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DY 0674
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ROSSINI, G.: Semiramide [Opera] (Zedda)

ROSSINI, G.: Semiramide [Opera] (Zedda)

The Classical Shop
release date: July 2013


Vlaamse Opera Ghent Symphony Orchestra


Alberto Zedda


Eduardo Santamaria


Vlaamse Opera Ghent Chorus



Live Recording, Vlaamse Opera, Ghent, Belgium


Record Label




Total Time - 230:14
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ROSSINI, G.: Semiramide [Opera] (Zedda)






Select Complete Single Disc for
1 Sinfonia 12:28
2 Act I: Introduction - Si, gran Nume, t'intesi (Oroe) 5:06
3 Act I: La dal Gange (Idreno) 6:13
4 Act I: Di plausi qual clamor giulivo echeggia (Chorus) 1:54
5 Act I: Di tanti regi e popoli (Oroe) 3:42
6 Act I: Regina, all'ara (Assur) 1:30
7 Act I: Trema il tempio (Semiramide) 3:23
8 Act I: Oh tu de' magi venerabil capo (Semiramide) 4:19
9 Act I: Eccomi alfine in Babilonia (Arsace) 6:15
10 Act I: Ah! quel giorno ognor rammento (Arsace) 6:15
11 Act I: Io t'attendeva (Oroe) 4:35
12 Act I: Bella immago degli Dei (Arsace) 3:32
13 Act I: D'un tenero amore (Arsace) 5:43
14 Act I: Oh me felice! (Azema) 1:56
15 Act I: Ah dov'e il cimento? (Idreno) 8:00

Select Complete Single Disc for
1 Act I: Se non avesse (Azema) 0:30
2 Act I: Serena i vaghi rai (Chorus) 3:43
3 Act I: Bel raggio lusinghier (Semiramide) 7:18
4 Act I: Ne viene ancor! (Semiramide) 4:55
5 Act I: Serbami ognor si fido (Semiramide) 8:49
6 Act I: Oroe dal tempio nella reggia? (Assur) 2:55
7 Act I: Ergi omai la fronte altera (Chorus) 5:27
8 Act I: I vostri voti omai (Semiramide) 7:06
9 Act I: L'alto eroe che dell'Assiria (Semiramide) 4:30
10 Act I: Qual mesto gemito (Semiramide) 5:33
11 Act I: D'un semidio che adoro (Semiramide) 3:41
12 Act I: Ah! Sconvolta nell'ordine eterno (All) 3:29
13 Act II: Alla reggia d'intorno (Mitrane) 4:40
14 Act II: Se la vita ancor t'e cara (Semiramide) 7:56
15 Act II: Ma implacabile di Nino (Semiramide) 5:36

Select Complete Single Disc for
1 Act II: In questo augusto soggiorno arcano (Chorus) 4:49
2 Act II: Ebben, compiasi omai (Arsace, Oroe) 1:58
3 Act II: In si barbara sciagura (Arsace) 6:04
4 Act II: Si, vendicato il genitore (Arsace) 2:56
5 Act II: Calmati, principessa (Mitrane) 2:17
6 Act II: La speranza piu soave (Idreno) 7:57
7 Act II: No: non ti lascio (Semiramide) 3:20
8 Act II: Ebbene… a te (Semiramide) 11:56
9 Act II: Tu serena il ciglio (Arsace) 2:06
10 Act II: Il di gia cade (Assur) 8:18
11 Act II: Deh! Ti ferma, ti place (Assur) 7:40
12 Act II: Oh nero eccesso! (Mitrane) 0:58
13 Act II: Un traditor con empio ardir (Chorus) 4:47
14 Act II: Qual densa notte (Arsace) 3:18
15 Act II: Al mio pregar t'arrendi (Semiramide) 3:45
16 Act II: L'usato ardir (Assur, Arsace, Semiramide) 2:35
17 Act II: Ninia, ferisci (Oroe) 4:31
 Eduardo Santamaria Soloist
 Alberto Zedda Conductor

Rossini wrote Semiramide in the winter of 1822/23 for La Fenice of Venice.
The libretto is based on Voltaire’s drama Sémiramis, written by the French philosopher and scholar in 1748.
The librettist, Gaetano Rossi, had already collaborated with Rossini on La cambiale di matrimonio (1810) and Tancredi (1813), two works that were premiered in Venice. As we mentioned before, for a long time Semiramide was considered the artistic apex of Rossini’s serious production. Only Guillaume Tell, in 1829, rivalled the supremacy of this masterpiece, which, as a matter of fact, still has to be fully recognised as such. In some respects a conclusive opera, Semiramide contains, like all masterpieces, traditional elements alongside innovative ones. Rossini accentuated the role of the orchestra, compared to his previous serious operas: the Sinfonia, the longest and most elaborate Rossini ever wrote (together with that of Guillaume Tell), immediately suggests Rossini endeavoured to give the instrumental part a more important role than usual.
The role of Semiramide calls for a singer with qualities both of dramatic and coloratura soprano; bel canto agility is, in any case, required of all the main interpreters of this opera, from the contralto (Arsace), to the tenor, (Idreno) and the bass (Assur). This is a ”huge” opera from all points of view. Semireamide summarizes and completes Rossini’s serious arc, and is paradigmatic of all that would follow. Donizetti and Bellini, even though with a completely different spirit, would draw liberally on its almost inexhaustible musical vocabulary.

                      Recording of the Month

"...This Dynamic release will do very nicely, thank-you. It’s a dramatic, incisive and exciting take on a wonderful opera, and it deserves to be heard."
Simon Thompson - - July 2013

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