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Il Barbiere Di Siviglia: Comp

5.0 out of 5 stars 2 customer reviews

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Product Details

  • Audio CD (March 26 2002)
  • Number of Discs: 2
  • Label: EMI Classics
  • ASIN: B000063UMC
  • Average Customer Review: 5.0 out of 5 stars 2 customer reviews
  • Amazon Bestsellers Rank: #335,241 in Music (See Top 100 in Music)
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Disc: 1
1. Sinfonia - Royal Philharmonic Orchestra
2. Act One: Scene One: Piano, Pianissimo, Senza Parlar
3. Act One: Scene One: Ecco Ridente In Cielo
4. Act One: Scene One: Ehi, Fiorello?... Mio Signore
5. Act One: Scene One: Mille Grazie, Mio Signore
6. Act One. Scene One: Recitativo: Gente Indiscreta!
7. Act One: Scene One: La Ran La Le Ra... Largo Al Factotum - Sesto Bruscantini
8. Act One. Scene One: Recitativo: Ah, Che Bella Vita!
9. Act One. Scene One: Recitativo: Non E Venuto Ancora
10. Act One. Scene One: Recitativo: Le Vostre Assidue Premure
See all 27 tracks on this disc
Disc: 2
1. Act One: Scene Two: Finora In Questa Camera
2. Act One: Scene Two: Ehi, Di Casa, Buona Gente
3. Act One: Scene Two: Ah, Venisse, Il Caro Oggetto
4. Act One: Scene Two: Dunque, Lei Vuol Battaglia?
5. Act One: Scene Two: Che Cosa Accadde
6. Act One: Scene Two: Fermi Tutti, Nessun Si Mova
7. Act One: Scene Two: Fredda Ed Immobile
8. Act One: Scene Two: Ma Signore... Ma Un Dottor
9. Act Two: Recitativo: Ma Vedi Il Mio Destino! - Ian Wallace
10. Act Two: Pace E Gioia Sia Con Voi
See all 30 tracks on this disc

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Top Customer Reviews

Format: Audio CD
Le Barbier de Séville est une oeuvre qui a été autrefois trafiquée et caricaturée, qui est aujourd'hui traitée avec respect et philologie, mais souvent au détriment du comique et pour tout dire de l'intérêt de l'auditeur.

Vittorio Gui (1885-1975) a été le pionnier d'un retour au vrai Rossini. Son enregistrement a été effectué en 1962 après le succès des représentations de Glyndebourne. Il bénéficie entre autres de la présence - présence, c'est le mot, il n'en manque pas - de Sesto Bruscantini, il a Luigi Alva, comme souvent à l'époque, en comte Almaviva, qui ne mérite pas le dédain de certains commentateurs. Victoria de los Angeles, naturellement pudique et douce, s'efforce avec un certain succès d'avoir la sensualité, voire la rouerie, de Rosine, tout en gardant ses qualités vocales. Quant au Bartolo de Ian Wallace (1919-2009), j'avoue ne pas comprendre les reproches de convention que j'ai lus, puisque Bartolo doit être conventionnel pour être vrai; mais peut-être lui fait-on payer de n'avoir pas été seulement un chanteur d'opéra. Rarement un Bartolo a été aussi comique, sans en faire trop, aussi Bartolo. Pour la petite histoire, Gui n'avait pas pu imposer à EMI toute la distribution qu'il souhaitait, en tout cas pour Rosina et Almaviva.

Mais c'est le chef qui mène le jeu, qui rythme le déroulement de l'opéra, et surpasse tous ses concurrents dans le finale étourdissant du premier acte. Revenant à plus d'authenticité, il le fait sans supprimer la vie (oh!
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Format: Audio CD
The guiding light of this recording is conductor Vittorio Gui, who makes no impositions on Rossini's score but allows the music to speak for itself in the most eloquent of terms. It is by far the most gently effervescent reading on disc. Some listeners may be initially put off by the restrained account of the overture, but when the performance is taken in as a whole, it makes sense. Gui also worked hard to clean up of the layers of shtick that have crept into "Barbiere" performance tradition over the years (the live Callas recording under Giulini surely must have horrified him), and the devotion pays off...this is refreshingly natural Rossini.
The cast has no weak links: Bruscantini is possibly the finest of Fiagaros, breezier and more jovial than Gobbi, with killer top G's in the aria. It is certainly Bruscantini's best recording. De los Angeles is a lovely, enchanting Rosina holding mostly to the original mezzo line -- perhaps a shade too heavy on pathos (I prefer her more girlish, vivacious account of ten years before) but a more than plausible tempter of male hearts with her ravishing, creamy tones. Luigi Alva is indestructably fine as Almaviva (he made three commercial recordings of the part!). English buffo Ian Wallace lacks the ripeness and buzz of the best Italian buffos, but the voice is substantial enough and his mastery of the text is never in doubt; his expertise shows through particulary during the "Gioa pace!" scene. Carlo Cava sings Basilio's aria in the original key of D and most elegantly at that -- no hamminess or histrionics. The support is excellent, as is the Royal Philharmonic Orchestra.
Although a studio recording, it is based on a Glyndebourne production of the same period, affording a superbly dove-tailed ensemble feel that makes the whole even greater than it considerable parts. An ESSENTIAL opera recording!
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Most Helpful Customer Reviews on (beta) HASH(0x9c170114) out of 5 stars 4 reviews
13 of 14 people found the following review helpful
HASH(0x9c0e92d0) out of 5 stars A Barber That Plays It Safe Jan. 4 2006
By Timothy Kearney - Published on
Format: Audio CD
Rossini's IL BARBIERE DI SIVIGLIA is a comic opera that performers and audiences have had fun with almost since its beginning. In its first performance the fun was in trashing the work, but that was due more to jealousy than anything else and has become the stuff of opera legend. Opera lovers all have their own favorite performances of the opera's highlights. There are fans that swear by Callas' version of "Una Voce Pocco Fa" as the only authoritative performance with its trills and embellishments. The list of baritones who have tackled the role of Figaro is endless and no one possibly agree on the best version of "Largo Al Factotum." Why wouldn't a baritone not love such a role where he is young, fun loving and mischievous, rare fare for baritones that are often evil, dark figures or long lost fathers who sometimes are dark and evil? Basses even get a share in the fun. Basilio's "La Calunnia" can be hammed up so often that it's difficult to determine the melody.

