Dolce Vita
View record and artist detailsRecord and Artist Details
Composer or Director: Domenico Modugno, Ferilli, Giancarlo Chiaramello, Francesco Sartori, Stanislaus Gastaldon, Stephin Merritt, Cesare Andrea Bixio, Ernesto De Curtis, Nicola Valente, Romano Musumarra, Salvatore Cardillo, Ruggiero Leoncavallo, Vincenzo di Crescenzo, Giovanni d' Anzi, Nino Rota
Genre:
Vocal
Label: Sony Classical
Magazine Review Date: 12/2016
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: 88875 18364-2
Tracks:
Composition | Artist Credit |
---|---|
Voglio vivere cosi |
Giovanni d' Anzi, Composer
Asher Fisch, Conductor Giovanni d' Anzi, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Parlami d'amore, Mariù |
Cesare Andrea Bixio, Composer
Asher Fisch, Conductor Cesare Andrea Bixio, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Core 'ngrato |
Salvatore Cardillo, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra Salvatore Cardillo, Composer |
Fenesta ca lucive |
Giancarlo Chiaramello, Composer
Asher Fisch, Conductor Giancarlo Chiaramello, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Rondine al nido |
Vincenzo di Crescenzo, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra Vincenzo di Crescenzo, Composer |
Non ti scordar di me |
Ernesto De Curtis, Composer
Asher Fisch, Conductor Ernesto De Curtis, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Ti voglio tanto bene |
Ernesto De Curtis, Composer
Asher Fisch, Conductor Ernesto De Curtis, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Torna a Surriento |
Ernesto De Curtis, Composer
Asher Fisch, Conductor Ernesto De Curtis, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
(Un) amore così grande |
Ferilli, Composer
Ferilli, Composer Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Musica proibita |
Stanislaus Gastaldon, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra Stanislaus Gastaldon, Composer |
Mattinata, '(L')aurora di bianco vestita' |
Ruggiero Leoncavallo, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra Ruggiero Leoncavallo, Composer |
Il libro dell’amore |
Stephin Merritt, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra Stephin Merritt, Composer |
Volare |
Domenico Modugno, Composer
Asher Fisch, Conductor Domenico Modugno, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
(Il) Canto |
Romano Musumarra, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra Romano Musumarra, Composer |
(The) Godfather, Movement: Parla più piano (ballad based on main theme) |
Nino Rota, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Nino Rota, Composer Palermo Teatro Massimo Orchestra |
Time to Say Goodbye (con te partiro) |
Francesco Sartori, Composer
Asher Fisch, Conductor Francesco Sartori, Composer Jonas Kaufmann, Tenor Palermo Teatro Massimo Orchestra |
Passione |
Nicola Valente, Composer
Asher Fisch, Conductor Jonas Kaufmann, Tenor Nicola Valente, Composer Palermo Teatro Massimo Orchestra |
Author: Hugo Shirley
Fans of the tenor will jump at the opportunity to hear him letting his hair down, and they won’t be disappointed. But, for all the fawning booklet-note’s claims for Kaufmann being an Italian manqué, his version of relaxed and easy-going is still pretty tense and Teutonic compared with, say, Juan Diego Flórez, audibly having a ball on his recent ‘Italia’ disc (Decca, 10/15). Kaufmann’s new disc is glossier and more heavily produced, too, with the tenor placed far forward (with dabs of reverb) in the balance. The orchestrations, dutifully performed, are awash with fluty twiddles and swoony string counterpoints, occasionally bolstered by plangent mandolin and furrowed-brow brass.
Kaufmann does everything with the care and intelligence one expects, and no shortage of open-throated ardour. But neither the engineering nor the repertoire shows the tenor to best advantage, highlighting a lack of juice and honey in his voice and delicacy in his manner. There’s too little lightness of touch in the skipping lines of ‘Voglio vivere così’, for example, and he can’t quite vary his tone enough in the more repetitive songs – here you suddenly notice a few reprises too many of the big tune of ‘Caruso’.
It’s good harmless fun, even if it ultimately feels like a match made less in heaven than in the boardroom.
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