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Semiramide
Joan Sutherland and Richard Bonynge were responsible for the revival of many forgotten bel canto operas during their prolific reign and although that made for many great evenings, few of the operas can really stand up without the help of their brilliance. In my opinion, however, the uniqueness of Semiramide and the brilliance of Rossini's under-appreciated skills as a tragedian can sustain interest even without the bling of brilliant performers like Sutherland and Marilyn Horne. That said, Sutherland and Horne do much to advocate for the work's merits delivering firecracker coloratura as well as thrilling high notes. The two singers also had a synergy that allowed them to check their egos and achieve a level of ensemble in their duets that is often elusive to stars., although there are a few parts missing including the overture and opening chorus as well as the beginning of the second act.
Track List
Act I
1. Ma di plausi clamor giulivo echeggia
2. Di tanti regi e popoli
3. Ah! già il sacro foco è spento
4. Eccomi alfine in Babilonia
5. Ah! quel giorno ognor rammento
6. Io t'attendeva, Arsace.
7. Bella imago degli Dei
8. Serena i vaghi rai… Bel raggio lusinghier
9. Cesseran le tue pene… Grazie, v'adoro o Dei
10. Serbami ognor sì fido
11. Ergi omai la fronte altera
12. I vostri voti omai, Prenci, popoli, Magi
13. Giuri ognun ai sommi dei
14. Qual mesto gemito da quella tomba
15. Ah! sconvolta nell'ordine eterno
2. Di tanti regi e popoli
3. Ah! già il sacro foco è spento
4. Eccomi alfine in Babilonia
5. Ah! quel giorno ognor rammento
6. Io t'attendeva, Arsace.
7. Bella imago degli Dei
8. Serena i vaghi rai… Bel raggio lusinghier
9. Cesseran le tue pene… Grazie, v'adoro o Dei
10. Serbami ognor sì fido
11. Ergi omai la fronte altera
12. I vostri voti omai, Prenci, popoli, Magi
13. Giuri ognun ai sommi dei
14. Qual mesto gemito da quella tomba
15. Ah! sconvolta nell'ordine eterno
Act II
16. Assur, i cenni miei fur sacri, irrevocabili...
17. Se la vita ancor t'è cara
18. La forza primiera ripiglia il mio core
19. Ebben, compiasi omai, qualunque sia
20. Su, ti scuoti, rammenta chi sei
21. Si vendicato il genitore, a lui svenato il traditore
22. No, non ti lascio, invano cerchi fuggirmi, ingrato!
23. Ebbene, a te, ferisci
24. Giorno d'orrore! - E di contento!
25. Madre, addio… T'arresata. Oh Dio!
26. La speranza più soave
27. Il dì già cade. Ah! sia l'ultimo per Arsace
28. Deh! ti ferma, ti placa, perdona
29. Quei Numi furenti - Quell'ombre frementi
30. Qual densa notte! -ove scendiamo!
31. Al mio pregar t'arrendi
32. Vieni, Arsace, al trionfo, alla reggia
17. Se la vita ancor t'è cara
18. La forza primiera ripiglia il mio core
19. Ebben, compiasi omai, qualunque sia
20. Su, ti scuoti, rammenta chi sei
21. Si vendicato il genitore, a lui svenato il traditore
22. No, non ti lascio, invano cerchi fuggirmi, ingrato!
23. Ebbene, a te, ferisci
24. Giorno d'orrore! - E di contento!
25. Madre, addio… T'arresata. Oh Dio!
26. La speranza più soave
27. Il dì già cade. Ah! sia l'ultimo per Arsace
28. Deh! ti ferma, ti placa, perdona
29. Quei Numi furenti - Quell'ombre frementi
30. Qual densa notte! -ove scendiamo!
31. Al mio pregar t'arrendi
32. Vieni, Arsace, al trionfo, alla reggia
Customer Reviews
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4.6
Based on 5 reviews
✓ Top Reviewer
United States
Exciting Performance in Good Sound!
A year or so on from their 1964 performances of this opera (OD #10837), Sutherland and Horne reassembled for yet another go at Rossini's masterpiece. In general, the sound on this later version is better, more clear and more complete (although still missing the overture and a few snippets). In fact, it seems assembled from different tape sources. The ladies' first duet is rather distant sounding, but most of the second act has the voices very present. In both performances Bonynge uses the original pyrrhic ending wherein Semiramide is stabbed, Assur captured, and Arsace crowned the new king. In their studio recording the Bonynges would employ a happier ending where it is Assur who is killed and mother and son survive. Both of the prima donnas live up to their billing as two of the greatest singers of the last century. It is not hyperbolic to state that their solos and duets are thrilling; one feels like one is really at the opera when listening to them. Rouleau is a good Assur (he would sing the role on the studio recording); I prefer Richard Cross' tone, but both handle the coloratura as well as could be expected at that time. Andre Montal does well with the one aria left him. The character of Azema (the source of Assur and Arsace's rivalry) is cut completely.If you love Sutherland and Horne, you must get this and/or the other recording from a year earlier. The sound isn't great, but it gets better as it goes along and your operatic soul will be so happy!
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Italy
very good a little bit disappointed
very good a little bit disappointed because lack of hard cover CD case
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Australia
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United Kingdom
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Matey
First of all, I would be very thankful if anyone could confirm whether this is the same performance as the one released on CD from Boston, or if that's on the other night (which must be the 7th). Either way, this is cheaper and is still amazing. The only reason why I am asking is since the other one is a recording with no drop outs. It could also simply be another recording of the same night; if so, you should consider also getting this one!Sutherland's voice is very well captured indeed, and those D-flats and E-flats are enormous! The duets are also very beautiful and masterfully done. Finally the tenor has very decent coloratura! Ultimately, I highly recommend this recording.
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