Вообще ругают, могу рецензию выложить из книжки умной...

Завтра перепечатаю рецензию, уже не помню за что ругают. Но он для нее вообще легковат должен быть...

Диски пиратские, с Горбушки. Могу выложить кусочки, Нати, вам чего хочецца? Мне тоже не понравилась запись, если честно, но я вообще Джоконду не... Кстати, у нас КЛУБ ЛЮБИТЕЛЕЙ ДЖОКОНДЫ есть.

Щас как напишу про Девию

Так я про живую напишу, мало не покажется

Пардонируйсте, только сейчас дошел до книжки. Надеюсь, поможет...

While this recording is hardly the ultimate in polish, at its best the performance has enough life in it to suggest a good, old-fashioned night at the opera. Fernando Previtali's conducting is rather lightweight: some of the lyrical portions of the score take on a pleasing chamber-music texture as a result. Previtali  is always very considerate towards his soloist, but he is not greatly helped by the orchestra or chorus. As on the Decca/Gavazzeni set, the strings sound thin (specially the ciolins, when playing high) and the brass section is weak. Some of the choral singing is ragged.

Ironically, the best singing is done by the two least famous members of the cast. Belen Amparan comes closer than most of her recorded rivals to meeting the vocal demands of Cieca, snd sings richly and firmly. Plinio Clabassi does not possess the most sumptuous bass voice imaginable, but his vocalism is secure and his interpretation of Alvise has the right kind of suave malovolence.

Non of the other principals is heard at his or her best. Rosalind Elias, for example ought to be well siuted to Laura, and her performance here is good as far as it goes. But she seems to be pushing her handsome mezzo rather hard at the climaxes.

Giuseppe di Stefano displays just the right sort of extroverted passion for Enzo, but the tenor is in terrible vocal condition on this set. He pulls himself together for some reasonable vocalism in such passages as "Gia ti veggo immota e smorta" in the Act III ensemble, but most of his singing is raw and strained, with some desperate lunges at high notes, and dismaying to hear.

Both Milanov and Warren - perhaps inevitably - sound less good than they did in 1946, when the Met performance was recorded. Milanov's Giocconda is caught here a few years past her peak. She has some effortful moments, and a critic must point out her quite regular habit of abandoning the text and vocalising on "ah" whenever the words threaten to get in the way of good, clean attack on a high note. Much of the time, though, the soprano displays the grandeur and command characteristic of her best recorded work, and she sings some passages more eloquently than any other soprano on there complete sets - the famous floated high B-flat at "Madre! Enzo adorato! Ah, come t'amo!" is one such instance (it's even better than it was on the 1946 broadcast, in fact!)

Vocally, Warren now has some guttural moments. He also completely rethought his approach to the character of Barnaba - but along conventional lines, and the resultant tough-guy inflections can sound mechanical rather than deeply felt. Warren's is still a major voice, though, and he outsings di Stefano in their Act I duet.

Отредактировано Шакловитый (2006-06-07 00:25:36)

Тут про голос речь, а не про КЮпюры.

Я очень непоследовательный буквоед.