Rossini Gazza

Rossini - La gazza ladra (Alberto Zedda) [2015]  Music

Posted by Vilboa at Jan. 19, 2017
Rossini - La gazza ladra (Alberto Zedda) [2015]

Rossini - La gazza ladra (Alberto Zedda) [2015]
Classical | Naxos 8.660369-71 | TT: 180.12 | EAC (FLAC, cue, log) | Covers | 772 MB

La gazza ladra (The Thieving Magpie) marked a culmination of the convergence of serious and comic elements in Rossini’s work. The result is an ideal hybrid: a tragic opera with a happy ending that rises to the status of true opera seria. With its outstanding dramatic and musical qualities it remains one of Rossini’s greatest and most successful operas, a constant presence in the repertoire since its triumphant 1817 première in Milan. This performance is conducted by Alberto Zedda, who made his conducting début in 1956, produced the first critical edition of La gazza ladra, and is widely acknowledged as one of the world’s foremost authorities on the operas of Rossini.
Rossini - Overtures (Orchestre Symphonique de Bamberg, Giusseppe Patane) [1996]

Rossini - Overtures (La Gazza Ladra, L'Italiana in Algeri, Guillaume Tell, Semiramide, Il Signor Bruschino, Il Turco in Italia, La Scala di Seta) (Orchestre Symphonique de Bamberg, Giusseppe Patane) [1996]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 1cd, 265 MB
Classical | Label: RCA | Catalog Number: 74321650602 | TT: 58:54

Giuseppe Patanè (1 January 1932 – 29 May 1989) was an Italian opera conductor.
Giuseppe Patanè was born in Naples, the son of the conductor Franco Patanè (1908–1968), and studied in his native city. He made his debut there in 1951. He was principal conductor at the Linz opera from 1961 until 1962. He also was chief conductor of the Munich Radio Orchestra from 1985 until 1989.
Patanè collapsed suddenly from a heart attack while conducting a performance of Il barbiere di Siviglia at the Bavarian State Opera in Munich, on 29 May 1989. He was taken to hospital where he died. He and his wife Rita, from whom he was separated at the time of his death, had two daughters.
Rossini - La Gazza Ladra (Bruno Bartoletti, David Kuebler, Ileana Cotrubas) [2007]

Rossini - La Gazza Ladra (Bruno Bartoletti, David Kuebler, Ileana Cotrubas) [2007]
NTSC 4:3 (720x480) VBR | Italiano (LPCM, 2 ch) | 7,29 Gb (DVD9)
Classical | Label: Art Haus | Sub: English, Deutsch, Francais, Espanol, Italiano | 182 min | +3% Recovery

“Sets, costumes and acting are all under sensible direction and there are none of those silly diversionary indulgences that have become so habitual in recent years. There are four good vocal performances: by Elena Zilio and Nucci Condò, both sturdy mezzos; by David Kuebler, an accomplished lyric tenor; and by the grand veteran Carlos Feller… Ileana Cotrubas as the heroine sometimes touches the heart but at this stage in her career rarely delights the ear. Bartoletti and his players do justice to Rossini's score, as do the video director and his crew to the events onstage.” Gramophone Magazine, September 2007

Rossini - La Gazza Ladra (Lü Jia) [2008] RE-UPLOAD  

Posted by Sowulo at Sept. 11, 2011
Rossini - La Gazza Ladra (Lü Jia) [2008] RE-UPLOAD

Rossini - La Gazza Ladra (Lu Jia) [2008]
NTSC 16:9 (720x480) VBR Auto Pan&Scan | Italiano (LPCM, 2 ch); (Dolby AC3, 6 ch) | 6,57+6,64Gb (2*DVD9)
Classical | Label: Dynamic | Sub: Italiano, English, Francais, Deutsch, Espanol | 201 min

By Rossini’s time this genre was classified into a rigidly defined series of conventions: a drama with a happy ending, in which the innocent victim, unjustly condemned, should be saved from the scaffold at the eleventh hour and the rascal persecutor punished. The social setting of these operas always delt with a conflict between a feudal aristocracy ( that in La Gazza Ladra is replaced by arrogant welders of power ) and a world of humble people , nearly always peasants. - Known as ’The Thieving Magpie’ in English, La Gazza Ladra deals with a servant girl accused of stealing some silverware with which the magpie of the title has actually absconded for its nest. Seemingly lightweight, the opera was rooted in a true story in which a young woman was actually put to death for the bird’s ”crime”.

Rossini - Il viaggio a Reims (Antonino Fogliani) [2016]  Music

Posted by Vilboa at Jan. 14, 2017
Rossini - Il viaggio a Reims (Antonino Fogliani) [2016]

Rossini - Il viaggio a Reims (Antonino Fogliani) [2016]
Classical | Naxos 8.660382-84 | TT: 156.49 | EAC (FLAC, cue, log)| Covers | 637 Mb

The great writer Stendhal wrote of Il viaggio a Reims that “this opera is a feast”. The plot is a contemporary farce tailor-made for a particular occasion—the coronation festivities of Charles X—though Rossini valued the music so highly that he reused at great part of the score three years later in the opera Le Comte Ory. With a cast of ten principal and eight smaller rôles, this sparkling work is heard complete for the first time and in accordance with the critical edition prepared by the Fondazione Rossini and Casa Ricordi.

