There is nothing wrong with the recording except or the fact that its in Italian and I ordered it in english. My feeling about this "Falstaff" is like my feeling about the Kleiber "Freischutz. The fact that all the voices seem to lack warmth I am going to attribute to the recording venue, but apart from that there are problems.
The Alice and Meg are OK, but we need some more weight in the voices. In the ensembles, crisply conducted, they do pretty well, but in the solo moments they sound just a bit underpowered. Larissa Diadkova as Quickly comes off best -- she has a fruity lower range, and if the voice thins out a bit when she goes higher, it is still firm, and she sings characterfully.
Dorothea Roschmann sounds fine in the middle of the voice, but her high notes have no vibrato to speak of and sound glassy and unnaturally produced, though that could be an artifact of the venue. But it takes away from the magic of the final scene; Barbara Hendricks, for Guilini, is still the best Nanetta I've heard.
Thomas Hampson is a bit light-voiced for Ford -- compared to Merrill for Solti, for example -- but he sings and characterizes well. Daniil Shtoda is far too matter-of-fact for Fenton, and he lacks the delicacy in his upper range that the role needs. So what about Falstaff?
I guess Bryn Terfel was out of sorts. The voice is not ideally firm, and he makes the mistake of trying to do too much with the words and loses the musical line as a result. The dynamic shifts and the tempo adjustments -- all in the service of characterization -- distract from the music. It's not an easy role, and it requires a gifted singing actor, and I wonder if Terfel still young when this was recorded around had not yet come to terms with the role's requirements.
There's a danger, of course, of singing at the expense of dramatic expression, a criticism that might be made of Bruson, with Guilini, but at least with Bruson there's the very beautiful singing, and if one is to err on one side or the other, at least for a recording, it should be on the side of the singing.
Geraint Evans, for Solti, is just about perfect in the role. If you want a version of Falstaff without the charicature - a version in which the characters are realistic human beings apart from Falstaff himself, of course - then this might easily be the version for you. Abbado leads a performance which is relatively light on its feet and definitely more intimate than many of the classics; textures are airy and delicate, climaxes more subtle than pverpowering, and any exaggeration for comical effect is avoided.
The performance is also a very fast one, maybe a little bit too quick-paced at times, but in general Abbado's is a viable approach. The cast is in general a strong one. Bryn Terfel might seem like an obvious choice for Falstaff, but I am not completely sure he fully convinces in the title role - he is perhaps a little bit too young and fresh sounding, very energetic and forward; not the in the end likeable old fop we are used to hear, but a more obviously unsympathetic, even wicked, bully.
Maybe Terfel overcharacterizes it, and I am not sure taking away the sympathy for Falstaff benefits the opera. In any case, he has a warm, flexible voice and many of the numbers are gorgeously sung. I am glad to have heard it, and maybe I'll be more thoroughly convinced on repeated listening, but the characterization does come as something of a surprise.
I have no qualms about Adrianne Pieczonka's finely characterized and well sung Alice. Thomas Hampson's Ford is perhaps more questionable, but mostly, I think, because his is such an unusual take on the role, relatively dry, sung rather un-Verdi-like with the character portrayed as humane but unlikeable.
Daniil Shtoda is, however, colorful and effective and the smaller roles are overall pretty good. The Berlin Philharmonic is riveting, of course, although the playing is softer and subtler if quicker than we are used to in this work.
The recording is relatively close, but the sound crystal clear and very effective. Overall, then, this might not be the first choice in this work I guess Toscanini is still the classic , but it is still a rather fine achievement, definitely worth considering - especially if you already know the opera and is interested in an alternative take on it. See all reviews from the United States. Top international reviews.
Translate all reviews to English. CD not in Italy. Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Probabilmente il miglior Falstaff orchestrale che si possa ascoltare, Abbado senzazionale, un tripudio ritmico, peccato per il livello complessivo dei cantanti non esaltante sopratutto il versante femminile. One person found this helpful. Translate review to English. Livret en italien et anglais.
Nombreuses photos. Enregistrement studio de Bryn Terfel ist der Star dieser wundervollen Aufnahme - mit so viel Witz und Rafinesse hat man den namensgebenden Titelhelden selten erlebt. Load more international reviews.
Marvelous set,a pure joy to listen too,also a big thank you to Miss treasure box for delivering a perfect copy,of the product as described,for a used item the condition was immaculate,and padded to ensure it survived in the post.
Indispensable pour les amateurs. A wonderful opera. Feierlich und gemessen, ohne zu schleppen [Symphony No. Entschieden [Symphony No. Nicht eilen [Symphony No. Tempo di Menuetto. Wie im Anfang [Symphony No. Tempo di Menuetto [Symphony No. Ohne Hast Senza fretta [Symphony No. Mit geheimnisvoller Hast [Symphony No. Sehr langsam.
