Bellini: La Sonnambula

Cecilia Bartoli, Juan Diego Florez - Bellini: La Sonnambula

Bellini: La Sonnambula
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CD Details

Artist: Cecilia Bartoli, Juan Diego Florez
Brand: BARTOLI,CECILIA
Composer: Vincenzo Bellini
Conductor: Alessandro De Marchi
Orchestra: Orchestra La Scintilla
Performer: Ildebrando D'Arcangelo
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-02-24
Music Label: L'Oiseau-Lyre (Decca)
Soundtracks:
Music CD 1
  1. Introduction (Act 1)
  2. Viva! Viva Amina!
  3. Tutto è gioia, tutto è festa
  4. Viva Amina!
  5. Care compagne, e voi, teneri amici
  6. Come per me sereno oggi rinacque il dì!
  7. Sovra il sen la man mi posa
  8. Io più di tutti, o Amina, teco mi allegro
  9. Perdona, o mia diletta, il breve indugio
  10. Prendi: l'anel ti dono
  11. Ah! Vorrei trovar parola
  12. Domani, appena aggiorni, ci recheremo al tempio
  13. Vi ravviso, o luoghi ameni
  14. Contezza del paese avete voi, signor?
  15. A fosco cielo, a notte bruna
  16. Basta così
  17. Elvino! E me tu lasci?
  18. Son geloso del zefiro errante che ti scherzo
  19. Ah! costante nel tuo, nel mio seno
Music CD 2
  1. Davver, non mi dispiace d'essermi qui fermato
  2. Che veggio? Saria forse il tremendo fantasma?
  3. Oh ciel! che tento?
  4. Osservate: l'uscio è aperto
  5. Ã? menzogna
  6. D'un pensiero e d'un accento rea non son
  7. Non più nozze
  8. Introduction (Act 2)
  9. Qui la selva è più folta ed ombrosa
  10. [Larghetto maestoso]
  11. Reggimi, o buona madre
  12. Vedi, o madre, è afflitto e mesto
  13. Viva il Conte!
  14. Ah! perché non posso odiarti
  15. Lasciami: aver compreso assai dovresti che mi sei noioso
  16. Lisa è la sposa
  17. De' lieti auguri a voi son grata
  18. E fia pur vero, Elvino, che alfin dell'amor tuo degna mi credi?
  19. Signor Conte, agli occhi miei negar fede non poss'io
  20. (Lisa mendace anch'essa!)
  21. Signor? ... chi creder deggio?
  22. Oh! se una volta sola rivederlo io potessi
  23. Ah! non credea mirarti sì presto estinto, o fiore
  24. No, più non reggo
  25. Ah! non giunge uman pensiero al contento ond'io son piena

Music reviews of Bellini: La Sonnambula

Music Review: IT'S CERTAINLY DIFFERENT!
Rating: 5 Stars

I initially wrote another review of this recording which I have since deleted because I've learned a lot from some of the positive and negative reactions to this recording. Major critics of music periodicals from around the world have been equally divided in their opinions ---- ranging from severe admonishment to euphoric ecstasy. The fact that there has been so much controversy about it would seem to me to bode well for it's remaining in the catalogue for a good length of time. The issue of Cecilia Bartoli singing Amina is not all that surprising to me.Frederica von Stade, a lyric mezzo, performed this role with great success, I believe in Dallas, Texas, as well in some other places. I myself years ago heard Marilyn Horne, a much heavier mezzo, perform the final aria and cabaletta at a concert in Chicago. Moreover, I've read in books that mezzos frequently appeared in the role of Amina during and after Bellini's time. Lastly, it is a fact that there are virtually no E flat written in Bellini's score. These top E flats were later added by really high coloratura sopranos like Sembrich, Galli-Curci, Pons, etc. Then, of course, came Callas, who, while retaining the top E flats, interpolated some downward Malibran type of cadenzas that went down to low A flat bellow middle C - one can hear this very distinctly on the Bernstein La Scala performance of 1955. In her performances at La Scala and Cologne in 1957, she eliminated these downward dips. Then of course, came Sutherland, who sang everything high and upward. So -- it is probable that there are many people who are so used to hearing "Sonnambula" peppered with high E flats, that they are bound to be "let down" when they don't hear them.

I realize that we all hear different things differently, and I respect all opinions, except for artist bashers who are fanatics anyway. Bartoli has performed the music of "Sonnambula" in public for years (there are several You Tube videos) utilizing her particular vocal means, which are certainly not inconsiderable. While I love what Callas (and to a lesser extent, Sutherland) does to make this opera such magic, I must admit that I find Bartoli's approach valid and highly listenable. It's something we haven't heard before, and many are not going to get used to it. I find her to be a unique Amina, and I find her singing to be imaginative, impressive, and full of command and authority. I find the coloratura embellishments in "Ah, non guinge" on the solo recital "Maria" to be more spectacular than on that presented on this recording, but the one here is certainly worth listening to. There is little sense at this point to rave about Florez ---- he's the greatest Elvino ever recorded and any other tenor pales next to him. I'm a little sorry that he transposed downwards his beautiful cabaletta in Act II because he could certainly have sung it in the original higher key.

The period instruments don't bother me at all, and I find no problem with either the supporting cast or the conductor, But keep in mind that this is a very different interpretation of the opera, and we must try to keep an open mind. I'm rating it five stars because it has brought me much joy and I've listened to it repeatedly.

No ---- I don't expect everyone to like it. In bel canto opera, there are many musical and vocal possibilities, and those singers who dare attempt it are to be commended. And finally, please remember that Bellini wrote "Sonnambula" for the great Pasta, for whom he also wrote Norma. She sang both operas consistently, and unfortunately, we have no idea of what kind of a voice SHE had. I find all of this controversy wonderful and interesting, and I value everything everyone has to say. No one sees or hears art in the same way. WE must be respectful of that in order for art to be art.
More Bellini: La Sonnambula free music reviews:
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Description of Bellini: La Sonnambula

Limited Edition hardcover book: The world's biggest bel canto stars Cecilia Bartoli and Juan Diego Florez in a major new studio recording of Bellini's Romantic masterpiece La sonnambula. The two leading bel canto super stars of today, Cecilia Bartoli and Juan Diego Florez join forces for the first time in the most complete and authentic recording of Bellini's La sonnambula - an eagerly awaited moment in the operatic world and a must have item for all Fans of Bartoli and Florez. This brand new studio recording is the perfect package for Christmas 2008, and is Decca's core classical top priority for the Fall. It is the first ever recording with a 'mezzo-soprano' in the lead role, and the first ever recording with a period instrument orchestra. Many of the cadenzas sung by Cecilia Bartoli are those used by the great 19th Century interpreter of the role, Maria Malibran.

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