Rossini: La donna del lago

“Like the excellent Opera Rara recording (reviewed above), this new Naxos set was also made live in 2006. An excess of mid-act applause notwithstanding, it offers yet another distinguished account of the score. Key to the set's success is the cast of rising young stars of the Rossini circuit which veteran conductor and Rossini editor Alberto Zedda has assembled.
Maxim Mironov is memorable as the King and there are equally compelling performances by Sonia Ganassi, Marianna Pizzolato and Ferdinand von Bothmer. The set faces stiff competition from Philips's budget-price reissue of the Muti but it is a more than useful addition to the La donna del lago discography.” Gramophone Classical Music Guide, 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.” Gramophone Classical Music Guide, 2010