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Licia Albanese | Testament SBT1414

Licia Albanese

£10.87

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Label: Testament

Cat No: SBT1414

Barcode: 0749677141424

Format: CD

Number of Discs: 1

Release Date: 30th June 2008

Contents

Works

Catalani, Alfredo

La Wally
» Ebben? Ne andro lontana

Charpentier, Gustave

Louise
» Depuis le jour (Act 3)

Cilea, Francesco

Adriana Lecouvreur
» Io son l'umile ancella

Leoncavallo, Ruggiero

I Pagliacci
» Qual fiamma avea nel guardo!... Hui! Stridono lassu

Massenet, Jules

Manon
» Allons! Il le faut pour lui-meme!... Adieu, notre petite table (Act 2)

Mozart, Wolfgang Amadeus

Don Giovanni, K527
» Batti, batti, o bel Masetto (Act 1)
Le nozze di Figaro (The Marriage of Figaro), K492
» Giunse al fin il momento ...Deh vieni, non tardar

Puccini, Giacomo

Gianni Schicchi
» O mio babbino caro
Tosca
» Vissi d'arte (Act 2)

Tchaikovsky, Pyotr Ilyich

Eugene Onegin, op.24
» Puskay pogibnu ya 'Tatiana's Letter Scene'

Verdi, Giuseppe

Otello
» Ave Maria

Villa-Lobos, Heitor

Bachianas Brasileiras no.5
» Aria (Cantilena)
» Danza (Martelo)

Artists

Licia Albanese
Robert Merrill
Rca Victor Orchestra

Conductors

Frieder Weissman
Dick Marzello
Jean Morel
Victor Trucco
Leopold Stokowski

Works

Catalani, Alfredo

La Wally
» Ebben? Ne andro lontana

Charpentier, Gustave

Louise
» Depuis le jour (Act 3)

Cilea, Francesco

Adriana Lecouvreur
» Io son l'umile ancella

Leoncavallo, Ruggiero

I Pagliacci
» Qual fiamma avea nel guardo!... Hui! Stridono lassu

Massenet, Jules

Manon
» Allons! Il le faut pour lui-meme!... Adieu, notre petite table (Act 2)

Mozart, Wolfgang Amadeus

Don Giovanni, K527
» Batti, batti, o bel Masetto (Act 1)
Le nozze di Figaro (The Marriage of Figaro), K492
» Giunse al fin il momento ...Deh vieni, non tardar

Puccini, Giacomo

Gianni Schicchi
» O mio babbino caro
Tosca
» Vissi d'arte (Act 2)

Tchaikovsky, Pyotr Ilyich

Eugene Onegin, op.24
» Puskay pogibnu ya 'Tatiana's Letter Scene'

Verdi, Giuseppe

Otello
» Ave Maria

Villa-Lobos, Heitor

Bachianas Brasileiras no.5
» Aria (Cantilena)
» Danza (Martelo)

Artists

Licia Albanese
Robert Merrill
Rca Victor Orchestra

Conductors

Frieder Weissman
Dick Marzello
Jean Morel
Victor Trucco
Leopold Stokowski

About

One of the most delicate, sighing, judiciously used women’s voices one might ever hear.” That was the verdict of the tenor Giacomo Lauri-Volpi, writing in his fascinating study of the leading singers of his time, Voci parallele (Bologna ed. 1977). “Licia Albanese,” he says, “would move on stage purposefully, with precision, painting her tones with careful control of her means and a clear perception of their end”. Audiences were captivated by an effect of modesty, simplicity and tenderness but behind that effect was a solid mastery of her art. He, the senior artist, is full of admiration. But he has a warning: we should not suppose that these fixed, fossilised, mummified objects we call records can convey the individuality, the true character of such singers. So: caveat emptor.

Lauri-Volpi had his own way of putting things (that adjective ‘sighing’ surprises us, not so much in itself as in its placing, second among the primary characteristics of the singer he is describing, and one may well object that records, however ‘fixed’, can at least sing to us, which is more than fossils and mummies can do). There is still something in what he says. He is thinking of Albanese’s particular kind of art: that delicate, ‘sighing’ quality which he hears inwardly, summoned up in a memory that is visual as well as aural and which is scarcely to be ‘fixed’, held still. Its essence lies in the moving, breathing individual. He speaks of her strong intuitive faculties. She knew what she was going to do next, vocally and dramatically – but what the audience experienced was the sense of an assured spontaneity. In the theatre you felt that her singing and her movements might take any number of forms: in a recording it will always take one. The living being is caught, pinned-down, captured; and that’s not the way she was.

Extract from the booklet note © John Steane, 2008

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