Conchita Supervia Rossini & Bizet Arias
View record and artist detailsRecord and Artist Details
Composer or Director: Gioachino Rossini, Georges Bizet
Label: Références
Magazine Review Date: 9/1990
Media Format: CD or Download
Media Runtime: 77
Mastering:
Mono
ADD
Catalogue Number: 763499-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Contro un cor (Lesson Scene) |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer Giovanni Manuritta, Tenor |
| (La) Cenerentola, or La bontà in trionfo, 'Cinderella', Movement: Signor, una parola |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer Vincenzo Bettoni, Bass |
| (La) Cenerentola, or La bontà in trionfo, 'Cinderella', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer |
| (L')Italiana in Algeri, '(The) Italian Girl in Algiers', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Carlo Scattola, Bass Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer |
| Carmen, Movement: L'amour est un oiseau rebelle (Habanera) |
Georges Bizet, Composer
(Anonymous) Orchestra Conchita Supervia, Mezzo soprano Georges Bizet, Composer Gustav Cloëz, Conductor |
| Carmen, Movement: ~ |
Georges Bizet, Composer
(Anonymous) Orchestra Conchita Supervia, Mezzo soprano Georges Bizet, Composer Gustav Cloëz, Conductor |
| Carmen, Movement: C'est toi! (Finale). |
Georges Bizet, Composer
(Anonymous) Orchestra Conchita Supervia, Mezzo soprano Gaston Micheletti, Tenor Georges Bizet, Composer Gustav Cloëz, Conductor |
Composer or Director: Wolfgang Amadeus Mozart, Gioachino Rossini, Georges Bizet, Camille Saint-Saëns, Richard Strauss, Engelbert Humperdinck
Label: Lebendige Vergangenheit
Magazine Review Date: 9/1990
Media Format: CD or Download
Media Runtime: 61
Mastering:
Mono
ADD
Catalogue Number: 89023
Tracks:
| Composition | Artist Credit |
|---|---|
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Non so più cosa son |
Wolfgang Amadeus Mozart, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Wolfgang Amadeus Mozart, Composer |
| (Le) nozze di Figaro, '(The) Marriage of Figaro', Movement: Voi che sapete |
Wolfgang Amadeus Mozart, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Wolfgang Amadeus Mozart, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Contro un cor (Lesson Scene) |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer Giovanni Manuritta, Tenor |
| (La) Cenerentola, or La bontà in trionfo, 'Cinderella', Movement: ~ |
Gioachino Rossini, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Gioachino Rossini, Composer |
| Carmen, Movement: L'amour est un oiseau rebelle (Habanera) |
Georges Bizet, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Georges Bizet, Composer |
| Carmen, Movement: ~ |
Georges Bizet, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Georges Bizet, Composer |
| Carmen, Movement: Nous avons en tête une affaire! |
Georges Bizet, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Anita Apolloni, Soprano Aristide Baracchi, Baritone Conchita Supervia, Mezzo soprano Georges Bizet, Composer Giuseppe Nessi, Tenor Ida Mannarini, Mezzo soprano |
| Samson et Dalila, Movement: Printemps qui commence |
Camille Saint-Saëns, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Camille Saint-Saëns, Composer Conchita Supervia, Mezzo soprano |
| Hänsel und Gretel, Movement: ~ |
Engelbert Humperdinck, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Engelbert Humperdinck, Composer Ines Maria Ferraris, Soprano |
| (Der) Rosenkavalier, Movement: Mir ist die Ehre (Presentation of the Rose) |
Richard Strauss, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Ines Maria Ferraris, Soprano Richard Strauss, Composer |
| (Der) Rosenkavalier, Movement: Ist ein Traum (Finale). |
Richard Strauss, Composer
(Anonymous) Orchestra Angelo Albergoni, Conductor Conchita Supervia, Mezzo soprano Ines Maria Ferraris, Soprano Richard Strauss, Composer |
Author:
In this three-way comparison of transfers the EMI improves on the Preiser to just about the same extent as the Preiser outclasses Club 99. It's like a warm afternoon with hazy sunshine (Club 99) when the low cloud rises (Preiser) and out comes the sun (EMI). On its own, Club 99 would have been welcome (better Supervia's sun behind a cloud than feel the chill of its total absence), but its coinciding with the recital on Preiser is doubly unfortunate in that many of the contents coincide too. The Rosenkavalier and Hansel duets are common to both as are the Figaro and Samson et Dalila arias and even the Italian Carmen. That leaves Club 99 with ''Solveig's song'', the solos from Faust and Boheme and the two Mignon excerpts; five tracks out of 13. With a singer less special than Supervia one might simply advise in favour of the better transfers where there are bonuses too. Yet, turning a remembering ear towards each in turn, can one really resist the cajoling invitations (''vieni, vieni qua'') of this particularly sinuous Solveig, or forego the adorable Musetta (transposed and transformed but not to her detriment), the irresistibly plaintive Mignon, or the pretty, impetuous Siebel? These are all part of the essential Supervia collection: so perhaps Club 99 is not entirely out of business after all.
