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Verdi: Rigoletto (Gesamtaufnahme) (Aufnahme 1978) Doppel-CD

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Audio-CD, Doppel-CD, 4. Oktober 1996
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  • Komponist: Giuseppe Verdi
  • Audio CD (4. Oktober 1996)
  • Anzahl Disks/Tonträger: 2
  • Format: Doppel-CD
  • Label: EMI Classics (EMI)
  • ASIN: B000002S7K
  • Weitere Ausgaben: Audio CD  |  Hörkassette
  • Durchschnittliche Kundenbewertung: 3.5 von 5 Sternen 2 Kundenrezensionen
  • Amazon Bestseller-Rang: Nr. 482.852 in Musik-CDs & Vinyl (Siehe Top 100 in Musik-CDs & Vinyl)
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Von Ein Kunde am 16. Oktober 2005
Format: Audio CD
Diese Aufnahme von Verdis Rigoletto zählt mit Sicherheit zu den schönsten. An erster Stelle steht Alfredo Kraus, dessen Gesang wahrhaft meisterlich ist. Seine Stimme ist elegant, nicht besonders kraftvoll, aber höhensicher und beweglich. Beverly Sills hingegen kann nicht mehr sehr viel von ihrer einst so wundervollen Stimme präsentieren. Das Vibrato ist unbeherrscht und die Spitzentöne teilweise schrill. Nur zeitweise erinnert die Stimme an die einstige Brillianz und Schönheit. Ihre Darstellung allerdings ist unübertroffen. Sills macht aus der Gilda nicht ein kleines unschuldiges Kind, sondern lässt sie eine Entwicklung durchmachen. Wenn Sills die Gilda singt, wird aus dem jungen unerfahrerenen Mädchen eine Frau, die ihr eigenes Leben, für das ihres Geliebten opfert. Sei ihre Stimme auch nicht mehr die von einst, so ist ihr Gestaltungswillen und die Tiefe ihrer Darstellung doch ungebrochen! Sherrill Milnes zeigt in dieser Aufnahme sein ganzes Potenzial und überzeugt stimmlich auf ganzer Ebene. Großartig ist das Duett mit seiner Tochter Gilda im zweiten Akt. Hier spürt man förmlich die Wut die im Herzen Rigolettos tobt. Sowohl sängerisch als auch darstellerisch ist ergroßartig und vielen seiner Sängerkollegen um Welten überlegen!Chor und Orchester sind hervorragend. Julius Rudel bietet ein mitreißendes und hitziges Dirigat.
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Format: Audio CD
Diese Aufnahme von Verdis Rigoletto zählt mit Sicherheit zu den schönsten. An erster Stelle steht Alfredo Kraus, dessen Gesang wahrhaft meisterlich ist. Seine Stimme ist elegant, nicht besonders kraftvoll, aber höhensicher und beweglich. Beverly Sills hingegen kann nicht mehr sehr viel von ihrer einst so wundervollen Stimme präsentieren. Das Vibrato ist unbeherrscht und die Spitzentöne teilweise schrill. Nur zeitweise erinnert die Stimme an die einstige Brillianz und Schönheit. Ihre Darstellung allerdings ist unübertroffen. Sills macht aus der Gilda nicht ein kleines unschuldiges Kind, sondern lässt sie eine Entwicklung durchmachen. Wenn Sills die Gilda singt, wird aus dem jungen unerfahrerenen Mädchen eine Frau, die ihr eigenes Leben, für das ihres Geliebten opfert. Sei ihre Stimme auch nicht mehr die von einst, so ist ihr Gestaltungswillen und die Tiefe ihrer Darstellung doch ungebrochen! Sherrill Milnes zeigt in dieser Aufnahme sein ganzes Potenzial und überzeugt stimmlich auf ganzer Ebene. Großartig ist das Duett mit seiner Tochter Gilda im zweiten Akt. Hier spürt man förmlich die Wut die im Herzen Rigolettos tobt. Sowohl sängerisch als auch darstellerisch ist ergroßartig und vielen seiner Sängerkollegen um Welten überlegen!Chor und Orchester sind hervorragend. Julius Rudel bietet ein mitreißendes und hitziges Dirigat.
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Amazon.com: 4.6 von 5 Sternen 7 Rezensionen
5.0 von 5 Sternen One of the best Rigolettos on CD 11. April 2017
Von Brent Peterson - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
If I say this is my 3rd favorite Rigoletto it may sound like a dig, actually it is a great compliment. There are so many of them out there.

I will give a few observations in no particular order. Kraus is perfect; possibly TOO perfect. I prefer a slightly grungier Duke, because the Duke is a grungy character. So someone with a little tiny bit less refinement, like Di Stefano on the Callas set, is ideal. Sills is the weakest link here (what a surprising thing to say!) as Gilda. Not because she doesn't have the chops, but because she uses them too much. She sounds like she's TRYING to be an opera singer, which isn't necessary. Gilda is supposed to be young and fragile. Callas does succeed at that, although her voice isn't as 'attractive' as Sills.

