Bellini: Beatrice di Tenda Joan Sutherland

• 1 Preludio 02:58
• 2 Tu, signor! lasciar sì presto 05:00
• 3 Ah! non pensar che pieno 09:24
• 4 Silenzio e notte intorno 05:00
• 5 Sì: rivale ... rivale regnante 06:58
• 6 Respiro io qui 07:29
• 7 Ma la sola, ahimè! son io 03:50
• 8 Ah! la pena in lor piombò 03:55
• 9 Vedi? ... La tua presenza fugge sdegnosa 02:50
• 10 E quali? quali? spergiura! ingrata! 04:47
• 11 Qui di ribelli sudditi 06:17
• 12 Lo vedeste? 05:30
• 13 Il mio dolore e l'ira 10:20
• 14 Parti ... Deh! perdona ... Fuggi ... parti 01:34
• 15 Ah! tal onta io meritai 08:00
• 16 Introduzione ... Lassa! e può il ciel 06:38
• 17 Omai del suo destino 03:18
• 18 O troppo a mie preghiere 06:49
• 19 Orombello! - Oh! voce! è dessa! 03:45
• 20 Al tuo fallo ammenda festi generosa 09:02
• 21 Filippo! Tu! ... ti appressa 02:08
• 22 Rimorso in lei? 04:40
• 23 Qui m'accolse oppresso 06:11
• 24 Prega! Ah! no, non sia la misera 02:59
• 25 Nulla io dissi ... Di sovrumana forza 10:53
• 26 Ah! se un'urna è a me concessa 07:30
• Total Runtime 02:27:45

Info for Bellini: Beatrice di Tenda

„Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. More recent recordings include a Rizzoli set – Mariana Nicolescu in the title role – and a brand new one starring Edita Gruberova on the ominously named Nightingale label, which I have not yet heard.“ (Hugh Canning, BBC Music Magazine)

Joan Sutherland (Beatrice)
Josephine Veasey, (Agnese)
Luciano Pavarotti, (Orombello)
Cornelius Opthof, (Filippo)
Ambrosian Opera Chorus
John McCarthy, Chorus master
London Symphony Orchestra
Richard Bonynge, conductor

Digitally remastered

No biography found.

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