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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
“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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