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ROSSINI, G.: Italiana in Algeri (L') (Pizzolato, Regazzo, Virtuosi Brunensis, Zedda)

Composer(s):Rossini, Gioachino
Artist(s)
Period(s) Romantic
Genre Classical Music
Category Opera
Catalogue 8.660284-85
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 13.98
 

 


Using the critical edition by Azio Corghi, this recording of L’Italiana in Algeri was made at a jubilee performance of the XXth Rossini in Wildbad Festival in 2008. For his tenth opera, the already celebrated 21-year-old Rossini wanted ‘a humorous libretto full of spectacle’. This spirited opera, completed in barely a month, scored an immediate hit and its manic atmosphere of ‘organized, total lunacy’, as Stendhal put it, has ensured its enduring popularity.


   




Review By V. Vasan,Allmusic.com,March 2011

Festival productions can be hit or miss, depending on how much time the musicians have rehearsed together, and on the chemistry between them. This CD is an absolute hit, recorded at the 20th Rossini in Wildbad Festival. The singers beautifully embody their characters, while the orchestra (Virtuosi Brunensis with Alberto Zedda) is spirited and the Transylvania State Philharmonic Choir richly supportive. The energetic overture draws the listener into the opera’s world, with the requisite full orchestra crescendo one expects of Rossini; the only difficulty is that the lower voices of the orchestra are not loud enough (the orchestra may be a bit sparse). This musically spot-on introduction sets the tone for the rest of the album. All the singers have a strong sense of

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Review By Fernando Fraga,Scherzo,November 2010


8.660284-85_Scherzo_112010_sp.pdf


Review By Gavin Dixon,MusicWeb International,October 2010

Nimbleness and transparency of tone are essential in Rossini. It is therefore gratifying that Alberto Zedda, the 82 year old conductor on this recording, still has all the energy and insight required to pull off an impressive reading. L’Italiana in Algeri, a work written when its composer was 21, requires a paradoxical mix of innocence and experience. It requires direct, unmediated expression, but it also needs a deep understanding of the operatic conventions of the day.

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