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Simon Boccanegra — Excerpts
Peter Glossop delivers an iconic performance in the title role, combining a technique that would have been the envy of any Italian baritone of his day with a profound connection to both drama and text. A young Kiri Te Kanawa brings her trademark purity of tone to Amelia/Maria, while revealing surprising spinto reserves that give her portrayal luminous power. Boris Christoff adds gravitas with his sonorous interpretation of Fiesco. The sound is distant and there is a hiss throughout, and the extracts are somewhat haphazardly compiled, with breaks occurring in the middle of numbers.
Track List
Prologue
1. Che dices+?...
2. Abborri+ patrizi
3. A te l'estremo addio... Il lacerato spirito
4. Suona ogni labbro il mio nome
5. Oh de' Fieschi implacata, orrida razza!
2. Abborri+ patrizi
3. A te l'estremo addio... Il lacerato spirito
4. Suona ogni labbro il mio nome
5. Oh de' Fieschi implacata, orrida razza!
Act I
6. Preludio
7. Come in quest'ora bruna
8. Cielo di stelle orbato
9. Orfanella il teLo umile
10. Vieni a me, + benedico
11. Plebe! Patrizi! Popolo
7. Come in quest'ora bruna
8. Cielo di stelle orbato
9. Orfanella il teLo umile
10. Vieni a me, + benedico
11. Plebe! Patrizi! Popolo
Act II
12. Me stesso ho maledeLo!
13. Prigioniero in qual loco m'adduci?
14. O inferno! Amelia qui!... Pietoso cielo, rendilà
15. Tu qui?..... Amelia
16. Il Doge vien - scampo non hai
17. Figlia!... Sì afflitto, o padre mio?
18. Doge! ancor proveran la tua clemenza i traditori?
19. Perdono, Amelia - Indomito geloso amor fu il mio...
13. Prigioniero in qual loco m'adduci?
14. O inferno! Amelia qui!... Pietoso cielo, rendilà
15. Tu qui?..... Amelia
16. Il Doge vien - scampo non hai
17. Figlia!... Sì afflitto, o padre mio?
18. Doge! ancor proveran la tua clemenza i traditori?
19. Perdono, Amelia - Indomito geloso amor fu il mio...
Customer Reviews
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4.0
Based on 1 review
✓ Top Reviewer
United States
Bleeding Chunks of a Great Performance!
I am very grateful to have this despite the fact that this represents only chunks of an excellent performance. Yes, the voices are recessed, but not impossibly so; enough can be heard to make one regret the entire performance hasn't survived.The young Te Kanawa sings gloriously, floating a perfect trill in the "Plebe! Patrizi!" ensemble. Conductor John Matheson doesn't take the traditional cut in the Act Two trio for Boccanegra, Amelia, and Adorno so we get to hear Te Kanawa's shining top C twice. Mauro is heard in his big aria and sings it so well he receives a hearty "Bravo!" from someone in the audience. Glossop and Christoff are both great; a pity their Act 3 confrontation was lost or not recorded (there are no excerpts from Act 3). Allen is heard briefly, but we hear his ringing top G in what's left of Act 2. The Act 1 Adorno/Fiesco duet is heard out of order (it's placed after the Amelia/Boccanegra duet), but it's tracked separately so one can easily fix that.This isn't for casual listening, but fans of the singers will enjoy this.
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