Misterioso ppp - "O Mensch! Gib acht" [Symphony No. Lustig im Tempo und keck im Ausdruck: "Bimm Bamm. Es sungen drei Engel" [Symphony No.
Empfunden Lento. Sentito [Symphony No. Ruhevoll [Symphony No. Tempo I [Symphony No. Ohne Hast [Symphony No. Ruhevoll Poco adagio [Symphony No. Trauermarsch In gemessenem Schritt. Wild - Tempo I [Symphony No. Rondo-Finale Allegro [Symphony No. Allegro energico, ma non troppo. Heftig aber Markig [Symphony No. Scherzo Wuchtig [Symphony No.
Finale Allegro moderato [Symphony No. Langsam - Allegro [Symphony No. Nachtmusik Allegro moderato [Symphony No. Scherzo [Symphony No. Nachtmusik Andante amoroso [Symphony No.
Allegro, etwas hastig [Symphony No. Da gaudiorum praemia" [Symphony No. Andante comodo [Symphony No. Burleske Allegro assai. Sehr trotzig - Presto [Symphony No. Adagio Sehr langsam [Symphony No. Kyrie [Requiem in D Minor, K. Sanctus [Requiem in D Minor, K. Benedictus [Requiem in D Minor, K.
Das Rosenband [Vier Lieder, Op. The Quarrel [Romeo and Juliet, Op. The Fight [Romeo and Juliet, Op. Dance with Mandolins [Romeo and Juliet, Op.
Promenade - Berliner Philharmoniker, Claudio Abbado 7. Gnomus - Berliner Philharmoniker, Claudio Abbado 8. Promenade - Berliner Philharmoniker, Claudio Abbado 9. Promenade - Berliner Philharmoniker, Claudio Abbado Bydlo - Berliner Philharmoniker, Claudio Abbado Cum mortuis in lingua mortua - Berliner Philharmoniker, Claudio Abbado Nurse - Berliner Philharmoniker, Claudio Abbado 9.
Interlude - Berliner Philharmoniker, Claudio Abbado Masks - Berliner Philharmoniker, Claudio Abbado Aubade - Berliner Philharmoniker, Claudio Abbado The Tempest, Op.
Slavonic March, Op. Overture - Berliner Philharmoniker, Claudio Abbado 3. Overture - Berliner Philharmoniker, Claudio Abbado 4. Overture - Berliner Philharmoniker, Claudio Abbado 5. Prelude - Berliner Philharmoniker, Claudio Abbado 6. Prelude - Berliner Philharmoniker, Claudio Abbado 8.
Preludio - Berliner Philharmoniker, Claudio Abbado 9. Signore, v'assista il cielo! E sogno? Se t'agguanto! Se ti piglio! La bella Alice Quelle corna saranno la mia gioia! La mia letizia infondere - Roberto Alagna 4. Se quel guerrier io fossi!
Dell'esilio nel dolore - Roberto Alagna 9. Je veux encore entendre ta voix - Roberto Alagna, Claudio Abbado Overture - Berliner Philharmoniker, Claudio Abbado 2. Prelude - Berliner Philharmoniker, Claudio Abbado 3. Karfreitagszauber - Berliner Philharmoniker, Claudio Abbado 4. Sehr ruhig, ohne Dehnung ciff. Breit ciff. Wie Todesahnung Ja, Wehe! Habanera - Berliner Philharmoniker, Claudio Abbado Carmen Fantasy, Op.
Rhapsody on a Theme of Paganini, Op. Hungarian Dance No. Suite No. Letter scene. Polonaise - Berliner Philharmoniker, Claudio Abbado Overture "Le carnaval romain", Op. He rejuvenated the orchestra, expanded its repertoire, and created a less autocratic atmosphere, inspiring levels of commitment and communication from his musicians that resulted in performances and recordings that stand the test of time.
DG celebrates this partnership with a CD limited edition collection of their complete recordings — many classics right from the start. That the musicians of the Berliner Philharmoniker themselves who had elected him as chief conductor was of the utmost importance to Abbado. Abbado also opened up programming in a spectacular way.
After his severe illness in , Abbado led the orchestra for another two seasons before stepping down as Artistic Director of the Berlin Philharmonic in He inspired levels of commitment and communication from his musicians that resulted in performances and recordings that stand the test of time. After many performances of the cycle, our interpretative vision had matured, becoming more natural and shared.Larissa Diadkova, Category: Artist, Albums: Tchaikovsky: Pique dame, Op. 68 (Live), Rimsky-Korsakov: Kashchey the Immortal, Tchaikovsky: Mazeppa, Glinka: Ruslan and Lyudmila, Prokofiev: Betrothal in a Monastery, Top Tracks: Falstaff / Act 1: "Pst, pst, Nannetta", Falstaff / Act 1: "Fulgida Alice! amor t'offro " / "Quell'otre! quel tino!", Falstaff / Act 1: "Alice" - "Meg" - "Nannetta.