Mr. Domingo brings out a father’s concern and pain more than his obsession. Coliseum, London Barbora Horáková’s stark and fussy staging of Verdi’s opera lacks subtlety but there is outstanding singing, with Elizabeth Llewellyn a compelling lead, Last modified on Thu 26 Mar 2020 12.41 GMT. Reviewed in the United States on January 18, 2008. Andrew Lieberman’s white-walled set gets progressively messier as a liberal amount of black paint is smeared around. Chances to experience Verdi’s Luisa Miller have been few in London recently, and if you have been longing to hear it, then the Coliseum is the place to go.
The principal problem with Lyric’s new Luisa Miller is a vocally wanting Luisa.
The clear, smoothly slicing quality of her soprano makes special impact in this opera, in which Luisa stands out in a field of dark male voices. Was it ego? “Luisa Miller” plays on one of Verdi’s favorite themes: the conflict between romantic and filial love — or, depending on how you look at it, between romantic love and filial obsession. He’d run opera companies and found young singer competitions. English National Opera’s cast is notably fine, the chorus and orchestra are on top form, and the performance that Alexander Joel conducts has urgency, breadth and bite, right from the start. For me there is too much wrong with the Maazel DG set: Ricciarelli, even at this stage of her career, was already resorting to too many breathy, unsupported pianissimi to cover a lack of top notes, Domingo, as much as I admire him, compared with Bergonzi and Pavarotti seems too beefy in what is often very delicate, plangent music for the tenor and Bruson - is it just my ears? Large swaths of his voice are still uncannily preserved, but the low part crucial to a baritone’s range tends to grow vague for him. What Mr. Domingo is doing is not atypical. His relationship with Luisa doesn’t have much complexity, but it has earnestness and poignancy. There’s little traditional Italian-tenor wildness in Mr. Beczala (for that, check out Vittorio Grigolo, at the Met in “Lucia di Lammermoor”) but he brings ample heat as the plot thickens. There’s humanity in Horáková’s direction, but her insights seem slapped on like all that paint. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Shirley Verrett gets the most out of Frederica, but does not overplay the part. Reviewed in the United States on October 1, 2017, Reviewed in the United States on March 18, 2017, Reviewed in the United States on January 31, 2016, This recording of Luisa Miller introduced the opera to much of the United States in the mid-sixties.
He’d keep busy but he’d gradually retire. By contrast, Verrett, in this RCA recording, tames her opulent sound to be both more vulnerable and incisive, inflecting the words sensitively.
Above all this, Elizabeth Llewellyn’s silvery, supple soprano brings out all Luisa’s goodness and pain, and if it doesn’t always dominate the stage, it soars where it counts.
He is a straightforward singer, as he always has been, with straightforward feelings. fu giusto,” which should be an early showstopper. You can still see all customer reviews for the product.
The principal problem with Lyric’s new Luisa Miller is a vocally wanting Luisa.
The clear, smoothly slicing quality of her soprano makes special impact in this opera, in which Luisa stands out in a field of dark male voices. Was it ego? “Luisa Miller” plays on one of Verdi’s favorite themes: the conflict between romantic and filial love — or, depending on how you look at it, between romantic love and filial obsession. He’d run opera companies and found young singer competitions. English National Opera’s cast is notably fine, the chorus and orchestra are on top form, and the performance that Alexander Joel conducts has urgency, breadth and bite, right from the start. For me there is too much wrong with the Maazel DG set: Ricciarelli, even at this stage of her career, was already resorting to too many breathy, unsupported pianissimi to cover a lack of top notes, Domingo, as much as I admire him, compared with Bergonzi and Pavarotti seems too beefy in what is often very delicate, plangent music for the tenor and Bruson - is it just my ears? Large swaths of his voice are still uncannily preserved, but the low part crucial to a baritone’s range tends to grow vague for him. What Mr. Domingo is doing is not atypical. His relationship with Luisa doesn’t have much complexity, but it has earnestness and poignancy. There’s little traditional Italian-tenor wildness in Mr. Beczala (for that, check out Vittorio Grigolo, at the Met in “Lucia di Lammermoor”) but he brings ample heat as the plot thickens. There’s humanity in Horáková’s direction, but her insights seem slapped on like all that paint. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Shirley Verrett gets the most out of Frederica, but does not overplay the part. Reviewed in the United States on October 1, 2017, Reviewed in the United States on March 18, 2017, Reviewed in the United States on January 31, 2016, This recording of Luisa Miller introduced the opera to much of the United States in the mid-sixties.
