Carmen Giannattasio (Elena), Kenneth Tarver (Uberto/Giacomo), Patricia Bardon (Malcolm), Gregory Kunde (Rodrigo di Dhu), Robert Gleadow (Douglas d'Angus), Francesca Sassu (Albina), Mark Wilde (Serano/Bertram)
Usually despatched in 2 - 3 working days. (Available now to download.)
Gioachino Rossini: La donna del lago (The Lady of the Lake)
Act I: Sinfonia
Act I: Recitative and Introduction: Del di la messaggiera (Shepherdesses, Shepherds, Huntsmen)
Act I Scene 2: Duet: Oh mattutini albori! (Elena)
Act I Scene 2: Qual suon! Sull'alta rocca (Elena, Uberto)
Act I Scene 2: Duet: Scendi nel piccol legno (Elena, Uberto)
Act I Scene 3: Duet: Uberto! ah! dove ti ascondi? Uberto! (Huntsmen)
Act I Scene 4: Duet: E in questo di? (Albina, Serano)
Act I Scene 5: Duet: Sei gia nel tetto mio (Elena, Uberto)
Act I Scene 6: Duet: D'Inibaca, Donzella (Chorus, Uberto, Elena)
Act I Scene 6: Duet: Sei gia sposa? ed e Rodrigo (Uberto, Elena)
Act I Scene 6: Duet: Quali accenti! e deggio in seno (Uberto, Elena)
Act I Scene 6: Duet: Ma son sorpreso (Uberto, Elena, Chorus)
Act I Scene 7: Recitative and Cavatina: Mura felici, ove il mio ben si aggira! (Malcolm)
Act I Scene 7: Recitative and Cavatina: Elena! oh tu, che chiamo! (Malcolm)
Act I Scene 7: Recitative and Cavatina: Oh quante lacrime finor versai (Malcolm)
Act I Scene 8: Recitative and Cavatina: Signor, giungi opportuno: al vallo intorno (Serano, Malcolm, Douglas, Elena)
Act I Scene 8: Duet: Taci, lo voglio, e basti (Douglas)
Act I Scene 8: Duet: E nel fatal conflitto (Elena, Malcolm)
Act I Scene 8: Duet: Vivere io non sapro/potro (Elena, Malcolm)
Act I Scene 9: Duet: Qual rapido torrente (Chorus)
Act I Scene 9: Duet: Eccomi a voi, miei prodi (Rodrigo, Chorus)
Act I Scene 9: Duet: Ma dov'e colei, che accende (Rodrigo)
Act I Scene 9: Duet: Premio di dolci ardori (Chorus, Rodrigo)
Act I Scene 9: Duet: Alfin mi e dato, amico (Douglas, Rodrigo)
Act I Scene 9: Cavatina: Vieni, o stella che lucida e bella (Chorus)
Act I Scene 9: Cavatina: Quanto a quest'alma amante (Rodrigo, Douglas, Elena)
Act I Scene 9: Cavatina: La mia spada, e la piu fida (Malcolm, Elena, Douglas)
Act I Scene 9: Cavatina: Questo amplesso, a te fia pegno (Rodrigo, Malcolm, Douglas, Elena)
Act I Scene 9: Cavatina: Crudele sospetto (Rodrigo, Elena, Malcolm, Douglas, Albina, Chorus)
Act I Scene 9: Cavatina: Sul colle a Morve opposto (Serano, Chorus, Douglas, Rodrigo, Elena, Malcolm)
Act I Scene 9: Finale: Gia un raggio forier (The Bards, Maidens, Rodrigo, Douglas)
Act I Scene 9: Finale: Su … amici! guerrieri! (Malcolm, Rodrigo, Douglas, Albina, Elena, Maidens)
Act II Scene 1: Cavatina: Oh fiamma soave (Uberto)
Act II Scene 1: Cavatina: Si, per te, mio tesoro (Uberto, Elena, Serano)
Act II Scene 1: Cavatina: Alla ragion deh rieda (Elena, Uberto)
Act II Scene 1: Cavatina: Nume! se a' miei sospiri (Elena, Uberto)
Act II Scene 2: Trio: Qual pena in me gia desta (Elena, Uberto, Rodrigo)
Act II Scene 2: Trio: Parla … Chi sei? (Rodrigo, Elena, Uberto, Clansmen)
Act II Scene 3: Trio: Quante sciagure in un sol giorno aduna (Albina, Malcolm, Serano)
Act II Scene 3: Aria: Ah! si pera: ormai la morte (Malcolm)
Act II Scene 3: Aria: Douglas! Douglas! ti salva! (Clansmen, Albina, Serano, Malcolm, Warriors)
Act II Scene 4: E tanto asasti? (Giacomo, Douglas)
Act II Scene 5: Attendi: il Re fra poco (Bertram, Elena)
Act II Scene 5: Che sento! (Elena, Giacomo)
Act II Scene 5: Stelle! Sembra! Egli stesso! (Elena) - Scene 6: Eccolo! amica sorte (Elena, Giacomo)
Act II Scene 6: Imponga il Re: siam (Chorus)
Act II Scene 6: Ah! che vedo! qual fasto! (Elena, Giacomo, Douglas, Malcolm, Bertram)
Act II Scene 6: Rondo: Tanti affetti in tal momento (Elena, Chorus)
2010
“One of Rossini's most attractive scores, La donnadel lago is both bold and delicate, at one moment looking ahead to Verdi, at several others suggesting a Mozartian affinity. The orchestral writing offers colour, adornment and a steady supply of additional interest. For the voice, opportunities for brilliance are matched by passages of sustained lyrical elegance. Dramatically, the construction is effective, the tension well contrived, with characters and situations that can touch the heart. Live in Edinburgh's Usher Hall, Gregory Kunde, in the fearsome role of Rodrigo, sounded at times foggy, almost as though singing through a cold, his tone breaking free with startling clarity on the high notes. The recording is more evenly voiced, the low notes clearer, the top not quite so exciting. And whereas the memory of Carmen Giannattasio as Elena is of something very special, the recorded sound seems not quite to catch the distinctive beauty of her tone throughout the range. Also the recording is without applause: and there was much. It was an evening of general rejoicing in the singers' art. Perhaps the greatest enthusiasm of all greeted Kenneth Tarver, especially after his solo at the beginning of Act 2: and that comes out on record exactly as remembered, a model of legato singing from the start and blissfully even and precise in florid work later on. Though this was a concert performance, all was fully expressive and, if one couldn't claim a high degree of dramatic involvement, at least as a member of the audience one felt interest and sympathy. The orchestra is well to the fore, and its playing is certainly a main strength, Maurizio Benini conducting with spirit and finesse. Offstage band and chorus are also effectively recorded, and a well-chosen version of the text is presented. Opera Rara also bring its habitual generosity and scholarship to the accompanying booklet, with a handsome box and stylish packaging.”
Click here for alternative recordings of this work.
Act I: Sinfonia
