Posts tagged as "nicolai-ghiaurov"

Donizetti: Anna Bolena

March 16, 2018

At a time when Donizetti was represented on the world’s stages by little more than ‘Lucia di Lammermoor’ and the recording industry was only beginning to capitalise on public hunger for the sublime art of bel canto, this complete recording of the composer’s first great international success was welcomed as a landmark in the history […]

Rossini: Il barbiere di Siviglia (highlights)

May 25, 2016

One of the most fizzing, entertaining recordings of ‘The Barber of Seville’, brought off with tremendous panache by the principals with instinctively shaped, pliant playing from the Naples orchestra under Silvio Varviso.

R. Strauss: Lieder; Dance of the Seven Veils (Salome); Boito: Mefistofele (prologue)

April 29, 2016

Given Bernstein’s sheer sweep of the music of Richard Strauss (the ‘Salome’ excerpts are spine-tingling) it’s a pity he didn’t record any more. These precious recordings with Montserrat Caballe, are valuable not only for Bernstein’s advocacy of Strauss on record but also for the Spanish singer’s shimmering interpretations – girl-like in the opera, ravishing in […]

Berlioz: Roméo et Juliette; Harold en Italie; Le carnaval romain

March 15, 2016

Shakespeare and Byron meet for a double-CD of Maazel’s recordings of two of Berlioz’s symphonies for Decca, coupled with the Roman Carnival Overture, included on an Overtures disc for Decca. Back on CD after a long absence, the 1972 Vienna Roméo boasts a stellar vocal cast.

Nicolai Ghiaurov sings Russian Songs & Arias

March 12, 2016

For thirty years, from 1960 to 1990, Nicolai Ghiaurov was an indispensable figure on the international operatic scene. His voluminous base, incisive delivery and imposing presence meant that he was in demand in every centre of opera. His range of roles stretched from Mozart and Rossini through to Verdi and Puccini and many parts in […]

Gounod: Faust (highlights)

March 7, 2016

Recorded in 1966 in superb ‘Decca Sound’, these highlights from Gounod’s most widely-performed opera, extract music from the second act onwards. The Soldiers’ Chorus has rarely been done with such swagger, Ghiaurov is a terrifying Mephistopheles and Corelli a passionate Dr. Faust.