is sent to prison.
When the court sentences her to death we rub our eyes. They strike up the funeral march and we say 'Oh no!'. But Rossini and his librettist risk a stage further towards tragedy as Ninetta sings her last prayer and is led off to execution out of our sight. Of course other developments are in hand and the musical conventions assure us that what seems now inevitable must take a turn for the better. But there is a distinct element of touch-and-go, which makes the opera a remarkable piece for its time, and for its composer.
It also presents a challenge to the producer and the whole company, a challenge well met here, with the right balance struck, and no undermining of one half by the other.
Sets, costumes and acting are all under sensible direction and there are none of those silly diversionary indulgences that have become so habitual in recent years. There are four good vocal performances: by Elena Zilio and Nucci Condò, both sturdy mezzos; by David Kuebler, an accomplished lyric tenor; and by the grand veteran Carlos Feller, looking rather like Bertrand Russell but endowing the old croaker with a fullbodied and still resonant bass voice. The baritones are sonorous but uneven, while Ileana Cotrubas as the heroine sometimes touches the heart but at this stage in her career rarely delights the ear. Bartoletti and his players do justice to Rossini's score, as do the video director and his crew to the events onstage.”

Penguin Guide

2011 edition

“All the roles are done with character and obvious enjoyment, including the ensembles and choruses. The orchestra is lively and alert, with Rossini's tuneful invention a constant delight. The production is the crowning glory of this performance, with beautiful sets and costumes, all brightly and sympathetically lit.”

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