Rossini Opera Arias
View record and artist detailsRecord and Artist Details
Composer or Director: Gioachino Rossini
Label: Nimbus
Magazine Review Date: 8/1988
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: NC5106
Tracks:
| Composition | Artist Credit |
|---|---|
| Tancredi, Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra Scottish Philharmonic Singers |
| (La) pietra del paragone |
Gioachino Rossini, Composer
Gioachino Rossini, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
David Goodall, Guitar Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Se il mio nome |
Gioachino Rossini, Composer
David Goodall, Guitar Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (Il) Signor Bruschino (or Il figlio per azzardo), Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (L')Occasione fa il ladro, Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (L')Italiana in Algeri, '(The) Italian Girl in Algiers', Movement: Languir per una bella |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (L')Italiana in Algeri, '(The) Italian Girl in Algiers', Movement: Concedi, concedi, amor pietoso |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (La) Cenerentola, or La bontà in trionfo, 'Cinderella', Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra Scottish Philharmonic Singers |
Composer or Director: Gioachino Rossini
Label: Nimbus
Magazine Review Date: 8/1988
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: NI5106
Tracks:
| Composition | Artist Credit |
|---|---|
| Tancredi, Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra Scottish Philharmonic Singers |
| (La) pietra del paragone |
Gioachino Rossini, Composer
Gioachino Rossini, Composer |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: ~ |
Gioachino Rossini, Composer
David Goodall, Guitar Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (Il) Barbiere di Siviglia, '(The) Barber of Seville', Movement: Se il mio nome |
Gioachino Rossini, Composer
David Goodall, Guitar Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (Il) Signor Bruschino (or Il figlio per azzardo), Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (L')Occasione fa il ladro, Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (L')Italiana in Algeri, '(The) Italian Girl in Algiers', Movement: Languir per una bella |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (L')Italiana in Algeri, '(The) Italian Girl in Algiers', Movement: Concedi, concedi, amor pietoso |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra |
| (La) Cenerentola, or La bontà in trionfo, 'Cinderella', Movement: ~ |
Gioachino Rossini, Composer
Gioachino Rossini, Composer Michelangelo Veltri, Conductor Raúl Giménez, Tenor Scottish Chamber Orchestra Scottish Philharmonic Singers |
Author: Richard Osborne
Though Raul Gimenez has been singing on the international circuit for most of the 1980s, I was first conscious of hearing him on stage at last summer's Pesaro Festival where he sang Alberto in Jean-Pierre Ponnelle's racy production of Rossini's L'occasione fa il ladro. As in his way with Rossini, Ponnelle played the piece as highspeed farce, a scheme into which Gimenez, with his clear mettlesome tenore di grazia, fitted very nicely indeed. (''D'ogni piu sacro impegno'' is one of the tracks on this present recital.)
His limitations, to confront them first, are a tendency to heavy aspiration of runs and a certain charmlessness in the characterization of Rossini's young matinee idols: Lindoro, Almaviva, Ramiro, andLa pietra del paragone's Giocondo. On the other hand, Gimenez, with his cleanly focused, often almost feral tone, makes a striking effect in the two pieces from Tancredi—in the first the angry father lectures his daughter, like Shakespeare's Old Capulet, on the virtues of an arranged marriage, in the second he signs her death warrant—and in Rodrigo's love-lorn aria from Otello.
Nimbus provide a clean, bright, well-balanced digital recording and have gone to the expense of engaging a small chorus as well as the stylish Scottish Chamber Orchestra. But they have been less careful over the accompanying booklet which inverts the order of the Il barbiere texts, attributes Rodrigo's aria to Otello, and is generally lacking in useful background information. The origin of the arias fromL'italiana in Algeri might be of interest to some collectors who may be more familiar with ''Ah, come il cor di giubilo'', which is not recorded here, than the rarer Milanese ''Concedi concedi, amor pietoso'' (printed in the appendices of Ricordi's vocal score of L'italiana in Algeri ed. Corghi, 1982, page 502) which Gimenez interestingly includes.'
His limitations, to confront them first, are a tendency to heavy aspiration of runs and a certain charmlessness in the characterization of Rossini's young matinee idols: Lindoro, Almaviva, Ramiro, and
Nimbus provide a clean, bright, well-balanced digital recording and have gone to the expense of engaging a small chorus as well as the stylish Scottish Chamber Orchestra. But they have been less careful over the accompanying booklet which inverts the order of the Il barbiere texts, attributes Rodrigo's aria to Otello, and is generally lacking in useful background information. The origin of the arias from
Rossini Opera Arias
Rossini Opera Arias
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