La bohème, opera: Quando m'em vo' soletta (Musetta's Waltz)
Suor Angelica, opera: Senza mamma, o bimbo, tu sei morto
Gianni Schicchi, opera: O mio babbino caro
La Wally, opera (dramma musicale) in 4 acts: Ebben? Ne andrò lontana
Adriana Lecouvreur, opera: lo so l'umile ancella del genio creator
Adriana Lecouvreur, opera: Poveri fiori
La Rondine (The Swallow), opera: Ch'il bel sogno di Doretta
Lodoletta, opera in 3 acts: Flammen perdonami
Iris, opera (melodramma) in 3 acts: Un di (ero piccina) al tempio
Edgar, opera: Addio, addio, mio dolce amor!
Madama Butterfly (Madame Butterfly), opera: Un bel dì, vedremo
Madama Butterfly (Madame Butterfly), opera: Tu, tu, piccolo iddio!
Il segreto di Susanna, opera: Respiro, e andanto...O gioia la nube leggera
Il segreto di Susanna, opera: Ti colgo questa volta!
Adriana Lecouvreur, opera: E sia! Non risponde
The bulk of this wonderful CD was recorded in l974, before the top of Scotto's voice--always a bit acidic--had turned positively treacherous. Selections from six Puccini operas, Catalani's La Wally, and Mascagni's Lodolett... more »a and Iris find her not only in good voice, but with her usual searing insights. Never one to shirk an emotion, Scotto makes us feel for Suor Angelica and Wally in a very special way, and the other characterizations are hardly less interesting. Arias and duets from later takes--one from Carnegie Hall in '77 and others from commercial recordings up to l978--still offer good vocalism and fascinating viewpoints--Scotto's high notes may occasionally make us cringe, but she's never uninvolved or uninvolving. This is a fine intro to this complicated soprano and a must for her fans. --Robert Levine.« less
The bulk of this wonderful CD was recorded in l974, before the top of Scotto's voice--always a bit acidic--had turned positively treacherous. Selections from six Puccini operas, Catalani's La Wally, and Mascagni's Lodoletta and Iris find her not only in good voice, but with her usual searing insights. Never one to shirk an emotion, Scotto makes us feel for Suor Angelica and Wally in a very special way, and the other characterizations are hardly less interesting. Arias and duets from later takes--one from Carnegie Hall in '77 and others from commercial recordings up to l978--still offer good vocalism and fascinating viewpoints--Scotto's high notes may occasionally make us cringe, but she's never uninvolved or uninvolving. This is a fine intro to this complicated soprano and a must for her fans. --Robert Levine.
CD Reviews
If she could only be cloned . . .
K. King | Birmingham, AL | 01/15/2000
(5 out of 5 stars)
"Let me say this: I hated Scotto's voice when I was an all-knowing young voice student 20 years ago. I even saw her in the house in two different roles and thought she was dreadful. Then a Butterfly of hers had me in tears for two hours *after* the opera ended! This album shows her at her verismo best. How stupid the follies of youth, to not know what I was watching and hearing: a diva of the old school, for whom voice and theater were one. Not a singer out there today with their name in lights can hold a candle to La Scotto--no matter how much their publicists or opera house management would have you believe otherwise. Listen to this lady, to her pathos and hartbreak, triumph and tears, for this album shows it all. Renata Scotto is superb in this disc."
Emotionally Moving, and Musically Riveting
Gapare Pacchierrotti | Canada | 01/26/2000
(5 out of 5 stars)
"I was deeply impressed with this CD, not only for the singing of the artist, Renata Scotto, but for the musical and dramatic truth she brings to this music. Verismo, meaning "true to life" is often screamed, shouted, and even yelled ( Scotto herself at times did all three ), but here it is sung, really sung. I have never heard a more sympathetic rendition of "Senza Mamma" in all my life! One feels the spirit of the dead child is there at the words "se qui, se qui." Some of the music is not great music in anyway -- most of that by Cilea -- but when performed as it is here, with a sensitive orchestra more intent on sharing a feeling than simply being loud, and a great performer, one is nearly convinced they are hearing great music. Whatever Scotto's vocal flaws, and she had many, she was a performer of truth, complete involvement, and sincerety. This recording shows what a wonderful experience can be brought to the listener when such a combination is achieved."
As good as it gets
J. Luis Juarez Echenique | Mexico City | 12/11/1999
(5 out of 5 stars)
"Renata Scotto is one of the Century's greatest sopranos. Very few singers can communicate emotion like she can, whatever she sings rings true, whatever she sings is honest and deeply felt. In these sad days of mediocre artists, Renata Scotto will remind you of an era of larger-than-life personalities, when sopranos were really Divas."
Scotto: the greatest gift
Sergio Rivera Moreno | Mexico City | 09/30/2006
(5 out of 5 stars)
"Since the first time I heard Scotto, I found on her the warmth, devotion and passioned interpretation of all the roles she performed. By much, this is one of my most beloved records, since Scotto demonstrates that, beyond the technique, an opera singer must act. The voice reflects in every note, in every phrase, all the emotions contained.
Absolutelly splendid!"
Singing as good as it gets
Gerardo Cabrera Munoz | México | 04/01/2001
(5 out of 5 stars)
"Record companies have always been run by not-too-clever people. I can't believe they banned Renata Scotto from the mid 1960's till this recital was made in 1974. In this recital the unforgettable diva gives masterclasses in the art of singing. If you want pretty sounds look for Caballe, but if you want to feel Suor Angelica's pain or Manon Lescaut's despair this is for you."
Track Listings (18) - Disc #1