Quote Expanse - Ernesto Brancucci / Luigi Bergonzi - Happy Trills (Vinyl tezeta on January 13,AM. Thanks for the info Mr. Quote from: Mr on October 22,PM. BiagioB Member Posts: 2. Greta Administrator Posts: Quote from: milliondollars on October 09,PM.
This is a hell of interpretation Pylon And the way you went from "fanti" to "word", oh my. Luciani's alias, and there's been some speculation that he is, in fact, D. Anyone have anything to offer along this line of inquiry? I can confirm this - Luciani and Kimball were two different people.
There has been speculation that Luciani 'borrowed' his name, but I've yet to see anything substantial. I see this is incorrectly listed at Discogs at the moment.
The Discogs editor listed the following as source: "Riccardo A. Luciani - verified by several sources" Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon.
It also analyzes reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. A fact of life with this recording is that Callas' voice was past its vocal prime, in fact, a few short years after the recording was made, she LP) appeared in opera again.
But this recording is a favorite of mine because it is rich in dramatic intensity from both Callas and Gobbi. In fact, the second act confrontation is certainly more seasoned and more interesting and satisfying than the historical mono version made in There's also the wonderful Cavarodossi of Bergonzi who was in the full bloom of his prime.
His voice is just gorgeous here. If possible, I would get both recordings, Expanse - Ernesto Brancucci / Luigi Bergonzi - Happy Trills (Vinyl exercise caution when purchasing the version because EMI's engineering team cleaned up more the tape hiss. They actually ruined some of the effects such as Tosca's approaching "Mario, Mario, Mario", which now sounds like Callas is right in front of the microphone, which was not the effect the producer Walter Legge wanted.
Look LP) the Great Recordings of the Century edition, the deluxe set which is still available. Or, the recent Naxos re-recording from actual well preserved vinyls. Like most operaphiles, I had for so long been so hugely satisfied with the famous de Sabata recording that I had not bothered to sample the studio recording on the assumption that it was so markedly inferior that it was not worth the bother.
Forty years on, I find that I was wrong; it was the passing of Carlo Bergonzi that prompted me to obtain a cheap copy and lo and behold I am now kicking myself for my stupidity. Let's dispense with the obvious caveats: yes, Callas's voice is now a little hoarse and hollow, somewhat less powerful and the flap up top has worsened, yet in many ways this is both a subtler and more striking portrayal of the role with which, despite her not especially liking it, she was most readily associated.
Apart from the LP) drama of her verbal inflections, her lower register is now even more trenchant and thrilling. Otherwise, with the exception of a far less gutsy and characterful shepherd boy who also sings rather flat, the recording made eleven years on, just after her run of successful Covent Garden performances brings nothing but gains over the earlier celebrated account.
Bergonzi is not as visceral as Di Stefano; he is vocally more restrained, varied, shaded and scrupulous, but the elegance of his big arias silences any demurral, even if he is little cool compared with Di Stefano's gung-ho commitment. His patrician tenor is in first class condition. I can hear virtually no decline in Gobbi's baritone except that he is just a little drier, but he is as ever an absolutely riveting vocal actor, still by far the best Scarpia on record, combining oleaginous charm with chilling viciousness.
Of course the stereo sound, especially in the remastering, is much better, too: we are treated to some special effects which work, such as Angelotti's footsteps approaching from the left and coming centre-stage, and the banging shut of the window to close out Tosca's cantata as it wafts through Scarpia's casement in Act II.
So don't make my mistake, give this a try - just be prepared to tolerate Callas's vocal failings in return for the other benefits. I'm glad that this much reviled Tosca has found defenders here at amazon.
Forty years after the fact, the tut-tutting over the decline in Callas's voice doesn't seem to matter very much, given that her equal in dramatic force hasn't come along.
Here she is more intense and at time terrifying than in her classic recording, and there are other advantages overall. EMI's stereo sound is excellent, whil eht boxy mono from hasn't gotten much better even with lots of remasterings.
As far as the tenor goes, Bergonzi is at his most beautiful, far outstripping di Stefano in terms of style.
Gobbi is more or less the same, although the passage of a decade has robbed him of sheer vocal power. To me, the great drawback here is Pretre. The simple, cartoonish package design makes this ideal for use by children, yet doesn't make it condescending for adults. If you are interested in what's so great about Frank Sinatra 's favorite classical composer, this is an excellent place to start.
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