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OP 0036
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DONIZETTI, G.: Imelda de'Lambertazzi [Opera]

DONIZETTI, G.: Imelda de'Lambertazzi [Opera]

The Classical Shop
release date: May 2011


Artists:

Age of Enlightenment Orchestra


Elder, Mark


Frank Lopardo

Soloist

Texas All-State Women's Choir



Record Label
Opera rara

Genre:

Opera




Total Time - 128:12
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DONIZETTI, G.: Imelda de'Lambertazzi [Opera]

 

ANDREA LEONE TOTTOLA

     
 

Imelda de' Lambertazzi

 


Select Complete Single Disc for
1 Act I Scene 1: All'armi! Oh ferel tromba! (Chorus) 6:10
2 Act I Scene 2: Amici! e qual risuona (Orlando, Chorus, Lamberto) 3:22
3 Act I Scene 2: Voi, che, fulmini di guerra (Lamberto, Orlando, Chorus, Ubaldo) 2:18
4 Act I Scene 2: Ah! si soda lo squillo di bellice tromba! (Lamberto, Orlando, Ubaldo, Chorus) 3:15
5 Act I Scene 2: Itale schiere, a sostenerlo accinte (Lamberto, Orlando, Ubaldo) 2:03
6 Act I Scene 3: Vincesti alfin! la tua ferocia e paga! (Imelda) 3:27
7 Act I Scene 3: Amarti, e nel martoro (Imelda) 9:01
8 Act I Scene 3: Ma il Ciel non ode I miei lamenti … (Imelda) 4:32
9 Act I Scene 4: E' il genitor nelle sue stanze, Imelda? (Ubaldo, Imelda, Bonifacio) 1:58
10 Act I Scene 4: Ah! m'odi … (Bonifacio, Imelda) 2:08
11 Act I Scene 4: Spiro la tregua … il sai! … (Imelda, Bonifacio) 1:59
12 Act I Scene 4: Non ti giurasti mia? (Bonifacio, Imelda) 4:52
13 Act I Scene 5: E' Oralando che si avanza! (Bonifacio, Orlando, Ubaldo) - Scene 6: Padre, e fia ver quanto la fama sparge? (Lamberto, Orlando) 4:17
14 Act I Scene 7: Del cittadino al dritto (Chorus of Ghibellines) 3:18
15 Act I Scene 7: D'invitti Eroi degni nepoti! ai sensi (Lamberto, Chorus, Orlando, Ubaldo) - Scene 8: Il Guefo! (Ubaldo, Orlando, Lamberto, Chorus, Bonifacio) 1:49
16 Act I Scene 8: Vengo a voi, non d'armi cinto (Bonifacio, Orlando, Lamberto, Ubaldo, Chorus) 2:42
17 Act I Scene 8: L'incarco esponi (Orlando, Bonifacio, Lamberto, Ubaldo, Chorus) 1:45
18 Act I Scene 8: E quale pegno di stabil pace (Orlando, Bonifacio, Lamberto, Ubaldo, Chorus) 2:49
19 Act I Scene 9: Last Scene: Imelda! (Bonifacio, Lamberto, Orlando, Imelda, Ubaldo, Chorus, Women) 6:55
1 Act II Scene 1: Segui i miei passi (Lamberto, Imelda) 2:46
2 Act II Scene 1: Di Bonifacio il padre … (Lamberto, Imelda) 5:01
3 Act II Scene 1: Tu l'hai spenta nel mio petto (Lamberto, Imelda) 3:22


Select Complete Single Disc for
4 Act II Scene 2: Mi narri il ver? (Orlando, Ubaldo, Lamberto) 3:55
5 Act II Scene 3: Chi viene? (Part of the Chorus, First Part, Second Part) 3:54
6 Act II Scene 3: Dolente a voi ritorno. E spenta, o amici (Bonifacio, Chorus) 1:25
7 Act II Scene 3: Imelda a me volgea (Bonifacio, Chorus) 3:35
8 Act II Scene 3: Si! nel cimento (Chorus, Bonifacio) 2:44
9 Act II Scene 3: Imelda! m'attendi! Seguirimi dovrai … (Bonifacio, Chorus) 3:46
10 Act II Scene 4: Asconda il denso vel di notte orrenda (Imelda, Lamberto, Bonifacio) 5:25
11 Act II Scene 4: Imelda … Lasciarti? (Bonifacio, Imelda) 3:01
12 Act II Scene 4: Ma volano rapidi, oh cara! i momenti … (Bonifacio, Imelda, Voice from Off-Stage) 2:34
13 Act II Scene 4: Addio per sempre! (Bonifacio, Imelda) 2:23
14 Act II Scene 5: Ove ten fuggi? Ove ti celi, indega? (Orlando, Imelda, Lamberto, Voice From Off-Stage) 1:43
15 Act II Scene 5: Last Scene: Morte al Guelfo! (Part of the Armed Chorus, Women, Citizens, First Part of Chorus, Second Part of Chorus, Orlando, Imelda, Lamberto) 1:48
16 Act II Scene 5: Padre … son rea … lo vedo! (Imelda, Orlando, Lamberto) 4:16
17 M'odi almen, te ne scongiuro (Imelda) (Appendix) 7:54
     
 Frank Lopardo Soloist
 Elder, Mark


Imelda de’ Lambertazzi immediately precedes Donizetti’s first masterpiece, Anna Bolena, and was written for the Teatro San Carlo in Naples in the same year (1830). However, its fate was very different and scholars now take the view that the composer’s very concision in his setting of the Romeo and Juliet–like plot, in which Imelda loves Bonifacio, the son of the faction hated by her father Orlando and brother Lamberto, wrong-footed the Neapolitan public. The casting politics of Naples also played a role in the Imelda San Carlo reception and, after a brief stage history, the work unfortunately disappeared for well over a century.

Now, with Opera Rara’s world premiere studio recording of this innovative work, a wider audience can experience one of Donizetti’s most thrilling and dynamic scores. The wonderful young soprano, Nicole Cabell (Cardiff Singer of the World, 2005), takes the title role, surrounded by an impressive cast with Mark Elder conducting the Orchestra of the Age of Enlightenment.

"...As always with Opera Rara, the presentation is quite fine, lavishly illustrated, with copious program notes on the history and musicology of the work in hand. In his excellent notes Jeremy Commons discusses the opera in detail and how it differs from much of Donizetti’s output and most other operas of the period. His arguments are cogent and persuasive, but even without all this background information the average listener will find Imelda to be a treasure rare. If one is to rank the opera just in terms of its pure musicality - the enjoyability of the music - then it must rank with the best. The title role makes great demands on its singer, not in terms of coloratura but for long musical lines and dramatic output. For this Cabell is a real find. She has a voice of rare beauty and strength, along with dramatic involvement. Lopardo is not noted as a bel canto specialist, but he is an ideal interpreter of Orlando, combining enough agility with a Verdian strength and excelletn diction and dramatic insight. Giordano’s Lamberto is almost as impressive, perhaps too beautifully sung, but much appreciated. Mark Elder, also not noted as a bel canto specialist, finds just the right balance of beauty and strength."


American Record Guide - July/August 2008


 ** BBC Music Magazine Award Nominee **




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