Sometimes the antics and embellishments add to a recording, and at other times it distracts. Listeners to this set from EMI will not find the theatrics often associated with this work. Instead, they will find a straightforward recording that is of quality and honors the score.

The first thing I noticed in this recording was the orchestra. From the beginning, conductor Vittorio Gui is in control of the orchestra and brings out nuances often ignored on other sets. We see the skill of Rossini as a composer and at time the listener is pleasantly surprised. It's no surprise that Victoria de los Angeles is a wonderful Rossina. As is so often the case she is a consummate performer with beautiful sound that almost seems effortless it flows so freely. Luigi Alva as Almaviva, one of his better known roles, has the light and airy voice necessary for the role and in most of the set he is strong, but at time she seems to strain which is often the case with Alva. I'm not sure I'd put Sesto Bruscantini at the top of my lost as favorite Figaros, but he is invested in his singing. Ian Wallace and Carlo Cava both do adequate jobs as Bartolo and Basilio respectively.

While the lack of personal touches by the performers may make some listeners feel that something is missing, this is a consistent set with an ensemble cast which does make it unique. So many sets have a great Rossina and clownish basses, or great basses and a weak Figaro. This cast is evenly matched and overall it's a wonderful set. My only criticism is its lackluster finale, but one fault in an otherwise great set is not a catastrophe.

2 of 3 people found the following review helpful
HASH(0x9c0e95a0) out of 5 stars sorry the 2 previous reviewrs where not totally pleased with this recording June 23 2013
By jose - Published on
Format: Audio CD
the only flaw i see myself is the fact that cuts the "cesa piu de resistere" of the final act by lindoro, but so does sills/gedda version & is my favorite. this amazing early stereo direction of vittorio gui, has the funniest rosina of all the ones i know & i listen to opera around 10 to 12 hours a day & own 7 different recordings of the barber. luigi alva is one of the best lindoros after me shower singing this opera lol!. sesto bruscantini, is a very good figaro, thought my favorite is placido domingo, no personal touches? i hear personal touches all over the recording; the acting is so good, you can even feel like you see what they are doing. callas is a cow compared with de los angeles voice, beautiful & strong young soprano voice by then. the remastered sound is first rate, like a new digital recording almost. i own a few "art" remasters by EMI classics & they are all so good, plus they still have librettos since now the new EMI re-releases come with a cd room for libreto with characters so small, you can get blind trying to read them. i really paid much less for my set than what is marked here in amazon, but i still don't unrecomend this version. for a more complete version well acted too with very good singers, opt for the last abbado recording, with domingo/battle/loppardo & for the best rossina in recorded history get the sills version, gedda is very good over there too, but is not complete
0 of 2 people found the following review helpful
HASH(0x9c0e99d8) out of 5 stars Five Stars April 2 2015
By T. Engan - Published on
Format: Audio CD Verified Purchase
First class recording.
6 of 23 people found the following review helpful
HASH(0x9c0e99c0) out of 5 stars Disappointing Feb. 18 2006
By Howard Roark - Published on
Format: Audio CD
First of all, I will say that I am not an expert on

opera. I have recently started to explore opera

seriously, and had the chance to see a production of

this opera here at the Royal Opera House in London.

That blew my socks away. Seeking to remember/recreate

that experience, I went to the opera shop of the ROH,

a phenomenal place if you are an opera buff ... they

have so much stuff there ... and bought this recording.

I was very disappointed. This recording simply does not

have the life that was in the live performance; it is

too stilted. It seemed (not simply because I could see

the opera) that the performers in the live production

were really having fun, and it showed in their singing.

This recording is way too stiff ... the scene that first

introduces us to Figaro is a perfect example. This

version is dull and slow compared to the live version,

which is a bad thing considering the role of Figaro, who

is quite an enthusiastic and lively chap. I wish

I could recommend an alternative version, but I do not

know enough to do so. I hope you find this useful.

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