Rossi, Lauro: Cleopatra

Naxos: 8660291-92

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Rossi, Lauro: Cleopatra



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Release date:

28th Feb 2011




1 hour 44 minutes


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Rossi, Lauro: Cleopatra

Dimitra Theodossiou (Cleopatra), Alessandro Liberatore (Marco Antonio), Paolo Pecchioli (Ottavio Cesare), Sebastian Catana (Diomede), William Corrò (Proculejo), Tiziana Carraro (Ottavia) & Paola Gardina (Carmiana)

FORM – Orchestra Filarmonica Marchigiana & Coro Lirico Marchigiano ‘V. Bellini’, David Crescenzi

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First performed at the Teatro Regio, Turin, on 5 March 1876, Lauro Rossi’s penultimate opera Cleopatra caught the public’s attention in the wake of Verdi’s Aïda (1871). Like that better-known work, it contains some wonderful arias and set pieces, including a marvellous Act 1 banquet scene, Cleopatra’s Act 2 aria, the thrilling ensemble that closes Act 3, and the confrontation between Cleopatra and Octavian in Act 4, all making for compelling listening.

From the brooding opening scene in which Diomedes foretells the fall of Egypt to Cleopatra’s death scene, this gripping grand opera by one of Italy’s forgotten masters springs vividly to life in this revival recorded at the 2008 Macerata Sferisterio Festival.

“If you like Verdi, you will almost certainly enjoy this performance of Rossi’s Cleopatra, especially if you are a snapper-up of what in the eighteenth century used to be called ‘curiosities’… this would be my Discovery of the Month.” MusicWeb International

Lauro Rossi: Cleopatra

Act I: Qui suoneran tra poco (Diomede, Chorus of Priests)

Act I: Il zeffiro mite (Chorus of Female Slaves, Chorus of Priests, Diomede, Cleopatra, Antonio)

Act I: Dunque, fra le tenebre … (Diomede)

Act I: Alla minaccia fiera crudele (Diomede)

Act I: L'ore che fuggono (Chorus of Female Slaves, Nobles and Princes)

Act I: A te d'appresso (Antonio, Cleopatra, Chorus of Nobles and Princes)

Act I: Libo alle notti (Antonio, Chorus of Nobles and Princes, Cleopatra, A Slave, Proculejo, Chorus of Female Slaves)

Act II: Lieto un raggio (Carmiana, Chorus of Slaves, Cleopatra)

Act II: Oracoli mendaci! (Cleopatra)

Act II: Io de' venti vorrei l'audace (Cleopatra)

Act II: Tu! … Si! … Da me che vuoi? (Cleopatra, Diomede)

Act II: E credi tu d'Antonio (Diomede, Cleopatra)

Act III: Di gemme fulgide (Chorus of Maidens, Ottavia)

Act III: Mentre le dolci immagini (Ottavia, Chorus of Maidens)

Act III: Suora diletta! … Ottavia all'ara (Cesare, Antonio, Ottavia)

Act III: Muovi o suora (Cesare, Chorus of Maidens, Antonio, Ottavia)

Act III: T'affrena o cor (Cesare)

Act III: Non basta a me (Cesare)

Act III: Cinto di nubi (Ottavia, Antonio, Cesare, Proculejo, Diomede, Cleopatra)

Act III: Dunque, indegno all'amor mio (Cleopatra, Antonio, Diomede, Ottavia, Cesare, Proculejo, Chorus of Romans)

Act III: Ah no!... Che tenti? (Cleopatra, Antonio, Cesare, Diomede, Ottavia, Proculejo, Chorus of Romans)

Act IV: Azio! … Tremendo nome (Antonio)

Act IV: In ripensar le vittime cadute (Antonio, Chorus of Egyptian Soldiers)

Act IV: Amici? … Il popolo al tuo rivale inneggia! (Antonio, Chorus of Egyptian Soldiers)

Act IV: Al tetro spettacolo di sangue (Cleopatra, Carmiana)

Act IV: Regina! … Grazia ti rendo (Cesare, Cleopatra)

Act IV: Che rechi mai? (Cesare, Proculejo, Cleopatra)

Act IV: A Roma! No, non mai (Cleopatra, Diomede, Cesare, Proculejo, Chorus of Roman Soldiers and People)

Act IV: Mirate! Di gioia esultante (Cleopatra, Diomede, Cesare, Proculejo, Chorus of Roman Soldiers and People)

Gramophone Magazine

June 2011

“there are some strongly dramatic scenes, such as where Cleopatra improbably turns up in Rome intending to murder Mary Antony's wife: her two-octave drop at 'Si, Cleopatra!' leads to a powerful ensemble of perplexity...There are no outstanding voices but the performance is strong enough to appeal to anyone curious about the byways of 19th-century opera.”

Opera Now

Summer 2011


“Dimitra Theodossiou is a sensual Cleopatra and Sebastian Catana Diomede gives a heartfelt performance as the hapless love rival Diomede”

The Guardian

7th April 2011


“Rossi, fashionable in the 1840s, was attempting a career revival by clambering on the Egyptology bandwagon made popular by Aida...Rossi's style, meanwhile, is closer to Meyerbeer than Verdi...The best singing comes from Dimitra Theodossiou's smoky-toned Cleopatra and Sebastian Catana's handsomely harassed Diomede.”

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