Rossini - Otello (Jesus Lopez Cobos) [1992/1978]  Music

Posted by Vilboa at Dec. 30, 2016
Rossini - Otello (Jesus Lopez Cobos) [1992/1978]

Rossini - Otello (Jesús López Cobos) [1992/1978]
Classical | Philips 432 456-2 | TT: 2.33'11'' | EAC (flac, cue, log) | Covers | 626 Mb

Otello (Naples 1816)…has a strong cast, headed by Carreras's searingly noble Moor. The Desdemona is Frederica von Stade: chaste and as luminous as a sculpture in Carrara marble. The set also displays casting in depth. In Rossini's day Naples was awash with great tenors, a situation that nowadays creates prodigious difficulties. Yet both the Iago, Gianfranco Pastine, and the Rodrigo, Salvatore Fisichella, emerge with honour, barely bloodied and never for a moment bowed by Rossini's terrible arsenal of vocal effects. ''They have been crucifying Otello into an opera,'' wrote Byron in 1818. Well, yes and no. By all means treat Acts 1 and 2 as flashy rodomontade, but Act 3 is glorious, inspired enough and sufficiently close to Shakespeare to have been a near fatal deterrant to what Verdi called his own ''chocolate project''. I thrilled to it afresh—off-stage Gondolier and all—in these brilliant new CD transfers. (Richard Osborne, Gramophone)

Rossini - Armida (Claudio Scimone) [2012/1991]  Music

Posted by Vilboa at Dec. 28, 2016
Rossini - Armida (Claudio Scimone) [2012/1991]

Rossini - Armida (Claudio Scimone) [2012/1991]
Classical | Brilliant Classics 94222 | TT: 76.10+76.45 | EAC (flac, cue, log) | Covers | 624 Mb

After its successful premiere, Rossini’s opera “Armida” was quickly forgotten, only to be triumphantly revived by Maria Callas in 1952, and ever since it is considered a masterpiece. This performance with primarily Italian forces, has all the wit, charm, beauty and sparkle that any Rossini opera can wish for. Some big names here: Cecilia Gasdia, Chris Merritt,William Matteuzzi and Ferruccio Furlanetto. Great addition to the Brilliant Classics Opera Collection. Armida is today considered one of Rossini’s greatest operas, but following its premier in Naples in 1817 it quickly faded from the standard operatic repertoire. Its plot of knightly duties, love and supernatural worlds (foreshadowing Weber in places) inspired the composer to write some of his most original and inimitable music, with unusual combinations of instruments and some beautiful extended solos for cello and violin.The love music is undeniably heartfelt and sincere; Rossini’s inspiration may have been assisted by his romantic involvement with the soprano Isabella Colbran, a major star of the time and the first to perform the title role.

Rossini - Tancredi (Roberto Abbado) [2012/1995]  Music

Posted by Vilboa at Dec. 26, 2016
Rossini - Tancredi (Roberto Abbado) [2012/1995]

Rossini - Tancredi (Roberto Abbado) [2012/1995]
Classical | Sony 88697985992 | TT: 73.52+67.20+67.33 | EAC (flac, cue, log) | Covers | 763 Mb

The splendidly florid music, and amazing opportunities for bel canto vocalism make up for it. This recording, using the critical edition, is outstanding on the vocal front. The stunning Bulgarian mezzo-soprano Vesselina Kasarova has a rich, full tone and clean, accurate runs. She is well partnered by Eva Mei, whose bright but effective soprano carries a good characterization of a dramatically rather thankless role. Tenor Ramon Vargas nails his coloratura and possesses a ringing tone. They are well supported by the secondary principals, Muenchen Rundfunkorchester and the men of the Chor des Bayerischen Rundfunks, all superbly conducted by Roberto Abbado. As an added bonus, the listener can choose between the original happy ending and the dramatically more viable tragic conclusion with which Rossini later revised the opera. –Sarah Bryan Miller

Franco Fagioli and George Petrou - Rossini (2016) [TR24][OF]  Vinyl & HR

Posted by SERTiL at Nov. 20, 2016
Franco Fagioli and George Petrou - Rossini (2016) [TR24][OF]

Franco Fagioli and George Petrou - Rossini
Classical | FLAC (tracks) 24-bit/96 kHz | 75:13 min | 1.40 GB | Digital booklet
Label: Deutsche Grammophon | Tracks: 17 | Rls.date: 2016

Curiously, Rossini has composed two roles for a castrato: to Alceo in the cantata Il vero omaggio, and that of Arsaces in Aureliano in Palmira, both for Giambattista Velluti, the last castrato internationally renowned opera . Against the Argentine tenor Franco Fagioli has deliberately given up these roles to this album Rossini, preferring to focus on transvestites roles that address sexual ambiguity from another angle. In operas "serious" by Rossini, rarely given today, there are many male characters whose roles were written for singers.
Jacques Offenbach - Gaite Parisienne / Rossini, Respighi - La boutique fantasque (2004) {Hybrid-SACDISO & HiRes FLAC}

Jacques Offenbach - Gaite Parisienne / Rossini, Respighi - La boutique fantasque
Arthur Fiedler / Boston Pops Orchestra
SACD ISO (2.0): 1,07 GB | 24B/88,2kHz Stereo FLAC: 1,19 GB | Partial Artwork | 5% Recovery Info
Label/Cat#: RCA Red Seal "Living Stereo" # 82876-66419-2 | Country/Year: US 2004, 1956/1954
Genre: Classical | Style: Romantic, Ballett