ClassicsOnline Home » Opera Arias - VERDI, G. / DVORAK, A. / MOZART, W.A. / PUCCINI, G. (Verdi Opera Scenes) (Radvanovsky, Hvorostovsky) > Review List



Opera Arias - VERDI, G. / DVORAK, A. / MOZART, W.A. / PUCCINI, G. (Verdi Opera Scenes) (Radvanovsky, Hvorostovsky)

Composer(s):
Artist(s)
Period(s) Classical (1750-1830)Romantic
Genre Classical Music
Category Opera
Catalogue DE3403
Label Delos
Quality   320kbps
Album Price
 
MP3
USD 9.99
 

 

   




Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News



Review By Opera News,November 2013

…[Radvanovsky] and Hvorostovsky have a palpable dramatic chemistry together, especially in Simon Boccanegra’s recognition scene. Listeners can get a sense of Radvanovsky’s warm, refulgent tone as she sings some of her calling cards—Amelia in Un Ballo in Maschera and Tosca. © 2013 Opera News








 

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