Rossini: Il barbiere di Siviglia
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Composer: Gioachino RossiniConductor: James Levine
Orchestra: London Symphony Orchestra
Performer: Nicolai Gedda
Performer: Beverly Sills
Performer: Sherrill Milnes
Performer: Renato Capecchi
Performer: Ruggero Raimondi
Performer: Fedora Barbieri
Performer: John Alldis Choir
Edition: Music CD
Format: Original recording reissued
CD Release Date: 2004-06-01
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Overture
- Piano, Pianissimo, Senza Parlar
- Ecco Ridente In Cielo
- Ehi, Fiorello
- Mille Grazie, Mio Signore
- Gente Indiscreta!
- La Ran La Le Ra...Largo Al Factotum
- Ah, Che Bella Vita!
- Non E Venuto Ancora
- Le Vostre Assidue Premure
- Se Il Mio Nome Saper Voi Bramate
- Oh Cielo!
- All'Idea Di Quel Metallo
- Una Voce Poco Fa
- Si, Si, La Vincero
- Ah, Disgraziato Figaro!
- Ah! Barbiere D'Inferno
- La Calunnia E Un Venticello
- Ah! Che Ne Dite?
- Ma Bravi! Ma Benone!
- Dunque Io Son
- Ora Mi Sento Meglio
- A Un Dottor Della Mia Sorte
- Finora In Questa Camera
- Ehi, Di Casa, Buona Gente
- Che Cosa Accadde, Signori Miei
- Fredda Ed Immobile
- Ma Signor...Ma Un Dottor
- Ma Vedi Il Mio Destino!
- Pace E Gioia Sia Con Voi
- Insomma, Mio Signore, Chi E Lei?
- Venite, Signorina
- Contro Un Cor Che Accende Amore
- Bella Voce! Bravissima!
- Quando Mi Sei Vicina
- Bravo, Signor Barbiere, Ma Bravo!
- Don Basilio! Cosa Veggo!
- Che Vecchio Sospettoso!
- Il Vecchiotto Cerca Moglie
- Dunque Voi Don Alonso
- Thunderstorm
- Alfine Eccoci Qua
- Ah, Qual Colpo Inaspettato!
- Ah, Disgraziati Noi!
- Insomma Io Ho Tutti I Torti
- Di Si Felice Innesto
Music reviews of Rossini: Il barbiere di Siviglia
Music Review: A great recording with minimal imperfections
Rating: 4 Stars
It is very difficult for me to give this recording a 4/5, as it really is deserving of a 5/5 most of the time. The singers were the primary reason I chose to buy this one, and they deliver spectacular performances. However, a few parts of the music are changed to accomodate some of the voices. For example, Beverly Sills gives a spectacular performance, as expected, though the role of Rosina was originally written for a mezzo-soprano. The music is not played in a higher soprano key, but generally sopranos may or may not improvise about a third or so higher during a lot of the fast melismatic runs, characteristic of Rossini, as well as many traditional placings of the part on a higher note in the chord that would ordinarily be given to a soprano. Because of this, a purist might be disgruntled not to hear the role sung exactly as Rossini wrote it, but Sills's performance is still a spectacular one that I'm proud to own on recording. In addition to her, Swedish tenor Nicolai Gedda sings the role of Count Almaviva beautifully, and Sherrill Milnes's voice never fails to please me, having always been a fan. However, the role of Figaro is generally intended for a lighter, lyric baritone voice, and Milnes is well known as one of the great dramatic baritones of the twentieth century. It may not sound exactly as the role was originally intended to have sounded, but I really couldn't care less with this recording. Milnes hits all of the optional high notes gloriously, including Gs and As, which are very difficult notes for a baritone to sing well, especially as strongly as Milnes can. The kind of voice for which Rossini originally wrote the part is rarely the kind that also has the physiological capabilities of actually singing all of the notes well. The way it's written makes Figaro a very hard role for any baritone, and Milnes pulls it off well. Perfect Figaros are pretty hard to come by, and I really don't know of any recording currently available that has one. Here, however, Milnes's performance with the voice for which everyone knows and loves him is still great, and I still love to listen to it.
In addition to the three leads, Renato Capecchi gives a great performance, actually playing the role of Dr. Bartolo as a "basso buffo", as intended, while still being singing it very well. Other recordings often cast fuller, stronger-sounding basses, who, though have a great sound, do not often have the color that is really appropriate for the role of Bartolo. Although it may be a less-powerful, more comical-sounding voice, this role is not easy to sing, particularly due to very fast notes that require impeccable ability to relax the jaw. Ruggerro Raimondi also gives a very good performance as Don Basilio. However, I'm afraid Fedora Barbiere doesn't really sing the role of Berta as well as I would say is professional recording material; although her voice is a beautiful color that is appropriate for the role, parts of her aria in the second act are flat, (though this is mostly forgivable, as the part she is singing is very difficult to sing perfectly in tune, and only a trained musician is likely to catch it) and she does not take an optional high note at the end of it that I would like to have heard, and there was one part where she is supposed to sing a high A, but she takes a lower note. If you're singing something that's going to be put on a professional recording and you sing something other than what's printed in the score, it damn well better be to make it sound more impressive, not less. A live performance may be a forgivable place to not hear a high note, printed or optional, but a professional recording like this one, in my opinion, should have them all, and they should be sung well. Overall, however, I am very pleased with this recording's cast. Musically, it's an absolute joy, under James Levine's baton.
The only thing that really makes me have to give this recording lower than 5/5 is that Count Almaviva's last aria before the Act II Finale is omitted. This is a traditional cut, and one would rarely hear it in live performance or see it on a video recording, but a CD recording is something I like to buy so that I can have the complete work. I was very disappointed not to hear the aria. There are also a couple of places I noticed in the Act II Sextet and then the Trio where the part that is ordinarily to be sung by Rosina in harmony with the Count is transposed down and given to Figaro, and Figaro's part is similarly transposed and given to Rosina with some soprano-range improvisation. This is not really that much of a problem, as it is interesting to hear it done this way, but it is certainly not traditional, and for that, there may be some out there who will not appreciate it. For the most part, though, the musical changes are pretty traditional and probably wouldn't even be noticed by anyone who doesn't know the score really well.
Overall, this is definitely a recording worth adding to a collection. It is fun to listen to, and it's also a lot cheaper, due to the fact that it comes in a smaller CD case with no libretto booklet. Those who don't know the opera that well might not like this about it, but once you've gotten to know the piece really well, it becomes something you aren't that disappointed not to find with the recording anymore. It is a very good recording, though I can't promise it's the only one I'll ever buy.
Description of Rossini: Il barbiere di Siviglia
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