Search - Tomas Breton, Antoni Ros-Marba, Orquestra Simfonica de Barcelona :: Bretón - La Dolores / Domingo · Matos · Lanza · Beltrán · Ros Marbá

Bretón - La Dolores / Domingo · Matos · Lanza · Beltrán · Ros Marbá
Tomas Breton, Antoni Ros-Marba, Orquestra Simfonica de Barcelona
Bretón - La Dolores / Domingo · Matos · Lanza · Beltrán · Ros Marbá
Genre: Classical
 
  •  Track Listings (16) - Disc #1
  •  Track Listings (18) - Disc #2

Tomás Bretón's La Dolores from 1895--in which all the male characters love the heroine, Dolores, who works in an inn--is an opera espagnola: a full-blown opera, not a zarzuela, and its plot, characters, mood, and...  more »

     
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Tomás Bretón's La Dolores from 1895--in which all the male characters love the heroine, Dolores, who works in an inn--is an opera espagnola: a full-blown opera, not a zarzuela, and its plot, characters, mood, and music could belong to no other country but Spain. Bretón's musical idiom is late romantic, and he's a fine composer. The opera's acts build with good intensity, and throughout he keeps the local flavor alive with dances and rhythms that are peculiarly Spanish. Elisabete Matos is a good, colorful singer, but since Dolores is so easy to fall in love with, so should her voice be; the role could have used Victoria de los Angeles's combination of earthiness and purity. The supporting roles are well, if occasionally roughly, taken. Tito Beltrán makes the most of the second-tenor role of Celemin, but the plum role of Lazaro goes to Placido Domingo, who is in good, generalized-ardency voice and demeanor. Antonio Ros-Marbá leads a lively, completely idiomatic performance. This is a worthy addition to the catalog. --Robert Levine
 

CD Reviews

Full-blooded----very nice
Sam | Seahurst, Washington | 12/04/2007
(4 out of 5 stars)

"Breton may not be the most original of composers, a contemporary of Puccini who writes fluently in an undemanding melodic style, but `La Dolores,' still makes enjoyable listening pleasure. With the melodramatic story confidently handled-including crowd choruses, such colorful genre pieces as a lively Jota, and echoes of popular repertory operas such as an offstage bullfight at the end of Act II-the result is rather like Mascagni in a plainer idiom. Ros Marba conducts a lively performance, with Domingo in splendid voice. As the heroine of the title, Elisabete Matos is on the shrill side but sings warmly and idiomatically, and Tito Beltran is an impressive second tenor---all in all--a full-blooded sound to match......."