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Il Barbiere di Siviglia
Fiorenza Cossotto is not necessarily a name associated with "fun" in the operatic world, but even Amneris needs a night off, and she can be found here having a blast in this 1968 radio broadcast of Il Barbiere di Siviglia. Cossotto lightens her tone, kicks off her heels, and delivers a charming, coquettish Rosina. The coloratura is free and impeccably clean and she has great chemistry with Fernando Corena's peerless Bartolo. Luigi Alva, Sesto Bruscantini and Cossotto's husband, Ivo Vinco, are along for the ride as a fluent Almaviva, a thunderous (if rather bland) Figaro and an insinuating, wonderfully dark Basilio. The only real downside is Nino Sanzogno's leaden baton, which try as it might cannot sap the energy and life Cossotto and company bring to this effervescent performance.
Track List
Act I
1. Overture
2. Piano, pianissimo
3. Ecco, ridente in cielo
4. Mille grazie mio signore
5. Largo al factotum
6. Ah, ah! che bella vita!
7. Se il mio nome saper voi bramate
8. All'idea di quel metallo
9. Una voce poco fa
10. Sì sì, la vincerò
11. La calunnia è un venticello
12. Dunque io son tu non m'inganni?
13. Ehi di casa! buona gente!
14. Che cosa accadde signori miei?
15. Freddo ed immobile
16. Ma, signor... Zitto tu!
2. Piano, pianissimo
3. Ecco, ridente in cielo
4. Mille grazie mio signore
5. Largo al factotum
6. Ah, ah! che bella vita!
7. Se il mio nome saper voi bramate
8. All'idea di quel metallo
9. Una voce poco fa
10. Sì sì, la vincerò
11. La calunnia è un venticello
12. Dunque io son tu non m'inganni?
13. Ehi di casa! buona gente!
14. Che cosa accadde signori miei?
15. Freddo ed immobile
16. Ma, signor... Zitto tu!
Act II
17. Ma vedi il mio destino!...
18. Pace e gioia sia con voi
19. Insomma, mio signore, chi e' lei si puo' sapere?
20. Contro un cor che accende amore
21. Don Basilio!... (Cosa veggo!)
22. Che vecchio sospettoso!
23. Il vecchiotto cerca moglie
24. Temporale
25. Ah! qual colpo inaspettato!
26. Ah, disgraziati noi! come si fa?
27. Di si' felice innesto
18. Pace e gioia sia con voi
19. Insomma, mio signore, chi e' lei si puo' sapere?
20. Contro un cor che accende amore
21. Don Basilio!... (Cosa veggo!)
22. Che vecchio sospettoso!
23. Il vecchiotto cerca moglie
24. Temporale
25. Ah! qual colpo inaspettato!
26. Ah, disgraziati noi! come si fa?
27. Di si' felice innesto
Customer Reviews
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5.0
Based on 3 reviews
✓ Verified Buyer
New Zealand
Bel Canto Fan
One of the best 'Barber' recordings I have heard. The leads are all Italian and it shows. Very fluent at, I think, a faster tempo than usual. The whole cast is very good, with Cossotto really shining and Alva at his best, The sound is excellent. A good choice for anyone.
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✓ Verified Buyer
United States
✓ Top Reviewer
United States
Delightful, Italianate Performance in Excellent Sound!
All of the lead singers here are native Italians (Alva was from Peru, but spoke Italian fluently) and it shows. The recitatives trip easily off their tongues and everyone knows the traditions of how this opera was played at this time (1968). Bruscantini had already made a wonderful recording with De los Angeles several years previously and he is a terrific Figaro here too. Alva was known for his Almaviva (he studio recorded it three or four times). Today we would take issue with his smeary coloratura, but florid standards for men had not worked their way back up in 1968. Nevertheless he provides a very charming rendition of his role. One can understand why Rosina fell in love with him. Cossotto sang a number of bel canto roles (I wish she had sung more) and Rosina was one of her favorites. Her coloratura is impeccable and she makes a strong case for Rosina being sung by a mezzo. Her husband at the time, Vinco, is a dark, funny Basilio and Corena is hilarious as Bartolo without becoming a caricature. Maya Sunara is an uncommonly good Berta as is Renato Borgato as Fiorello. Sanzogno makes a lot of cuts that wouldn't be made today so we don't have to envy them everything, but he gets the job done.The sound is excellent though there are few minor glitches along the way: Berta's first entrance is weirdly faded up and the last chord of her aria abruptly cut short (did someone not like Berta?). Otherwise this is a very enjoyable account of a very enjoyable opera!
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