Rossini: Il barbiere di Siviglia

Naxos: 8660027-29

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Rossini: Il barbiere di Siviglia

Awards:

Building a Library

Budget Choice - December 2001

Label:

Naxos

Catalogue No:

8660027-29
(8.660027-29)

Discs:

3

Barcode:

4891030600270

Length:

2 hours 37 minutes

Medium:

CD (download also available)

20% off Naxos

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special offer ends 29/05/2013

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Rossini: Il barbiere di Siviglia


de Grandis, Ganassi, Romero, Servile, Vargas

Hungarian Radio Choir; Failoni Chamber Orchestra, Budapest, Willi Humburg

CD - 3 discs

Normally: $17.50

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(also available to download from $12.50)

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Gioachino Rossini: Il barbiere di Siviglia (The Barber of Seville)

playSinfonia

playAct I No. 1: Introduzione: Piano, pianissimo

playAct I: Cavatina: Ecco, ridente in cielo

playAct I: Seguito dell' Introduzione: Ehi, Fiorello

playAct I: Recitativo: Gente indiscreta!

playAct I No. 2: Cavatina: Largo al factotum della citta

playAct I: Recitativo: Ah, ah! che bella vita!

playAct I: Recitativo Povera disgraziata!

playAct I No. 3: Canzone: Se il mio nome saper voi bramate

playAct I: Recitativo: Oh cielo!

playAct I No. 4: Duetto: All'idea di quel metallo

playAct I: Recitativo: Ev-viva il mio Padrone!

playAct I No. 5: Cavatina: Una voce poco fa

playAct I: Recitativo: Si, si, la vincero

playAct I: Recitativo: Oh buon di, signorina!

playAct I: Recitativo: Ah, disgraziato Figaro!

playAct I: Recitativo: Ah! Barbiere d'inferno

playAct I No. 6: Aria: La calunnia e un venticello

playAct I: Recitativo: Ah! che ne dite?

playAct I: Recitativo: Ma bravi! ma benone!

playAct I No. 7: Duetto: Dunque io son ...

playAct I: Recitativo: Ora mi sento meglio

playAct I No. 8: Aria: A un dottor della mia sorte

playAct I: Recitativo: Brontola quanto vuoi

playAct I: Recitativo: Finora in questa camera

playAct I No. 9: Finale I: Ehi, di casa! ... buona gente!

playAct I: Seguito del Finale I: Che cosa accadde

playAct I: Seguito del Finale I: Fredda ed immobile

playAct I: Stretta del Finale I: Ma, signor ...

playAct II: Recitativo: Ma vedi mio destino!

playAct II No. 10: Duetto: Pace e gioia sia con voi

playAct II: Recitativo: Insomma, mio signore

playAct II: Recitativo: Venite, signorina

playAct II No. 11: Aria: Contro un cor che accende amore

playAct II: Recitativo: Bella voce! Bravissima!

playAct II No. 12: Arietta: Quando mi sei vicina

playAct II: Recitativo: Bravo, signor barbiere

playAct II No. 13: Quintetto: Don Basilio!

playAct II: Seguito del Quintetto: Buona sera, mio signore

playAct II: Seguito del Quintetto: Stringi, bravissimo

playAct II: Recitativo: Ah! disgraziato me! ...

playAct II No. 14: Aria: Il vecchiotto cerca moglie

playAct II: Recitativo: Dunque voi Don Alonso

playAct II: Recitativo: Per forza o per amore

playAct II No. 15: Temporale

playAct II: Recitativo: Alfine, eccoci qua

playAct II No. 16: Terzetto: Ah! qual colpo inaspettato!

playAct II: Recitativo: Ah disgraziati noi!

playAct II No. 17: Recitativo strumentato: Il conte! ah che mai sento! ...

playAct II: Aria: Cessa di piu resistere

playAct II: Recitativo: Insomma, io no tutti i torti! ...

playAct II No. 18: Finaletto Il: Di si felice innesto serbiam memoria eterna?

Gramophone Classical Music Guide

2010

“Not everyone will approve, but there are ways in which this super-budget set of Il barbiere diSiviglia puts to shame just about every other version of the opera there has been. Those it may not please are specialist vocal collectors for whom Il barbiere is primarily a repository of vocal test pieces. If, however, you regard Il barbiere (Rossini, ex-Beaumarchais) as a gloriously subversive music drama – vibrant, scurrilous, vital – then this recording is guaranteed to give a great deal of pleasure.
'Performance' is the key word here. Humburg is described in the Naxos booklet as 'Conductor and Recitative Director', and for once the recitatives really are part of the larger drama. The result is a meticulously produced, often very funny, brilliantly integrated performance that you'll almost certainly find yourself listening to as a stage play. With a virtually all-Italian cast, the results are a revelation. The erotic allure of the duet 'Dunque io son' is striking. Similarly, Don Basilio's Calumny aria, superbly sung by Franco de Grandis, a black-browed bass from Turin who was singing for Karajan, Muti and Abbado while still in his twenties. This takes on added character and colour from the massive sense of panic created by de Grandis and the admirable Dr Bartolo of Angelo Romero when Basilio comes in with news of Almaviva's arrival in town.
The Overture is done with evident relish, the playing of the Failoni Chamber Orchestra is nothing if not articulate. Aided by a clear, forward recording, a sine qua non with musical comedy, the cast communicates the Rossini/ Sterbini text with tremendous relish. They're never hustled by Humburg, nor are they spared: the stretta of the Act 1 finale is a model of hypertension and clarity. This Il barbiere jumps to the top of the pile.”

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