Cheap Donizetti: Anna Bolena / Sutherland, Ramey, Mentzer, Bonynge (Music) (Gaetano Donizetti, Richard Bonynge, Welsh National Opera Chorus & Orchestra, Joan Sutherland, Samuel Ramey, Ernesto Gavazzi, Jerry Hadley, Susanne Mentzer, Giorgio Surian) Price
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| ARTIST: | Gaetano Donizetti, Richard Bonynge, Welsh National Opera Chorus & Orchestra, Joan Sutherland, Samuel Ramey, Ernesto Gavazzi, Jerry Hadley, Susanne Mentzer, Giorgio Surian |
| CATEGORY: | Music |
| MANUFACTURER: | Polygram Records |
| MEDIA: | Audio CD |
| TRACKS: | Sinfonia, Act 1, Scene 1- Ne Venne Il Re-, Ella Di Me, Sollecita, Si Taciturna E Mesta, Deh! Non Voler Costringere, Come, Innocente Giovane, Non V'ha Sguardo Cui Sia Dato, Oh! Qual Parlar Fu Il Suo!, Tutta In Voi La Luce Mia, Ah! Qual Sia Cercar Non Oso, Scene 2- Chi Veggo-, Da Quel Di Che, Lei Perduta, Ah! Cosi Nei Di Ridenti, Desta Si Tosto, Io Sentii Sulla Mia Mano, Or Che Reso Ai Patrii Lidi, Questo Di Per Noi Spuntato, Scene 3- E' Sgombro Il Loco, Ah! Parea Che Per Incanto, Taci, Taci, Tropp'oltre Vai, S'ei T'abborre, Io T'amo Ancora, Ah! Per Pieta Del Mio Spavento, Alcun Potria Ascoltarti, Tace Ognuno, In Separato Carcere, Act 2, Scene 1- Oh! Dove Mai Ne Andarono, Dio, Che Mi Vedi In Core, Al Par Del Mio, Va, Infelice, Scene 2- Ebben- Dinanzi Ai Giudici, Scostatevi... Il Re Giunge, Ambro Morrete, O Perfidi, Al Consiglio Sien Tratti, Sposa A Percy, Per Questa Fiamma Indomita, Stolta! Non Sai..., Ah! Pensate Che Rivolti, Scene 3- Tu Pur Dannato A Morte, Vivi Tu, Te Ne Scongiuro, Nel Veder La Tua Costanza, Chi Puo Vederla A Ciglio Asciutto, Piangete Voi-, Al Dolce Guidami, Qual Mesto Suon-, Cielo, A'miei Lunghi Spasimi, Coppia Iniqua, L'estrema Vendetta |
| # OF MEDIA: | 3 |
| UPC: | 028942109629 |
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Customer Reviews of Donizetti: Anna Bolena / Sutherland, Ramey, Mentzer, Bonynge
NOT A SATISFACTORY WAY TO REMEMBER A GREAT DIVA I am a great fan of Dame Joan, and I have been astonished by many of her recordings (most notably, her live San Francisco performances of "Norma" and "Maria Stuarda" ---- both of which were done in the early 1970's) - and there are many. This recording of "Anna Bolena", alas, is not one of them. It's a matter of too little too late. The voice sounds old, unwieldy,
and is lacking in the lustre and shine that made it so notable.
Sutherland performed "Anna Bolena" in Toronto in 1984 - three years before this recording was made --- and sounds much, much better (though still a long way from her spectacular prime) on the videotape that was issued of those performances. The role actually lays ill for her --- she alters the vocal line upwards at the conclusion of Act I, and then transposes the Mad Scene cabaletta down a whole step (concluding on a high D flat as opposed to the top E flat that isn't written in the score anyway!). She tries valliantly, but contrary to what another reviewer on these pages says --- there are better representations of the role available on CD by both Beverly Sills (though somewhat lighter of voice), and Maria Callas (who sings the role exactly as written and who does so with great mastery).
Sutherland was a great singer, but this "Anna Bolena" does not offer support to that fact.
SUTHERLAND'S COMMANDING 'ANNA BOLENA"
It would have been wonderful if Sutherland would have put this role in her repertoire and recorded it ten years earlier. Her voice by the time of this recording (1987) had worn and taken on a gray quality, but after all, she was sixty at the time this recording took place. The technical command is still present, however, and she projects the text better and more clearly than she would have a decade earlier. All in all, an authorative performance from a great soprano at the end of her career. Sutherland is given excellent support from the other principals as well. Samuel Ramey sings a booming Henry VIII. and Jerry Hadley contributes a lyrical Percy, though he sounds a little stressed at the top. Suzanne Mentzer is a youthful Jane Seymour, contrasting well with Sutherland's mature timbre in their big duet. Richard Bonynge shapes the opera dramatically and keeps things moving. This is an excellent representation of Donizetti's "Anna Bolena" and is certainly worthy of a strong recommendation. It's only real competition is the EMI live recording with the Anna Bolena of Maria Callas, who, of course, sings the spots of the role, and who has an excellent Jane Seymour in Gulietta Simionato. But this La Scala performance is heavily cut, and the sound is typical 1957 radio transcription sound. If one is really interested in the opera, they might want to consider owning both versions, since they document the work of two of this operatic century's greatest divas in one of the most taxing roles in the bel canto repertoire.
A great recording................
This CD was recorded and released to coincide with Sutherland's performance as Anna Bolena in Covent Garden in 1988. These proved to be her last perfomances in a full operatic role in that House. I bought the recording on vinyl after attending the opening night in Covent Gardne and later replaced it with the CD version.
I have heard and concur with all those who write amount the many incredible qualities of the Sutherland voice in her earlier recordings, the voice and technique is unbelieveable. Anna Bolena for the heroine is a huge role and it suits the later Sutherland voice, what's lost in the ability to open her mouth and produce subliminal vocal pyrotechnics is compensated by an artist who portrays vunerabilty which is, for me is the main focus of the score.
The voice is totally Sutherland, the middle voice is rich and lucious, the (very) high notes ringing and clear but age brings a vibrato and slight beat to the tone that adds to the pathos and does not detract from the pleasure of listening to a mistress of her craft.
The acting, phrasing, diction and artistry (which all got better as she got older) she produces far outweigh the loss of vocal power her age brings and produce for me a memorable and one of my favourite recordings.
Her lack of acting abilit is often discussed, having seen her on stage in this role and listened to the recording she is as good as any actor or actress I have ever seen on an operatic stage (I am sure there are better, and may worse).
Sutherland compared to what she could produce in the 1960's, 70's or early 80's may not be the same, but at this stage in her career she still commands a beauty of voice and technique that no one I have heard today can match.