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Benvenuto Cellini
Berlioz' rarely performed Benvenuto Cellini receives star treatment in this Italian radio performance, revealing the opera's unique flavor with a cast fully up to its formidable demands. Franco Bonisolli takes on the title role with fearless vocalism, navigating its challenges effortlessly while also delivering unexpectedly refined French style. His performance is both technically commanding and stylistically persuasive.
Teresa Zylis-Gara brings radiance and vocal elegance to the role of Teresa, adding warmth and dramatic presence to the performance. The result is a compelling account of one of Berlioz's most complex and exhilarating scores.
Track List
Act I
1. Ouverture
2. Teresa! Teresa! Où peut-elle être?
3. Entre l'amour et le devoir
4. Cellini!... Teresa! Ne fuyez pas ma vue!
5. O Teresa, vous que j'aime plus que ma vie
6. Ah! mourir, chère belle
7. C'est fini!... A nous, voisines et servantes!
2. Teresa! Teresa! Où peut-elle être?
3. Entre l'amour et le devoir
4. Cellini!... Teresa! Ne fuyez pas ma vue!
5. O Teresa, vous que j'aime plus que ma vie
6. Ah! mourir, chère belle
7. C'est fini!... A nous, voisines et servantes!
Act II
8. Intermezzo
9. Une heure encore et ma belle maîtresse
10. A boire, à boire, à boire!
11. Si la terre aux beaux jours se couronne
12. Un instant, un instant!... Cette somme t'est due
13. Ah! qui pourrait me résister?
14. Vous voyez, j'espère, que je suis bon père
15. Silence! silence! silence!
9. Une heure encore et ma belle maîtresse
10. A boire, à boire, à boire!
11. Si la terre aux beaux jours se couronne
12. Un instant, un instant!... Cette somme t'est due
13. Ah! qui pourrait me résister?
14. Vous voyez, j'espère, que je suis bon père
15. Silence! silence! silence!
Act III
16. Ah! je suis mort!
17. A l'atelier rentrons sans plus attendre
18. Il n'a pas reparu! ciel! aura-t-il pu fuir?
19. Tra, la, la, la, la, la... Mais qu'ai-je donc?
20. Ah, qu'est-il devenu? Jésus! où peut-il être?
21. Teresa!...Cellini!
22. Quand des sommets de la montagne
23. Ah! je te trouve enfin
24. Ah! ça, démon! pour te calmer que te faut-il donc?
25. Seul pour lutter... Sur les monts les plus sauvages
26. Du métal! du métal! Il leur faut du métal
17. A l'atelier rentrons sans plus attendre
18. Il n'a pas reparu! ciel! aura-t-il pu fuir?
19. Tra, la, la, la, la, la... Mais qu'ai-je donc?
20. Ah, qu'est-il devenu? Jésus! où peut-il être?
21. Teresa!...Cellini!
22. Quand des sommets de la montagne
23. Ah! je te trouve enfin
24. Ah! ça, démon! pour te calmer que te faut-il donc?
25. Seul pour lutter... Sur les monts les plus sauvages
26. Du métal! du métal! Il leur faut du métal
BONUS: Franco Bonisolli Sings French Arias
27. C'est vrai... En fermant les yeux
Manon. Barcelona, 1966
28. Ah ! Fuyez, douce image
Manon. Barcelona, 1966
29. Salut! demeure chaste et pure
Faust. Wien, 1973
Manon. Barcelona, 1966
28. Ah ! Fuyez, douce image
Manon. Barcelona, 1966
29. Salut! demeure chaste et pure
Faust. Wien, 1973
Customer Reviews
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4.3
Based on 3 reviews
✓ Top Reviewer
United States
Excellent Performance in Very Good Sound!
Franco Bonisolli continues to astonish me. Long before he became infamous for holding his high notes too long and being a sometimes inconsiderate colleague, the tenor was a fine musician who took on all manner of roles in a variety of styles, including some contemporary works. Berlioz's opera is marvelously adventurous, rife with new musical ideas, but extremely challenging as well. The singers on this recording all live up to their billing, especially Bonisolli who conquers every note (including the written high D in his last act aria) and infuses the role with machismo and dash all the while singing in excellent French (he spoke the language fluently).Zylis-Gara learned her part solidly though one gets the impression that she just learned it for this performance. Teresa's music is also a little high for her though she makes all the notes. Steiner is a good Ascanio and Brendel a strong Fieromosca (the buffo role of the piece). Ozawa conducts most of the score though he was probably forced to make cuts in the last scene because of time limitations. None of the spoken dialogue is used so we go from musical number to musical number without any connection. The sound is excellent throughout.As a bonus, Andy gives us Bonisolli in more traditional French repertoire. The Manon and Faust arias show that Bonisoll's skill is no fluke: he WAS that good.
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✓ Top Reviewer
United States
Enjoyable Rare Opera
This is a very exciting performance of an opera with which I am not familiar. The leads are very passionate and Ozawa moves the music swiftly. The sound is fine for radio mono. Enjoy this esoteric opera.
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✓ Top Reviewer
United States
Cellini well served
Seiji Ozawa leads a high-spirited account of Berlioz's score, making up in dash what he lacks in subtlety. Then again, subtle doesn't describe Franco Bonisolli's impetuous sculptor-adventurer, as fearless at confronting an assassin as he is at conquering Berlioz's high tessitura. Although Robert Amis El-Hage isn't quite up to Pope Clement, there are charming performances from Teresa Zylis-Gara (Teresa) and Elisabeth Steiner (Cellini's sidekick Ascanio), not to mention a delightful cameo from Fernando Iacopucci as a put-upon innkeeper. Throw in Wolfgang Brendel's sympathetic Fieramosca and one has that carries all before it.
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