Product Description

No Description Available.
Genre: Classical Music
Media Format: Compact Disk
Rating:
Release Date: 9-FEB-1987

Track Listing

Disc 1:

1. La sonnambula, opera: Act 1. Scene 1.: Viva! viva! viva! Amina!
2. La sonnambula, opera: Act 1. Scene 1.: Tutto è gioia, tutto è festa
3. La sonnambula, opera: Act 1. Scene 1.: Viva Amina!
4. La sonnambula, opera: Act 1. Scene 1.: Care compagne, e voi, feneri amici
5. La sonnambula, opera: Act 1. Scene 1.: Sopra il sen la man mi posa
6. La sonnambula, opera: Act 1. Scene 1.: Lo più di tutti, o Amina
7. La sonnambula, opera: Act 1. Scene 1.: Perdona, o mia diletta, il breve indugio
8. La sonnambula, opera: Act 1. Scene 1.: Prendi: l'anel ti dono
9. La sonnambula, opera: Act 1. Scene 1.: Domani, appena aggiorni
10. La sonnambula, opera: Act 1. Scene 1.: Vi ravviso, o luoghi ameni
11. La sonnambula, opera: Act 1. Scene 1.: Contezza del paese avete voi, signor?
12. La sonnambula, opera: Act 1. Scene 1.: A fosco cielo, a notte bruna
13. La sonnambula, opera: Act 1. Scene 1.: Basta cosi
14. La sonnambula, opera: Act 1. Scene 1.: Son geloso del zefiro errante
15. La sonnambula, opera: Act 1. Scene 2.: Davver, non mi dispiace d'essermi qui fermato
16. La sonnambula, opera: Act 1. Scene 2.: Che veggio?
17. La sonnambula, opera: Act 1. Scene 2.: Oh ciel! che tento?

Disc 2:

1. La sonnambula, opera: Act 1. Scene 2.: Osservate! L'uscio è aperto
2. La sonnambula, opera: Act 1. Scene 2.: È menzogna
3. La sonnambula, opera: Act 1. Scene 2.: D'un pensiero e d'un accento
4. La sonnambula, opera: Act 1. Scene 2.: Non più nozze
5. La sonnambula, opera: Act 2. Scene 1.: Qui la selva è più folta ed ombrosa
6. La sonnambula, opera: Act 2. Scene 1.: Reggini, o buona madre
7. La sonnambula, opera: Act 2. Scene 1.: Vedi, o madre , è afflitto e mesto
8. La sonnambula, opera: Act 2. Scene 1.: Viva il Conte!
9. La sonnambula, opera: Act 2. Scene 1.: Ah! perchè non posso odiarti
10. La sonnambula, opera: Act 2. Scene 2.: Lasciami: aver compresso assai dovresti
11. La sonnambula, opera: Act 2. Scene 2.: De'lieti auguri a voi son grata
12. La sonnambula, opera: Act 2. Scene 2.: Lisa mendace auch'essa!
13. La sonnambula, opera: Act 2. Scene 2.: Signor, che creder degigio?
14. La sonnambula, opera: Act 2. Scene 2.: Oh! se una volta sola rivederlo io potessi
15. La sonnambula, opera: Act 2. Scene 2.: Ah! non giunge uman pensiero

Product Details

• Amazon Sales Rank: #75966 in Music
• Brand: SUTHERLAND/PAVAROTTI
• Released on: 1990-10-25
• Number of discs: 2
• Dimensions: .67 pounds

Amazon.com essential recording
Joan Sutherland, never noted for dramatic intensity, seemed more at home in roles that appealed to sentimentality rather than the tragic emotions of pity and fear. She still had that appeal and a voice in prime condition when this, her second Sonnambula, was recorded. Her appealing, uncomplicated musical personality is just right for this simple, innocent little story of a peasant girl who sleepwalks into--and later out of--a compromising situation that temporarily endangers her impending marriage. She has been given a supporting cast that is (with occasional small lapses) a joy to the ears. --Joe McLellan

