Act Two: Insomma Io Ho Tutti I Torti - Renato Capecchi/Sherrill Milnes/Nicolai Gedda/Beverly Sills
Act Two: Di Si Felice Innesto - Sherril Milnes/Renato Capecchi/Ruggero Raimondi/Fedora Barbieri/John Alldis Chor/John Alldis...
Of all the operatic "traditions" that get in the way of a composer's intentions, few are so pernicious as the custom of casting a soprano as Rosina. "Una voce poco fa" has to be transposed up, the ensembles have to be r... more »eworked (at the cost of great violence to the score), and few sopranos will even essay the "lesson" aria. Although this recording is free of any cuts, the very presence of Beverly Sills guarantees its inauthenticity. In screechy voice, Sills sticks to the stratosphere, rewriting heavily (Rossini probably wouldn't have recognized his music), and even (pointlessly) interpolating an aria from another Rossini opera. Tenor Nicolai Gedda, past his best singing, is in poor voice, while Sherrill Milnes's bellowing Figaro is without nuance. James Levine conducts as if leading Wagner. Even for those who like a soprano Rosina, there are better versions available. This one is for major fans and close family members only. --Sarah Bryan Miller« less
Of all the operatic "traditions" that get in the way of a composer's intentions, few are so pernicious as the custom of casting a soprano as Rosina. "Una voce poco fa" has to be transposed up, the ensembles have to be reworked (at the cost of great violence to the score), and few sopranos will even essay the "lesson" aria. Although this recording is free of any cuts, the very presence of Beverly Sills guarantees its inauthenticity. In screechy voice, Sills sticks to the stratosphere, rewriting heavily (Rossini probably wouldn't have recognized his music), and even (pointlessly) interpolating an aria from another Rossini opera. Tenor Nicolai Gedda, past his best singing, is in poor voice, while Sherrill Milnes's bellowing Figaro is without nuance. James Levine conducts as if leading Wagner. Even for those who like a soprano Rosina, there are better versions available. This one is for major fans and close family members only. --Sarah Bryan Miller
CD Reviews
Wonderful recording!!!!
02/18/1999
(5 out of 5 stars)
"So sue me, I happen to love this recording of "Il Barbiere di Siviglia"! Sherrill Milnes is unsurpassed as Figaro, singing all the treacherous high notes of Rossini's hero. Nicolai Gedda handles the pyro-techniques of Count Almaviva pretty skillfully (although he gets off to a somewhat slow start with "Ecco Ridente", he does finish off the aria with a pretty stunning High C). Gedda even once said that this was probably one of his least favorite recordings of himself, but I love him in this role. I love Beverly Sills in the role of Rosina (transposed or not). Sills exhibits such a vibrance and innocence in this role and her singing sounds so youthful and beautiful. Ruggiero Raimondi is a very verile and powerful sounding Don Basilio (much better than on that fiasco with Placido Domingo as Figaro on DGG). His "La Calunnia" sends chills up and down me. Levine makes a pretty good showing for himself in the conducting duties. This may be like one of those movies that you see that no one else appreciates but you, but I think that this is a wonderful recording and has many wonderful things to recommend it. I do think that it is a pity that EMI cut the last act Tenor aria (which was intact originally on the vinyl edition, hope that one day EMI decides to restore the aria), which was so masterfully done by Nicolai Gedda. This is a thoroughly enjoyable recording of Il Barbiere. This recording may not knock the Leinsdorf recording, with Robert Merrill, Roberta Peters, Giorgio Tozzi and Cesare Valletti, or the Callas/Gobbi recording off the pedestal, but this is still a pretty delightful recording. I say buy it, I think you will enjoy it!!!"
Track Listings (23) - Disc #1