He’d keep busy but he’d gradually retire. By contrast, Verrett, in this RCA recording, tames her opulent sound to be both more vulnerable and incisive, inflecting the words sensitively.
Above all this, Elizabeth Llewellyn’s silvery, supple soprano brings out all Luisa’s goodness and pain, and if it doesn’t always dominate the stage, it soars where it counts.
He is a straightforward singer, as he always has been, with straightforward feelings. fu giusto,” which should be an early showstopper. You can still see all customer reviews for the product.
The principal problem with Lyric’s new Luisa Miller is a vocally wanting Luisa.
The clear, smoothly slicing quality of her soprano makes special impact in this opera, in which Luisa stands out in a field of dark male voices. Was it ego? “Luisa Miller” plays on one of Verdi’s favorite themes: the conflict between romantic and filial love — or, depending on how you look at it, between romantic love and filial obsession. He’d run opera companies and found young singer competitions. English National Opera’s cast is notably fine, the chorus and orchestra are on top form, and the performance that Alexander Joel conducts has urgency, breadth and bite, right from the start. For me there is too much wrong with the Maazel DG set: Ricciarelli, even at this stage of her career, was already resorting to too many breathy, unsupported pianissimi to cover a lack of top notes, Domingo, as much as I admire him, compared with Bergonzi and Pavarotti seems too beefy in what is often very delicate, plangent music for the tenor and Bruson - is it just my ears? Large swaths of his voice are still uncannily preserved, but the low part crucial to a baritone’s range tends to grow vague for him. What Mr. Domingo is doing is not atypical. His relationship with Luisa doesn’t have much complexity, but it has earnestness and poignancy. There’s little traditional Italian-tenor wildness in Mr. Beczala (for that, check out Vittorio Grigolo, at the Met in “Lucia di Lammermoor”) but he brings ample heat as the plot thickens. There’s humanity in Horáková’s direction, but her insights seem slapped on like all that paint. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Shirley Verrett gets the most out of Frederica, but does not overplay the part. Reviewed in the United States on October 1, 2017, Reviewed in the United States on March 18, 2017, Reviewed in the United States on January 31, 2016, This recording of Luisa Miller introduced the opera to much of the United States in the mid-sixties.
He’d keep busy but he’d gradually retire. By contrast, Verrett, in this RCA recording, tames her opulent sound to be both more vulnerable and incisive, inflecting the words sensitively.
Above all this, Elizabeth Llewellyn’s silvery, supple soprano brings out all Luisa’s goodness and pain, and if it doesn’t always dominate the stage, it soars where it counts.
He is a straightforward singer, as he always has been, with straightforward feelings. fu giusto,” which should be an early showstopper. You can still see all customer reviews for the product.
This is another lucky recording with an embarrassment of riches in the low voices-- too bad they didn't have this exact cast stick around to record 'Simon Boccanegra' or 'Don Carlo' or 'I Puritani' while they had the orchestra handy.
As it happened, this tenor-improbably-turned-baritone was forced to return to the opera on his own. Piotr Beczala, left, as Rodolfo, and Ms. Yoncheva in “Luisa Miller.”. If you are looking for "old school" conventions, such as the obligatory, opening chorus, and the double aria, cavatina followed by cabaletta, Luisa Miller is for you. Cornell MacNeil uses his lovely, pharyngeally resonant, true Verdian baritone tastefully, Moffo sounds pure and innocent while despatching the coloratura easily and and Bergonzi is his usual model of style and restraint, but still rises to the passion of "Quando le sere al placido". He says that Miller is the 149th new role of his career. David Junghoon Kim sings Rodolfo in a supercharged, ringing tenor. First, the duo of Moffo and Bergonzi are absolutely convincing in the roles of Luisa and Rodolfo, but the real value of this recording is the outstanding performances of all the supporting roles. (Mr. Domingo, back then, sang Rodolfo.). The steadiness and magnetism of this line are key to establishing the opera’s stakes — so those stakes suffer a bit when Miller delivers it, as Mr. Domingo did, without evenness or glamour. Olafur Sigurdarson is incisive as Luisa’s father, his tone appealingly direct even if it lacks shade; it’s generally a good night for hearing the English words of Martin Fitzpatrick’s translation. So, my choice for this RCA is set is clear but I can understand anyone going for the Decca - however, I would avoid the DG. Your choice is among three studio recordings. The bass Alexander Vingradov made a fine Met debut as Count Walter, Rodolfo’s father, sonorously and suavely balancing this intriguing character’s combination of sympathy and violence. And in fast music, that part in particular turns blustery and cloudy, making Mr. Domingo sound awkward in, for example, Miller’s big cabaletta, “Ah! On the rest of the recording it is somewhat thin and breathy. And yet all this is a frame for some outstanding singing, including several house debuts from some really big voices.
