Amor fatale: Rossini Arias

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Rebeka finds the emotional depths of Rossini. — BBC Music Magazine, March 2018, 4 out of 5 stars More…

Release Date: 29th Sep 2017
Catalogue No: 900321
Label: BR Klassik
Length: 68 minutes

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Excerpt, Rossini: Moïse et Pharaon

Work length8:01

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Marina Rebeka (soprano), Julia Heiler (mezzo-soprano), Levy Sekgapane (tenor), Gianluca Margheri (baritone)
Chor des Bayerischen Rundfunks, Munich Radio Orchestra
Marco Armiliato
Recorded: 19-22 December 2016 and 26-27 May 2017
Recording Venue: Studio 1, Bayerischer Rundfunk, München, Germany

Moïse et Pharaon, ou Le passage de la Mer Rouge: Quelle horrible destinée! - Grand Dieu! j'implore ta clémence

Track length5:33

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Moïse et Pharaon, ou Le passage de la Mer Rouge: Je l'aimais!... je fuis sa présence

Track length2:28

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Excerpt, Rossini: Otello

Work length6:56

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Marina Rebeka (soprano)
Munich Radio Orchestra
Marco Armiliato

Otello, ossia Il moro di Venezia: Assisa a piè d'un salice

Track length6:56

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Excerpt, Rossini: Semiramide

Work length8:06

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Marina Rebeka (soprano)
Munich Radio Orchestra
Marco Armiliato

Semiramide: Bel raggio lusinghier

Track length8:06

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Excerpt, Rossini: Maometto Secondo

Work length3:28

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Marina Rebeka (soprano)
Chor des Bayerischen Rundfunks, Munich Radio Orchestra
Marco Armiliato

Maometto II: Giusto ciel, in tal periglio

Track length3:28

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Excerpt, Rossini: Guillaume Tell

Work length7:46

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Marina Rebeka (soprano)
Munich Radio Orchestra
Marco Armiliato
Recorded: 19-22 December 2016 and 26-27 May 2017
Recording Venue: Studio 1, Bayerischer Rundfunk, München, Germany

Guillaume Tell: Ils s'éloignent enfin

Track length3:11

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Guillaume Tell: Sombre forêt, désert triste et sauvage

Track length4:35

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Excerpt, Rossini: Armida

Work length5:57

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Marina Rebeka (soprano)
Chor des Bayerischen Rundfunks, Munich Radio Orchestra
Marco Armiliato

Armida: D'amor al dolce impero

Track length5:57

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Excerpt, Rossini: Maometto Secondo

Work length12:39

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Recorded: 19-22 December 2016 and 26-27 May 2017
Recording Venue: Studio 1, Bayerischer Rundfunk, München, Germany

Maometto II: Quella morte che s'avanza - Invan la perfida

Track length4:52

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Maometto II: Sí, ferite, il chieggo, il merto

Track length2:45

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Maometto II: Madre, a te che sull'empiro

Track length5:02

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Excerpt, Rossini: Guillaume Tell

Work length7:28

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Recorded: 19-22 December 2016 and 26-27 May 2017
Recording Venue: Studio 1, Bayerischer Rundfunk, München, Germany

Guillaume Tell: Pour notre amour

Track length4:08

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Guillaume Tell: Sur la rive étrangère

Track length3:20

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Excerpt, Rossini: La donna del lago

Work length8:13

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Marina Rebeka (soprano)
Chor des Bayerischen Rundfunks, Munich Radio Orchestra
Marco Armiliato

La donna del lago: Tanti affetti in tal momento - Fra il padre e fra l’amante

Track length8:13

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Interview, Marina Rebeka on Amor fatale

16th October 2017

The Latvian soprano, who opens as Norma at the Metropolitan Opera tonight, talks to Katherine about her new album of arias from Rossini's tragic operas.

Marina Rebeka is one of the most successful sopranos of her generation. To mark the occasion of the upcoming Rossini year of 2018, she and the Münchner Rundfunkorchester, conducted by Marco Armiliato, have recorded an album of highly dramatic opera arias that is now being released by BR-KLASSIK. The album "Amor fatale" offers the opportunity to reacquaint oneself with the great soprano arias from Rossini's less well-known but musically convincing tragic operas, in a fine interpretation.

The concept album entitled "Amor fatal" focuses on powerful female roles from the operas Otello, Armida, La donna del lago (The Lady of the Lake), Maometto II, Semiramide (Semiramis), Moïse et Pharaon (Moses and Pharaoh) and Guillaume Tell (William Tell). The women are obliged to choose between love and duty, and frequently have to subordinate their personal fate to that of their family, nation or homeland.

The Latvian soprano has quite some experience with roles in Rossini, above all from his great tragic operas: the role of Anna Erisso from Maometto II, which she performed in 2008 at the Rossini Opera Festival in Pesaro, the composer’s birthplace, marked the very start of her career. She went on to attract international attention in 2009 when she debuted at the Salzburg Festival, as Anaï in Moïse et Pharaon. For her album she has worked through Rossini's original handwritten manuscripts and included this in her performance; she also developed her own coloratura, which not only suits her voice both musically and technically, but also best corresponds to the specific stage events and emotions encountered in her respective operatic roles.

Reviews

March 2018

Rebeka finds the emotional depths of Rossini.

January 2018

There’s certainly some mightily impressive singing here as she rattles her way through some of the trickiest arias of the bel canto repertoire, and does so with a voice that’s arguably pushing more towards lirico-spinto territory. It’s a big, glossy sound, with an evenly produced- and somewhat uniformly applied – lusciousness of timbre…by any standards an impressive Rossinian calling-card from a formidable singer.

classicalsource.com January 2018

Offering a more muted approach to Anna’s prayer from Moametto II, she clothes the line with expressive intent, while her ‘Sombre forêt is fluent and stylish. Technical skill is also combined with expressive power in the second sequence from Maometto.

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Interview, Marina Rebeka on Amor fatale

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