I really like Milnes as Rigoletto, and I especially like that he's inserting a little drama into the part that is not explicitly in the notes, such as a little snarling and other funny noises when he's being (intentionally) rude. But he doesn't overdo or do it all the time, just a few places to be effective. Some great singers do not do it at all, like Leonard Warren, and that makes for a slightly boring Rigoletto with all due respect.

I really like Ramey in the roles of Monterone and Sparafucile. However ... I don't like him doing BOTH. That smacks of a crappy community production. I don't hold it against him personally though, I doubt it was his decision.

The above minor criticisms are not worth taking any stars off, it's just easier on something of this high quality to mention the negative aspects, since there are so few of them. Talking about the great points would be a very long review. O, I have to add that I like Julius Rudel. The tempos and accents are perfect thruout. On first hearing I thought maybe the orchestra was a little too far forward, but now it sounds OK :)

Since I mentioned it was my 3rd favorite ... I might as well mention my first two favorites. Second favorite is the Callas recording from 1955 (not because of Callas however, she is the weak link). And be aware it is in mono.

My favorite of all is the Bergonzi/Fischer-Dieskau/Scotto from La Scala. That may raise some eyebrows. Bergonzi has a slightly different voice (I don't want to say rough), but not creamy smooth like Kraus, and dramatically fits the Duke better in my opinion. And Fischer-Dieskau, who I normally can't stand in Italian opera of any kind, seems to fit like a glove here. Like few roles have ever fit any singer. He sounds demented and snarky as Rigoletto as he should, and he goes to sounding truly fatherly and tragic when appropriate. And Renata Scotto, young and fragile, with no lack of beauty and technique whatsoever.

There are also several videos I really like, notably Domingo from the Met, but they don't really compare to a CD in terms of recorded sound.

Now to reiterate, although there are a few negative comments above, this is a great performance and recording, very highly recommended.
4.0 von 5 Sternen great sound 18. Juni 2013
Von jose - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
in my quest for looking for a rigoletto that can pair with the sutherland/pavarotti/bonynge, i came into this. the sound is amazing, the acting is great. but in the sills performance, i missed sutherland's color & kraus has a very old voice, i have the solti/moffo/kraus set & i really think is much better though the sound is not as good, but this sills/rudel set didn't impress me at all. i can't never get enough of sutherland, but i think i'm getting to my limits with sills. my next try is kubelik scotto/bergonzi
11 von 11 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The Rigoletto I've been searching for.... 11. März 2010
Von J. Glass - Veröffentlicht auf Amazon.com
Format: Audio CD
This Rigoletto is near perfection.

I have owned the Pavarotti/Sutherland/Milnes recording, an earlier one with Kraus, Moffo, and Merrill in the major roles, one with Gedda and Macneil, and the famous (to opera buffs) 1950 recording with Jan Peerce, Erna Berger, and the great Leonard Warren in the title role.

Each of them had their faults and their bright side. Out of the bunch my overall favorite was the 1950- Warrens' full, warm voice, pathos and brilliant top notes were perfect for the hunchback; the Duke was one of Peerce's finest roles, and Berger portrayed a suitably girlish Gilda. But I still hadn't found *the* Rigoletto.

I think this recording is as close as I will ever get. I must agree with a previous reviewer that this is Milnes' best recording of Rigoletto between his two. He sounds richer and more commanding here; and although he does not interpolate a high B(!) in the finale as he does on the Decca (Bonynge, et al) recording made about 8 years earlier, the thrillingly held and attacked high A in this finale is just as good if not better. The things he is sometimes criticized for (hamminess, histrionics, flat notes) are virtually nonexistent here to my ears. A superb rendering of the role.

Kraus for a 50+ year old man sounds fresh and easy as he usually did. He sings a beautifully ornamented "Parmi veder le lagrime" and takes all the high notes including the C# in the duet with Gilda and the high D in "Possente amor." A testament to good technique and careful marshaling of vocal resources.

If there IS a weak link in this set it is Sills. Her top notes were beginning to wobble a bit and lose some ease; (especially when singing forte) but still, she couldn't sound old if she wanted to- the voice is still beautiful and her characterization is very convincing, particularly in the final scene. No ham or over the top sobs or wails that some Gilda's have indulged in. You can't help liking her.

The orchestra is conducted by Rudel with an ideal mix of tenderness and power and sensible tempo choices; and the sound engineering is uniformly superb- (something I can't say for any other Rigoletto I have heard.) Hardly a trace of overload anywhere even on large ensemble numbers; the balance between singers and orchestra is exemplary; and the singers are not in your face while not being too distant. Listen particularly to the stormy final chords and the wonderful definition of the timpani rolls as the curtain falls on Rigoletto and his daughter....