Mr. Domingo brings out a father’s concern and pain more than his obsession. Coliseum, London Barbora Horáková’s stark and fussy staging of Verdi’s opera lacks subtlety but there is outstanding singing, with Elizabeth Llewellyn a compelling lead, Last modified on Thu 26 Mar 2020 12.41 GMT. Reviewed in the United States on January 18, 2008. Andrew Lieberman’s white-walled set gets progressively messier as a liberal amount of black paint is smeared around. Chances to experience Verdi’s Luisa Miller have been few in London recently, and if you have been longing to hear it, then the Coliseum is the place to go.
The principal problem with Lyric’s new Luisa Miller is a vocally wanting Luisa.
The clear, smoothly slicing quality of her soprano makes special impact in this opera, in which Luisa stands out in a field of dark male voices. Was it ego? “Luisa Miller” plays on one of Verdi’s favorite themes: the conflict between romantic and filial love — or, depending on how you look at it, between romantic love and filial obsession. He’d run opera companies and found young singer competitions. English National Opera’s cast is notably fine, the chorus and orchestra are on top form, and the performance that Alexander Joel conducts has urgency, breadth and bite, right from the start. For me there is too much wrong with the Maazel DG set: Ricciarelli, even at this stage of her career, was already resorting to too many breathy, unsupported pianissimi to cover a lack of top notes, Domingo, as much as I admire him, compared with Bergonzi and Pavarotti seems too beefy in what is often very delicate, plangent music for the tenor and Bruson - is it just my ears? Large swaths of his voice are still uncannily preserved, but the low part crucial to a baritone’s range tends to grow vague for him. What Mr. Domingo is doing is not atypical. His relationship with Luisa doesn’t have much complexity, but it has earnestness and poignancy. There’s little traditional Italian-tenor wildness in Mr. Beczala (for that, check out Vittorio Grigolo, at the Met in “Lucia di Lammermoor”) but he brings ample heat as the plot thickens. There’s humanity in Horáková’s direction, but her insights seem slapped on like all that paint. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Luisa Miller is a beautiful opera that deserves to be better known and this recording - the first commercial studio recording - does it full justice. Shirley Verrett gets the most out of Frederica, but does not overplay the part. Reviewed in the United States on October 1, 2017, Reviewed in the United States on March 18, 2017, Reviewed in the United States on January 31, 2016, This recording of Luisa Miller introduced the opera to much of the United States in the mid-sixties.
He’d keep busy but he’d gradually retire. By contrast, Verrett, in this RCA recording, tames her opulent sound to be both more vulnerable and incisive, inflecting the words sensitively.
Above all this, Elizabeth Llewellyn’s silvery, supple soprano brings out all Luisa’s goodness and pain, and if it doesn’t always dominate the stage, it soars where it counts.
He is a straightforward singer, as he always has been, with straightforward feelings. fu giusto,” which should be an early showstopper. You can still see all customer reviews for the product.
Reviewed in the United States on June 3, 2017. How did we get to this astonishing spectacle? If he’ll never be a true Verdi baritone, and always an aging tenor in baritone’s clothing, it is still a display not to be missed: someone of Mr. Domingo’s stage of life taking on a new Verdi role at a great opera house and doing himself no small degree of honor with it. The 2015/16 San Francisco opera season opened on September 11 th with a revival of Francesca Zambello’s production of Verdi’s Luisa Miller. The orchestra and chorus are excellent and Maestro Cleva paces the opera very well. Not that you don't have abundant choice, but if you want to listen to one recording that demonstrates why Bergonzi was preeminent in Verdi tenor roles, also what the fuss was about MacNeil, this is the recording. He creates empathy in the listener, but doesn't turn Miller into a pitiful character.
