Teresa Berganza: Eighteenth-Century Portraits | Australian Eloquence ELQ4825836

Teresa Berganza: Eighteenth-Century Portraits

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Label: Australian Eloquence

Cat No: ELQ4825836

Format: CD

Number of Discs: 2

Genre: Vocal/Choral

Release Date: 6th April 2018

Contents

Works

Cherubini, Luigi

Medea
» Medea! O Medea!... Solo un pianto

Gluck, Christoph Willibald

Alceste
» Divinites du Styx
Orfeo ed Euridice (Orpheus and Eurydice)
» Che faro senza Euridice? (What is life?) (Act 3)
» Che puro ciel, che chiaro sol (Act 2)
Paride ed Elena
» O del mio dolce ardor (Act 1)

Handel, George Frideric

Giulio Cesare, HWV17
» Piangero la sorte mia

Haydn, Franz Joseph

Arianna a Naxos, cantata, Hob.XXVIb:2

Mozart, Wolfgang Amadeus

Ch'io mi scordi di te ...Non temer, amato bene, K505
Cosi fan tutte, K588
» E amore un ladroncello
» Ei parte senti! ... Per pieta, ben mio, perdona
» Temerari! Sortite fuori ... Come scoglio immoto resta
La clemenza di Tito, K621
» Parto, ma tu ben mio (Act 1)
Le nozze di Figaro (The Marriage of Figaro), K492
» Non so piu cosa son, cosa facio
» Voi che sapete (Act 2)
Ombra felice! ...Io ti lascio, K255

Paisiello, Giovanni

Nina
» Il mio ben quando verra

Pergolesi, Giovanni Battista

La serva padrona
» Stizzoso, mio stizzoso

Artists

Teresa Berganza (mezzo-soprano)
Gervase de Peyer (clarinet)
Geoffrey Parsons (piano)
Felix Lavilla (piano)
Orchestra of the Royal Opera House, Covent Garden
London Symphony Orchestra

Conductors

Alexander Gibson
John Pritchard

Works

Cherubini, Luigi

Medea
» Medea! O Medea!... Solo un pianto

Gluck, Christoph Willibald

Alceste
» Divinites du Styx
Orfeo ed Euridice (Orpheus and Eurydice)
» Che faro senza Euridice? (What is life?) (Act 3)
» Che puro ciel, che chiaro sol (Act 2)
Paride ed Elena
» O del mio dolce ardor (Act 1)

Handel, George Frideric

Giulio Cesare, HWV17
» Piangero la sorte mia

Haydn, Franz Joseph

Arianna a Naxos, cantata, Hob.XXVIb:2

Mozart, Wolfgang Amadeus

Ch'io mi scordi di te ...Non temer, amato bene, K505
Cosi fan tutte, K588
» E amore un ladroncello
» Ei parte senti! ... Per pieta, ben mio, perdona
» Temerari! Sortite fuori ... Come scoglio immoto resta
La clemenza di Tito, K621
» Parto, ma tu ben mio (Act 1)
Le nozze di Figaro (The Marriage of Figaro), K492
» Non so piu cosa son, cosa facio
» Voi che sapete (Act 2)
Ombra felice! ...Io ti lascio, K255

Paisiello, Giovanni

Nina
» Il mio ben quando verra

Pergolesi, Giovanni Battista

La serva padrona
» Stizzoso, mio stizzoso

Artists

Teresa Berganza (mezzo-soprano)
Gervase de Peyer (clarinet)
Geoffrey Parsons (piano)
Felix Lavilla (piano)
Orchestra of the Royal Opera House, Covent Garden
London Symphony Orchestra

Conductors

Alexander Gibson
John Pritchard

About

The compilation takes its title from a 1961 album made, like the Rossini arias on ‘Brava Berganza’, with Sir Alexander Gibson conducting the Orchestra of the Royal Opera House, Covent Garden.

These portraits are of both heroines and trouser-role heroes, including Gluck’s Orfeo and Cherubini’s Medea, as well as arias from an earlier generation by Pergolesi and Handel. In all of them may be appreciated Teresa Berganza’s captivating stage presence and a wide-eyed, coltish eagerness of characterisation. Back in London’s Kingsway Hall in 1962, she set down seven Mozart arias with the supple accompaniment of John Pritchard, and graced with sensitive obbligato contributions from Gervase de Peyer (in ‘Parto, parto’ from La clemenza di Tito) and Geoffrey Parsons in the concert-aria Ch’io mi scordi di te.

The collection is completed by Haydn’s tragic cantata Arianna a Naxos, partnered at the piano in 1977 by her husband and long-standing accompanist Felix Lavilla. It is distinguished by a classical nobility of style, as well as the dramatically lived feeling for text and for the heroine’s predicament that made Berganza ‘the Carmen of the century’ according to no less than Herbert von Karajan.

‘The Berganza voice [...] is surely one of the loveliest and most flexible to come along since the war. Here she gives evidence of a very firm grip on classical style ... ‘O del mio dolce ardor’ [...] is spun forth with great tranquillity: the vocal texture, the relaxed but never slack attack, are exactly right.’ - High Fidelity, July 1961 (Eighteenth-century Portraits)

‘In Berganza’s work there are no stylistic mannerisms. She tears into the music like a violinist launching a cadenza, and her extraordinary gifts make it all the more natural sounding, giving her temperament its extroverted way... Cherubino’s songs are done to a turn.’ - High Fidelity, December 1963 (Mozart arias)

‘This has always been one of Teresa Berganza’s most attractive records.’ - Opera, September 1968 (Mozart arias)

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