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Donizetti : Anna Bolena

New York, Carnegie Hall, 2003 (Audio)

Director: Eve Queler


Interpretes:
  • James Morris (Enrico)
  • Jennifer Larmore (Giovanna)
  • Krassimira Stoyanova (Anna)
  • Kate Aldrich (Smeton)
  • Yeghishe Manucharyan (Percy)

    Archivos para descarga:
    1. https://rapidshare.com/files/2359569819/Anna_Bolena_1.mp3
    2. https://rapidshare.com/files/4197425838/Anna_Bolena_2.mp3
    3. https://rapidshare.com/files/2488106662/Anna_Bolena.mp3


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    Comentarios
    Eve Queler’s Opera Orchestra of New York (OONY) opened its season of opera-in-concert, at Carnegie Hall on December 14, with Gaetano Donizetti’ s “Anna Bolena” (“Anne Boleyn”), featuring a quintet of fine bel canto singers.
    This was a lyrical, rather than blood-and-thunder, Verdian approach. It moved quickly, thanks, unfortunately, to the many disconcerting omissions, with nearly all repetitions, some choruses, and assorted exchanges eliminated.
    The two act finales alone escaped unscathed, the second even including a seldom heard, festive wedding march, juxtaposed with the tragic queen’s angry climactic outburst. While “ Bolena,” staged in the recent past by the New York City Opera, given occasional concert hearings, and recorded several times, is not exactly a rarity, its outings here are infrequent enough that it could, when it returns, be granted a bit more time to make its points.

    In the role of England’s Henry VIII’s doomed queen, Bulgarian soprano Krassimira Stoyanova eschewed both the dramatic soprano vehemence of Callas and some of her successors and ascents into the vocal stratosphere, favored by Sills and Sutherland, forging her own, essentially lyric, no less valid path through the splendid score. If she neither employed chest voice for her stunned “Giudici! ad Anna!” (“Judges! for Anne!”), at the end of Act One, nor capped most numbers with climactic high notes, there were more than enough impressive, mid-line interpolated top notes to satisfy most any opera lover.

    Apart from the arias—Anna/Anne’s, Giovanna/Jane Seymour’s, and Riccardo/Richard Percy’s—and big ensembles, three duets were marked by particular intensity—Enrico/Henry’s interview with new intended, Seymour, about her motive (love or power), and Anna’s uneasy reunion with old love, Percy, and rivalry duet with Seymour.
    Veteran bass James Morris loomed large, despite the deliberate lack of any formal solo, as a darkly menacing king. Jennifer Larmore offered bright, colorful tone as the conflicted lady-in-waiting, Seymour, betraying her mistress as she sought her spouse and her throne.
    The performance introduced Armenian singer Yeghishe Manucharyan as Percy, displaying an ingratiating, soft-grained tenor and a seemingly endless supply of secure, mixed voice top tones. Completing the quintet was Kate Aldrich, warmly singing the young page, Smeton’s couplets and the romanza addressed to Anna’s stolen portrait. Derrick Ballard and Guillermo Lagundino were the other soloists.
    The Coro Lirico, under Italo Marchini, was on hand but, apart from two second act choruses for Anna’s ladies, made little more than an incidental contribution, due to the many excisions.
    (Edit from the blog theater scene)

    Enlaces relacionados
    Donizetti
    Eve Queler
    James Morris
    Jennifer Larmore
    Krassimira Stoyanova
    Kate Aldrich
    Yeghishe Manucharyan