Get this recording. It's great and deserves to be better known. ;-)
11 von 13 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Verdi Lovers's Dream: A Superb Recording 8. Februar 2004
Von Rudy Avila - Veröffentlicht auf Amazon.com
Format: Audio CD
For Verdi fans, this 1979 studio recording is a must have, even if you already own other recordings of Rigoletto. There are many fine, outstanding recordings in the market - among them a classic recording featuring Bjussi Bjorling and Roberta Peters, but a good Rigoletto should not be limited to mere novelty and flashy singing -this opera is full of such great arias as the famous tenor aria "La Dona E Mobile" and many singers like Pavoratti merely show off their voice. It requires really great acting and convincing passions. Fortunately,there are some singers who do get into the characters and provide us with real drama - names that come to mind for terrific Rigolettos are Robert Merill, Juan Pons and in this recording Sherill Milnes and there have been many fine Gildas as this recording's Beverly Sills, the forementioned Roberta Peters, Sumi Jo and Andrea Rost most recently. The good thing about Rigoletto is that for once, a baritone is the star and the character with most substance. Usually baritones in opera are fatherly figures or villains. The character of Rigoletto the hunchback jester was the inspiration for the troubled clown in I Pagliacci. Rigoletto is a man of contrast and conflict. He is a loving father as well as a man consumed by revenge. He comes off like a lost Shakespearean tragic hero.
THE STORY was sensational for its time. Verdi drew plot from a Victor Hugo play. Rigoletto is the court jester of the corrupt and immoral Duke of Renaissance Mantua, Italy, and his fawning court are sycophants. Rigoletto is himself a man of questionable virtue since he was as bad as the courtiers who helped in bringing the lusty Duke new female sexual victims. In Act 1, Monterrone, whose daughter has been raped by the Duke, is insulted by Rigoletto- his biggest mistake. Monterrone puts a curse on Rigoletto. The curse theme music is played significantly in the score. Soon, the curse takes effect. Rigoletto's daughter Gilda falls for the Duke's trap when he disguises himself as a poor student only to have her courtiers abduct her and bring her into his bed chamber where he rapes her. Rigoletto learns about the incident and swears revenge. He hires a hitman Sparafucile to kill the Duke. But by the end of the opera, Gilda gives up her life willingly for the Duke and Sparafucile accidentally kills her instead. The evil Duke lives scot-free and Rigoletto mourns the death of his daughter, recalling "La Maldizzione" the curse of Monterrone.
THIS RECORDING was made in 1978-79. By this time, the principal singers were seasoned and veteran opera stars- tenor Alfredo Kraus, soprano Beverly Sills and baritone Sherril Milnes had been singing for years and were approaching retirement from the stage. Nevertheless, they are so well-trained both dramatically as actors and as singers that their age is irrelevant. They do deliver a spectacular opera. Sherill Milnes is one of the best Rigoletto's- full of anguish, despair, vindictive spirit and bitterness. Impressive are his "Vendetta" aria, his duets with Gilda in touching father-daughter moments and his attack on the wicked Duke's court "Cortigiani, vil raza" as well as his powerfully moving final scene. Alfredo Kraus' potrayal of the Don Giovanni-type Duke of Mantua is sensational. Brilliantly sung and brilliantly performed, he comes off as wanton, devil-may-care and degenerate -"Questo E Quella" and "La Dona E Mobile" are greatly delivered as well as his wooing song "E il sol dell'anima". Beverly Sill's Gilda will move you to tears. Her sweet but powerful soprano voice is tinged with pathos and naivete- "Caro Nome" is the best interpretation on my perpective and so is her death scene. The Ambrosia Opera Chorus sings in fine harmony and Julius Rudel as always conducts a fine orchestra. This recording is also available in "Highlights" form on Amazon.com. In fact, this entire recording is out of stock but hopefully it will resurface from the z-shops soon. A must have and absolutely the best Rigoletto there is.
1 von 1 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen A generally admirable "Rigoletto," with Sills carrying the day 18. Oktober 2011
Von Santa Fe Listener - Veröffentlicht auf Amazon.com
Format: Audio CD
When this Rigoletto came out in 1979, the year that Sills turned fifty, I remember the critics being disappointed that she had been captured a bit too late in her career. I kept in mind the image of a frayed voice, but on returning to it after all that time, I was delighted to discover how good Sills actually sounds. The issue had been how long it took the Met to recognize a great American soprano; Sills had reigned supreme across the plaza of Lincoln Center at the New York City Opera, a company that the Met decidedly looked down upon. She was also devoted to the music director of City Opera, Julius Rudel. Unfortunately, he was a routineir, and his unimaginative time-beating was another demerit of this Rigoletto.

It's strange how uneven Rigoletto's history has been on disc, not to mention that one faces a bewildering mix-and-match as various cast members skip fro one recording to the next. Alfredo Kraus featured the Duke as a signature role, and on this, his third recording (I believe) he sounds as stylish and almost as fresh as earlier. Longevity was one of this singer's strong suits. I also agree with previous reviewers who like Milnes better here than in his far more famous recording with Sutherland and Pavarotti, where he blusters and shouts to the point of exhaustion. In 1979 he was yet to turn 45, and the voice remains as splendid as ever. As a characterization, however, this Rigoletto is a series of operatic gestures rather than a human being one feels for. Milnes often has to be appreciated for his voice primarily, as here.

In the end, I'd call it Sills's show. She never had a perfect tone - the top notes always stung a little - but it was compensated for by charm, charisma, and musicality. In retrospect, I find that her recordings grow in stature, and this is one of her exemplaryones.
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