Verdi: La Forza del Destino

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Verdi: La Forza del Destino



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2 hours 33 minutes


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Verdi: La Forza del Destino

Maria Caniglia, Tancredi Pasero, Carlo Tagliabue

RAI Symphony Orchestra and Chorus, Turin, Gino Marinuzzi

CD - 2 discs


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Giuseppe Verdi: La forza del destino


Act I: Buona notte, mia figlia

Act I: Ternea restasse qui fino a domani!

Act I: Me pellgrina ed orfana

Act I: M aiuti, signorina, piu presto andrem

Act I: Ah, per sempre, o mio bell'angiol

Act I: Vil seduttor! Infame figlia!

Act II: Scene 1 - Hola, hola, hola! Ben giungi, o mulattier

Act II: Scene 1 - La cena e pronta

Act II: Scene 1 - Che vedo! Mio fratello!

Act II: Scene 1 - Viva la guerra!

Act II: Scene 1 - Al suon del tamburo

Act II: Scene 1 - Padre Eterno Signor

Act II: Scene 1 - Viva la buona compagnia!

Act II: Scene 1 - Poich imberbe l'incognito

Act II: Scene 1 - Son Pereda, son ricco d'onore

Act II: Scene 1 - Sta bene

Act II: Scene 2 - Sono giunta! Grazie, o Dio!

Act II: Scene 2 - Madre, pietosa Vergine

Act II: Scene 2 - Chi siete?

Act II: Scene 2 - Chi mi cerca?

Act II: Scene 2 - Infelice, delusa, rejetta

Act II: Scene 2 - Il santo nome de Dio Signore sia benedetto

Act II: Scene 2 - La Vergine degli Angeli

Act III: Scene 1 - Attenti al gioco, attenti, attenti al gioco

Act III: Scene 1 - La vita inferno all'infelice

Act III: Scene 1 - O tu che in seno agli angeli

Act III: Scene 1 - Al tradimento!

Act III: Scene 1 - All armi!

Act III: Scene 2 - Piano qui posi...approntisi il mio letto

Act III: Scene 2 - Solenne in quest ora

Act III: Scene 2 - Morir! Tremenda cosa!

Act III: Scene 2 - Urna fatale del mio destino

Act III: Scene 2 - Es altra prova rinvenir potessi?

Act III: Scene 3 - Compagni, sostiamo

Act III: Scene 3 - Lorch pifferi e tamburi par che assordino la terra

Act III: Scene 3 - Qua, vivandiere, un sorso

Act III: Scene 3 - A buon mercato chi vuol comprare?

Act III: Scene 3 - Pane, pan per carit!

Act III: Scene 3 - Nella guerra e la follia

Act III: Scene 3 - Toh! Toh! Poffare il mondo! Che tempone!

Act III: Scene 3 - Rataplan, rataplan, della gloria

Act IV: Scene 1 - Fate la carita, e un'ora che aspettiamo!

Act IV: Scene 1 - Guinge qualcuno, aprite

Act IV: Scene 1 - Invano Alvaro ti celasti al mondo

Act IV: Scene 1 - Le Minaccie, i fieri accenti

Act IV: Scene 2 - Pace, pace mio Dio!

Act IV: Scene 2 - Io muoio! Confessione!

Act IV: Scene 2 - Non imprecare, umiliati a Lui ch'e giusto e santo

Gramophone Classical Music Guide


“This is a fascinating, unmissable set both in historic and musical terms. Marinuzzi, a Toscanini coeval at La Scala, was chosen as conductor, and it's his only complete recording of an opera. The recording took place in May 1941 and was issued on 78rpm discs by Cetra. After the war Parlophone, which was then in charge of Cetra recordings in Britain, issued – in desultory fashion – a few separate discs. Sadly the whole version has never had the currency its great merits deserve, not at least as the first complete set (bar one traditionally cut scene) of the work and one with an entirely Italian cast. Now we have it to enjoy at superbudget price and in admirable transfers from original Cetra pressings, by Ward Marston.
For the recording Marinuzzi had assembled a vintage cast of Italian singers of the day. Caniglia herself rightly considered her Leonora here as one of her finest recordings: one can hear why in her committed, vibrant and often very sensitive singing: she even attempts some of the refined pianissimos that graced the reading of this role by her near-contemporary, Zinka Milanov. It's a performance imbued with spiritual yearning – exactly what's wanted. By her side Masini's Alvaro is obviously a man of action with his blade-like, spinto tenor and sense of desperation at Alvaro's plight.
If he's occasionally too lachrymose that's only a sign of his empathy with his role. As Alvaro's implacable antagonist, Don Carlo, Tagliabue provides dependable tone and an authentically styled interpretation of a kind seldom heard today.
The pair's final and fatal encounter is one of the score's and the set's highlights.
Stignani, in her absolute prime, is a formidable Preziosilla, full in tone and clear in her passagework, exemplary in every way. Marston has made the recording as amenable as is possible. In any case it would be worth suffering much worse sound than this for such a satisfying traversal on all sides of this inspired score.”

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