Graziella Sciutti – A Portrait
Graziella Sciutti
Label
Decca
Catalogue No.
4829637
Barcode
00028948296378
Format
1-CD
About
TRACK LISTING / ARTISTS

GEORGE FRIDERIC HANDEL
Alcina:
O s’apre al riso (Act I)
Ama, sospira, ma non t’offende
Credete al mio dolore
London Symphony Orchestra
Richard Bonynge

LUDWIG VAN BEETHOVEN
Fidelio: O wär’ ich schon mit dir vereint
Wiener Philharmoniker
Lorin Maazel

GIOACHINO ROSSINI
Il barbiere di Siviglia: Una voce poco fa

GAETANO DONIZETTI
La Fille du regiment: Convien parti
Don Pasquale: Quel guardo di cavaliere … So anch’io la virtù magica

VINCENZO BELLINI
I Capuleti e i Montecchi: Eccomi … Oh! quante volte

WOLFGANG AMADEUS MOZART
Così fan tutte, KV 588:
In uomini, in soldati
Una donna a quindici anni
Le nozze di Figaro, KV 492:
Giunse alfin il momento … Deh vieni non tardar
Chi sà, chi sà qual sia, KV 582
Nehmt meinen Dank, KV 383
Wiener Philharmoniker

Argeo Quadri

Graziella Sciutti, soprano

 

 

Recording information

Recording Producers: Ray Minshull (Handel); Erik Smith, Christopher Raeburn (Beethoven); Ray Minshull, Erik Smith (Mozart, Rossini, Bellini, Donizetti)
Balance Engineers: Kenneth Wilkinson (Handel); Gordon Parry (Beethoven); Gordon Parry, James Brown (Mozart, Rossini, Bellini, Donizetti)
Recording Locations: Walthamstow Assembly Hall, London, UK, March & April 1962 (Handel); Sofiensaal, Vienna, Austria, 18–20 October 1960 (Mozart, Rossini, Bellini, Donizetti), 2–5 and 11–15 March 1964 (Beethoven)
Remastering Engineer: Chris Bernauer
Original Decca LP Releases: SET 232–34 / MET 232–34 (Handel); SET 272–73 / MET 272–73 (Beethoven); SXL 2271 / LXT 5631 (Mozart, Rossini, Bellini, Donizetti)

Reviews

‘Rosina’s aria is sung with great affection … it “goes along” beautifully with the conductor and it is shaded with pathos and mischief in the most engaging manner … all in all, I like this appealing and idiomatic recital very much.’ Gramophone, May 1961

‘There are sopranos around today with lusher voices and more dashing techniques than Miss Sciutti’s, but there are none with a better sense of how to treat this sort of music … the accompaniments by the Vienna Philharmonic under Quadri are in general quite above average, both in terms of tone and of musical care taken.’ High Fidelity, January 1962