Here are the items that we found.
La Traviata
Anne Evans rose through the ranks at the English National Opera during its Golden Age, when Charles Mackerras was rethinking the standard repertoire and introducing rarities, all performed in English. As Violetta, Evans comes as close to the total package as one can find. She navigates the coloratura with ease, all while maintaining the opulence of her silvery voice. Keith Erwen excels as Alfredo, offering a strong, heartfelt performance.
Track List
Act I
1. Preludio
2. Dell'invito trascorsa è già l'ora
3. Libiamo, ne' lieti calici
4. Che è ciò?
5. Un dì felice, eterea
6. Si ridesta in ciel l'aurora
7. È strano!... Ah, fors'è lui
8. Sempre libera
2. Dell'invito trascorsa è già l'ora
3. Libiamo, ne' lieti calici
4. Che è ciò?
5. Un dì felice, eterea
6. Si ridesta in ciel l'aurora
7. È strano!... Ah, fors'è lui
8. Sempre libera
Act II, Scene i
9. Lunge da lei... De' miei bollenti spiriti
10. O mio rimorso
11. Alfredo?... Per Parigi or or partiva
12. Pura siccome un angelo
13. Ah! dite alla giovine
14. Morrò! La mia memoria
15. Dammi tu forza, o cielo!
16. Ah, vive sol quel core all'amor mio!
17. Di Provenza il mar
18. Non non udrai rimproveri
10. O mio rimorso
11. Alfredo?... Per Parigi or or partiva
12. Pura siccome un angelo
13. Ah! dite alla giovine
14. Morrò! La mia memoria
15. Dammi tu forza, o cielo!
16. Ah, vive sol quel core all'amor mio!
17. Di Provenza il mar
18. Non non udrai rimproveri
Act II, Scene ii
19. Avrem lieta di maschere la notte
20. Noi siamo zingarelle
21. Di Madride noi siam matadores
22. Alfredo! Voi!
23. Invitato a qui seguirmi
24. Ogni suo aver tal femmina
25. Di sprezzo degno sé stesso rende
20. Noi siamo zingarelle
21. Di Madride noi siam matadores
22. Alfredo! Voi!
23. Invitato a qui seguirmi
24. Ogni suo aver tal femmina
25. Di sprezzo degno sé stesso rende
Act III
26. Preludio
27. Annina... Comandate
28. Teneste la promessa... Addio, del passato
29. Signora!... Che t'accadde
30. Parigi, o cara
31. Ah! gran Dio! Morir sì giovine
32. Ah, Violetta!... Voi, signor!
33. Prendi, quest'è l'immagine
27. Annina... Comandate
28. Teneste la promessa... Addio, del passato
29. Signora!... Che t'accadde
30. Parigi, o cara
31. Ah! gran Dio! Morir sì giovine
32. Ah, Violetta!... Voi, signor!
33. Prendi, quest'è l'immagine
Customer Reviews
Share your experience with fellow collectors
Share Your Experience
A star rating alone is welcome, and reviews may be written in any language.
5.0
Based on 2 reviews
✓ Top Reviewer
United States
Evans at her finest
This is a bracing reminder of how high musical standards were at English National Opera during the Charles Mackerras era. Diction is exemplary and all concerned sing with a fine level of bel canto polish. Anne Evans limns Violetta with an affecting combination of limpid lyric-soprano tone and spinto power. While not as Italianate, Keith Erwen's Alfredo is delivered with plenty of gumption and Geoffrey Chard is an exemplary Germont, sort of a Norman Bailey Lite. (Both men are allowed a verse of their cabalettas.) Standing out among the comprimarios are Norman Welsby's Baron Douphol, Shelagh Squires' uncommonly good Annina and Ann Hood's Flora. Mackerras brings the right degree of songfulness yet never permits the score to droop. The sound is unglamorous but clear.
Report
✓ Top Reviewer
United States
Excellent Performance in Very Good Sound!
Most of us are familiar with Anne Evans from the Barenboim/Kupfer Bayreuth Ring of the 1990s. Earlier in her career she focused on more lyrical roles and Violetta was one of her best. The voice itself is very beautiful, even from top to bottom, and capable of great intensity. Her Violetta is a capricious woman who matures into a true human being, made more whole by her love for Alfredo. Her "Sempre libera" is deftly sung (no, she doesn't interpolate an E-flat) and she has the vocal power for the final scene as well. She is a complete, very satisfying Violetta.Keith Erwen is an Alfredo worthy of this Violetta and Geoffrey Chard (a fine Australian baritone) is a terrific Germont, making his Act Two scene with Violetta the highlight of the performance. The other singers are all very good (the delectable Ann Hood used to sing leads for the D'Oyly Carte Company.) Mackerras leads most convincingly. He restores one verse each of Alfredo and Germont's cabalettas as well as giving us "Gran Dio, morir si giovine" complete. This was taken from an in-house source, but the voices were captured very clearly so most of Edmund Tracey's very singable translation comes through (it's essentially the same one used for the EMI studio recording with Valerie Masterson.) Traviata lovers need this - it's that good!
Report