Customer Reviews

Bel Canto Extravaganza
This is hands down the Sonambula to have. It's a wonderful cast, and boy!, do they sing up a storm! Yes, I know some of the pieces have been transposed down, but Joanie & the Big P. really tear into this stuff & the result is a tremendous amount of fun. Let's face it, the Callas recording is marred by disfiguring cuts and an indifferent supporting cast. Callas is also an acquired taste, the voice can be irritating, infuriating, and downright coarse whatever the artistry behind it. The earlier Sutherland recording is also complete, but it lacks the verve of this recoding. She was certainly sumptuous, (so it's worth finding) however she seems to be having more FUN this time around. Besides, who can pass up Pavarotti for the light voiced whining of Niccola Monti. He made a mess of the Callas Recording also. Plus you get the wonderful Nicolai Ghiaurov. Get this recoding and just ENJOY it. There are some things that shouldn't be over analyzed and Sonambula certaily qualifies.

SUTHERLAND IS STILL LA STUPENDA!
First, let me say I decided to review this La Sonnambula after I saw so many reviewers that rated it with one or two stars (!!!) because of a weak and immature argument: she was too old to sing Amina! I think the point should be exclusively her voice, her technique, her interpretation. Even if you don't like this recording, please write a review that explains clearly and intelligently your reasons. Singers like Joan Sutherland, Birgit Nilsson or Leonie Rysanek could still thrill an audience in their late 50's or even in their 60's! I'm not claiming Sutherland is in her very peak here or this is the best La Sonnambula to own, however I suppose a review is a compilation of your thoughts and opinions and not a commentary with two or three words.

This was recorded in 1980, when the digital era was still blooming. One of the best advantages of this recording is exactly the clear, ample and sweet sound, which shows perfectly the excellent voices joined here. At the time this was recorded, there wouldn't be any better cast than this: Joan Sutherland, the best coloratura soprano of her time, even in her late career; Luciano Pavarotti, who had the most incredible high notes and the most flawless vocal technique to sing the difficult role of Elvino; and Nicolai Ghiaurov, who was simply the greatest basso still singing at that time.
Joan Sutherland at this period of her career had lost the youthful, velvety and pure sound of her voice and the unhuman ease at the top. However, let's not make comparisons. Whatever imperfections her voice has gained as she aged, this is still La Stupenda! The creamy and huge sound, the impeccable coloratura, the ringing high notes are still there, though they obviously don't come as easy as twenty years earlier. Then, when we listen to Sutherland more carefully, we notice that there's a great difference between this Sonnambula and the early one: while young Sutherland is fresh, innocent and girlish, mature Sutherland is more sensitive, expressive and artistically mature. Her diction got infinitely clearer and more dramatic. Besides, her ability to express through her voice and entonation improved as she got older, so that she can still sound innocent and dreamy despite her mature and heavier voice.
The rest of the cast is not less important. Pavarotti's Elvino is magnificent, though his voice is bigger than the ones we are used to hear in this role. Vocally, his bright sound and amazing high notes are as impressive as ever, and dramatically he's a very lively Elvino. Rodolfo is sung by Nicolai Ghiaurov, whose lush voice is real gift for the listener. Bonynge's conducting is also more vivid and passionate here than in the earlier version.
In overall, it's a much satisfying performance and an excellent recording! Besides Sutherland's still amazing Amina, we have Pavarotti's captivating Elvino, Ghiaurov's sumptuous Rodolfo and Bonynge's lively conducting. Surely it's not a flawless recording nor is it the definitive version. If this is the first time you're buying La Sonnambula, choose Callas' or Sutherland's live recordings recorded in 1955 and 1961, respectively, or Sutherland's 1962 studio recording. However, if you just want to listen to some great singing, believe me: this is really worth a listening!

agrees with JSM
Sutherland's sheer pyrotechnics are still here, but unfortunately, gone are her famous high notes. I hear pushing on ALL the high notes here. The great voice that was the envy of the operatic strastosphere is only human, and to hear that vocal phenomenon, listen to Dame Joan's earlier Amina she recorded over 10 years earlier. At that time, Sutherland was beyond criticism.