Preiser and EMI overlap too. The EMI has a nice, clear-cut programme; half-Rossini, half-Carmen, which may indicate good intentions of following this issue up with more, as they did in the days of LP. Carmen is probably the role most associated with Supervia, although there was some disappointment when she appeared in it at Covent Garden where they generally preferred her Rossini. Her Carmen is certainly one of the most vivid and special of all on records, and the EMI collection has the heart of it—the famous solos, the scenes with Jose, and the ''Card Song'' set properly in context. Again, virtually every phrase recalls Supervia's way with it—''mon amoureux, il est au diable'', ''Au quartier? pour l'appel!'', ''Non, je ne t'aime 'plus'', they're all perfect Carmen and at the same time highly individual Supervia. The Don Jose, Gaston Micheletti from Corsica is excellent too, and their scenes together are as vivid and charged as any highly-produced modern version. As for the Rossini, that also is adorable. Her ''Una voce poco fa'' starts musingly, smilingly, only gradually stoking up the will-power. The Cenerentola rondo is meltingly tender and solicitous in its appeal to the sisters, ''tutto, tutto, tutto''. So of course these, on EMI, have first call, and perhaps it is the Preiser which is to be eliminated.
The Preiser, after all, has only one item that is to be found in neither of the others, and that is the Carmen quintet. It's a delightful performance, neat and spirited, with Carmen's ''sono innamorata'' done with a coy smile; sincere or send-up, it's impossible to say but probably a little of both. Still, compared with other items it is not indispensable. But then again, another way of looking at it restores Preiser to its happy central position in that it contains the most representative selection (no Rossini on Club 99, nothing of the incomparable Cherubino and much else on EMI). The Carmen in Italian is rare and well worth hearing (the 'amoureux' here is consigned, more ruthlessly, ''all'inferno''); the German duets have a dozen individual touches and a special charm in which the Italian language plays its part (''Mamma, questo fiasco'' at the beginning of the Hansel, for instance); and as for the Italian Delilah, never was there one of any race or in any language more deliciously languorous yet lithe and fresh, or wielding more potently the weapon of woman's infinite variety. These too are essentials in the Supervia collection, and if you want them it would be silly not to go for the superior transfers. In short I can see an immediate case for all three, though in the long run it is the EMI that is likely to prove 'definitive'.'
Preiser and EMI overlap too. The EMI has a nice, clear-cut programme; half-Rossini, half-Carmen, which may indicate good intentions of following this issue up with more, as they did in the days of LP. Carmen is probably the role most associated with Supervia, although there was some disappointment when she appeared in it at Covent Garden where they generally preferred her Rossini. Her Carmen is certainly one of the most vivid and special of all on records, and the EMI collection has the heart of it—the famous solos, the scenes with Jose, and the ''Card Song'' set properly in context. Again, virtually every phrase recalls Supervia's way with it—''mon amoureux, il est au diable'', ''Au quartier? pour l'appel!'', ''Non, je ne t'aime 'plus'', they're all perfect Carmen and at the same time highly individual Supervia. The Don Jose, Gaston Micheletti from Corsica is excellent too, and their scenes together are as vivid and charged as any highly-produced modern version. As for the Rossini, that also is adorable. Her ''Una voce poco fa'' starts musingly, smilingly, only gradually stoking up the will-power. The Cenerentola rondo is meltingly tender and solicitous in its appeal to the sisters, ''tutto, tutto, tutto''. So of course these, on EMI, have first call, and perhaps it is the Preiser which is to be eliminated.
The Preiser, after all, has only one item that is to be found in neither of the others, and that is the Carmen quintet. It's a delightful performance, neat and spirited, with Carmen's ''sono innamorata'' done with a coy smile; sincere or send-up, it's impossible to say but probably a little of both. Still, compared with other items it is not indispensable. But then again, another way of looking at it restores Preiser to its happy central position in that it contains the most representative selection (no Rossini on Club 99, nothing of the incomparable Cherubino and much else on EMI). The Carmen in Italian is rare and well worth hearing (the 'amoureux' here is consigned, more ruthlessly, ''all'inferno''); the German duets have a dozen individual touches and a special charm in which the Italian language plays its part (''Mamma, questo fiasco'' at the beginning of the Hansel, for instance); and as for the Italian Delilah, never was there one of any race or in any language more deliciously languorous yet lithe and fresh, or wielding more potently the weapon of woman's infinite variety. These too are essentials in the Supervia collection, and if you want them it would be silly not to go for the superior transfers. In short I can see an immediate case for all three, though in the long run it is the EMI that is likely to prove 'definitive'.'
Conchita Supervia Rossini & Bizet Arias
Conchita Supervia (1895-1936)
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.