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Gianfranco Masini, London Symphony Orchestra, Montserrat Caballe - Gioacchino Rossini: Elisabetta, Regina d'Inghilterra (1992)

Posted By: ArlegZ
Date: 14 Mar 2023 09:29:48
Gianfranco Masini, London Symphony Orchestra, Montserrat Caballe - Gioacchino Rossini: Elisabetta, Regina d'Inghilterra (1992)

Gianfranco Masini, London Symphony Orchestra, Montserrat Caballé, José Carreras - Gioacchino Rossini: Elisabetta, Regina d'Inghilterra (1992)
EAC | FLAC | Image (Cue & Log) ~ 569 Mb | Total time: 141:20 | Scans included
Classical | Label: Philips | # 432 453-2 | Recorded: 1975

The Naples years, 1815 to 1822, are at the very centre of Rossini's creative life. It is here that genius—''I had facility and lots of instinct''—was put to school. And firmly so: the serious masterpieces of the Naples years take as their subjects the Bible and Shakespeare, Scott and Racine, Tasso and English historical romance.
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Charles Mackerras, English National Opera Orchestra and Chorus - George Frideric Handel: Julius Caesar / Giulio Cesare (1999)

Posted By: ArlegZ
Date: 4 Feb 2023 11:30:36
Charles Mackerras, English National Opera Orchestra and Chorus - George Frideric Handel: Julius Caesar / Giulio Cesare (1999)

Charles Mackerras, English National Opera Orchestra and Chorus - George Frideric Handel: Julius Caesar / Giulio Cesare (1999)
EAC | FLAC | Image (Cue & Log) ~ 883 Mb | Total time: 183:20 | Scans included
Classical | Label: Chandos | # CHAN 3019 | Recorded: 1984

This opera was a personal triumph for Dame Janet. As Caesar, she arms the voice with an impregnable firmness, outgoing and adventurous. Valerie Masterson shares the honours with Dame Janet, a Cleopatra whose bright voice gains humanity through ordeal. The tinkle of surface- wear clears delightfully in her later arias, sung with a pure tone and high accomplishment. As a total production, Julius Caesar was an outstanding achievement in ENO's history. Strongly cast, it had a noble Cornelia in Sarah Walker, a high-spirited Sesto in Della Jones, and in James Bowman a Ptolemy whose only fault was that his voice lacked meanness of timbre appropriate to the odious character. John Tomlinson's massive bass also commands attention. Mackerras's conducting is impeccable and the opera is given in clear, creditable English.
Details
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