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Lucia Di Lammermoor Comp Box set

74 customer reviews

Price: CDN$ 46.71 & FREE Shipping. Details
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Product Details

  • Audio CD (Sept. 13 1985)
  • Number of Discs: 3
  • Format: Box set
  • Label: Universal Music Canada
  • ASIN: B0000041OY
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (74 customer reviews)
  • Amazon Bestsellers Rank: #56,468 in Music (See Top 100 in Music)
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Disc: 1
1. Lucia di Lammermoor, opera: Act 1, prelude: 'Percorrete le spiaggie vicine'
2. Lucia di Lammermoor, opera: Act 1: 'Tu sei turbato!'
3. Lucia di Lammermoor, opera: Act 1: 'Cruda, funesta smania'
4. Lucia di Lammermoor, opera: Act 1: 'La pietade in suo favore'
5. Lucia di Lammermoor, opera: Act 1: 'Ancor non giunse!'
6. Lucia di Lammermoor, opera: Act 1: 'Regnava nel silenzio'
See all 10 tracks on this disc
Disc: 2
1. Lucia di Lammermoor, opera: Act 2: 'Lucia fra poco a te verrà'
2. Lucia di Lammermoor, opera: Act 2: 'Appressati, Lucia' - 'Il pallor, funesto, orrendo'
3. Lucia di Lammermoor, opera: Act 2: 'Soffica nel pianto'
4. Lucia di Lammermoor, opera: Act 2: 'Che fia'
5. Lucia di Lammermoor, opera: Act 2: 'Se tradirmi tu portai'
6. Lucia di Lammermoor, opera: Act 2: 'Ebben?' - 'Di tua speranza'
See all 12 tracks on this disc
Disc: 3
1. Lucia di Lammermoor, opera: Act 3: 'Orrida è questa notte'
2. Lucia di Lammermoor, opera: Act 3: 'Qui del padre ancor respira'
3. Lucia di Lammermoor, opera: Act 3: 'D'immenso giubilo'
4. Lucia di Lammermoor, opera: Act 3: 'Ah! cessate quel contento'
5. Lucia di Lammermoor, opera: Act 3: 'Oh! qual funesto avvenimento!'
6. Lucia di Lammermoor, opera: Act 3: 'Oh giusto cielo!' - 'Il dolce suono'
See all 14 tracks on this disc

Product Description

Gaetano Donizetti fut un compositeur heureux. Doté d'un solide métier, il composa près de quatre-vingt ouvrages. Tous, ou presque, connurent un succès immédiat auprès du public. Lucia di Lamermoor fut créée à Naples en 1835, l'année de la disparition de son grand rival Bellini. Si le livret campe une classique histoire d'amour impossible, le talent de Donizetti est bien dans son art consommé de créer des airs spectaculaires. Et Joan Sutherland les interprète avec une agilité et une puissance remarquables. --Marc Aigneaux

Customer Reviews

4.7 out of 5 stars
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2 of 2 people found the following review helpful By Emma de Soleil on Jan. 13 2004
Format: Audio CD
I have already written a review on this gorgeous recording but seeing a "Callas-Fan" posting invented facts I'm writing another one. First of all: It is said that this performance is "definite". In what way? Technically? As an interpretation? Well, lets begin with with technique: Sutherland indeed sings flawlessly regarding acuti, runs and coloratura. Her vocal problems are her diction, her phrasing and her few vocal colours. This "insane" Lucia sounds the same when she's sane... That of course is a detail, but it is important to me. Here we have it, or not? An interpretation this is not.
"Also, Sutherland's mad scene cadenza's are the most difficult in the world. That is well documented. Her high E's, several of them, are spill- chilling. Hear it, believe it." he so confidently says. Difficult cadenzas are fine... and fantastic to mask an non-interpretation. And the so-called Es are E-flats, and NO, that's not the same. If Sutherland sang Es then she transposed up, hardly tasteful.
No to the Callas-problem the so-called Callas-fan describes so tastefully... Callas DID NOT crack on 50% of every E-flat she sang as Lucia, which recordings are you listening to? Also, on the Karajan-recording she doesn't skip all of them but only the one before the cabaletta because the conductor preferred a "Gentle finish" before the cabaletta. She sings them all in all her other recordings. What is an easy madscene? One that doesn't use cadenzas, overblown fioritura to show off? Callas' madscene is closer to what Donizetti wrote, come scritto there would be no chirping whatsoever anyway, this was all ADDED later. This is no reason to bash Callas, her madscene follows a tradition, and a DAMN GOOD ONE!
"She is no Sutherland!" he then continues.
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Format: Audio CD
This Lucia di Lammermoor is quite good but it's not the best and not the greatest Sutherland-recording. Compare it to Sutherland's early recordings of Lucia and notice how matronly Sutherland sounds here and how her diction and pacing has become worse. As for the difficult cadenza mentioned in a former review, that is untrue. Sutherland doesn't sing anything other great Lucias haven't sung previously or after her. I find mature Sutherland to be too old and mushy to sing girly roles, her live-Norma from the same period shows that THIS is where she belonged at this time. Just like with Callas and others, Sutherland's early Lucias are much better than this late one. Also, contrary to other reviewers, I think Sutherland sounds much more dramatic in her earliest recordings of Lucia. The two stars go to Sutherland.
I find Bonynge's bloodless conducting and slow tempi to be unacceptable. When I saw Sutherland live as Anna Bolena this was even worse, Donizetti's fiery music sounded like a bad lullaby. If this were conducted by a true Maestro like Serafin it might have sounded differently. My next big problem would be Milnes who was great in Puccini and some Verdi but totally miscast in Belcanto. Listen to his Scarpia in "Tosca" to see what I mean. Pavarotti sounds well but not as refined as young Carreras or young di Stefano, plus he lacks youthful ardour. This Edgardo and Lucy sound like an old married couple. Also, this Lucia is way too expensive. For a GREAT Lucia with Sutherland get her earlier recording with Cioni. And also get Callas and Sills.
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By A Customer on Nov. 21 2003
Format: Audio CD
This is my favorite version of this opera, and I have many recordings with Lilly Pons, Sills, Caballe, Scotto, Muffo, a couple of Callas (one even live) and French version with Mady Mesple, and a few others with forgettable singers, and a recording with it on authentic instruments in the original keys (very exciting really, especially since the cadenzas are not those we are familiar with but authentic ones sang by Lucias of Donizetti's time --- very different and very beautiful) and I love them all, though only this, the Sills, the authentic recording, and the Caballe are actually complete versions of the opera, all the others leave out many scenes as was the tradition of the time.
I like the opera to be complete. I know that in times past there were traditional cuts used, but quite often those cuts actually ruined the dramatic punch of the whole. Lucia gets reduced to a few arias for everyone else, and the big mad scene and nothing more. This one is complete. The Sills recording uses Donizetti's original thoughts of the glass harmonica in the mad scene in place of the flute, but the flute works just fine here.
Added touches in this recording one won't find in others is the beautiful harp cadenza in Lucia's first aria. I assume that Sutherland's husband wrote the cadenza and does it ever add to the beauty of the scene.
I find Sutheland's diction acceptable in this recording, and her habit of scooping (which will really become pronounced by the time she records Anna Bolena) is at a minimum. What is so wonderful in this recording is the fact the cast are all equal to the task at hand. That is the biggest draw backs with many of the Lucia recordings I have; the casts are uneven, while the soprano can get through it, the rest of the cast barely can.
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