Rossini Arias (1989)
Cecilia Bartoli (mezzo-soprano)
Giuseppe Patanè (conductor)
Arnold-Schönberg-Chor
Konzertvereinigung Wiener Volksopernorchester
01 Cruda sorte! amor tiranno! (L'Italiana in Algeri)
02 Pronti abbiamo... Amici in ogni evento... Pensa alla patria (L'Italiana in Algeri)
03 Mura felici...Elena! O tu, che chiamo (La donna del lago)
04 O patria... Di tanti palpiti (Tancredi)
05 Assisa a'piè d'un salice... Deh! calma, o ciel (Othello)
06 Fac ut portem (Stabat mater dolorosa)
07 Se l'Italie contrade... Se per voi lo torno (La pietra del paragone)
08 Nacqui all'affanno... Non più mesta (La cenerentola)
The first recording in a glorious catalogue, the arias included are butter and bread Rossini pieces. Surprisingly most of the pieces are commonly performed by mezzos with lower tessituras (Horne, Baltsa, Larmore, Genaux et al) as opposed to one with a higher tessitura, as Bartoli clearly is e.g. Cruda sorte, Mura felici, Di tanti palpiti. On the other hand, Rossini's stab at the Willow Song is always welcome (I still believe von Stade's version on the Otello recording with Carreras and López-Cobos is the very very best) and the Cinderella piece has always been Bartoli's showpiece.
Cecilia Bartoli (mezzo-soprano)
Giuseppe Patanè (conductor)
Arnold-Schönberg-Chor
Konzertvereinigung Wiener Volksopernorchester
01 Cruda sorte! amor tiranno! (L'Italiana in Algeri)
02 Pronti abbiamo... Amici in ogni evento... Pensa alla patria (L'Italiana in Algeri)
03 Mura felici...Elena! O tu, che chiamo (La donna del lago)
04 O patria... Di tanti palpiti (Tancredi)
05 Assisa a'piè d'un salice... Deh! calma, o ciel (Othello)
06 Fac ut portem (Stabat mater dolorosa)
07 Se l'Italie contrade... Se per voi lo torno (La pietra del paragone)
08 Nacqui all'affanno... Non più mesta (La cenerentola)
The first recording in a glorious catalogue, the arias included are butter and bread Rossini pieces. Surprisingly most of the pieces are commonly performed by mezzos with lower tessituras (Horne, Baltsa, Larmore, Genaux et al) as opposed to one with a higher tessitura, as Bartoli clearly is e.g. Cruda sorte, Mura felici, Di tanti palpiti. On the other hand, Rossini's stab at the Willow Song is always welcome (I still believe von Stade's version on the Otello recording with Carreras and López-Cobos is the very very best) and the Cinderella piece has always been Bartoli's showpiece.
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