Donizetti: Gianni di Parigi / Serra, Morino, Cillario

Gaetano Donizetti (Artist), Orchestra & Coro di Milano della RAI (Artist), Carlo Felice Cillario (Artist), Luciana Serra (Artist), Giuseppe Morino (Artist), Angelo Romero (Artist), Enrico Fissore (Artist) | Format: Audio CD

Product Details

• Audio CD (January 31, 1995)
• Number of Discs: 2
• Label: Nuova Era
• ASIN: B0000036AV
• Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #707,941 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Gianni di Parigi, opera: Sinfonia - Orchestra Sinfonica e Coro di Milano della Rai

2. Gianni di Parigi, opera: Act I, Scene 1; 'Su, sbrighiamoci, spazziamo' - Coro Di Milano Della Rai

3. Gianni di Parigi, opera: Act I, Scene 2; 'No, no, no. Non posso' - Enrico Fissore/Elena Zilio/Silvana Manga

4. Gianni di Parigi, opera: Act I, Scene 3; Recitativo dopo l'Introduzione: 'E così, non partite' - Enrico Fissore/Elena Zilio/Silvana Manga

5. Gianni di Parigi, opera: Act I, Scene 4; Coro e Cavatina di Gianni: 'Il desinar preparisi. Quest'albergo, o locandiere' - Giuseppe Felice Cillario/Coro Di Milano Della Rai

6. Gianni di Parigi, opera: Act I, Scene 5; Recitativo dopo la Cavatina di Gianni: 'Che ne dici, Olivier?' - Giuseppe Morino/Elena Zilio

7. Gianni di Parigi, opera: Act I, Scene 6; 'Affè, signor borghese' - Enrico Fissore/Giuseppe Morino/Silvana Manga

8. Gianni di Parigi, opera: Act I, Scene 7; 'Venga ciascun qual fulmine' - Giuseppe Morino/Angelo Romero/Enrico Fissore

9. Gianni di Parigi, opera: Act I, Scene 8; 'All'illustre Principessa' - Coro Di Milano Della Rai

10. Gianni di Parigi, opera: Act I, Scene 8; Cavatina della Principessa: 'Ah quanto e qual diletto' - Luciana Serra

See all 16 tracks on this disc

Disc: 2

1. Gianni di Parigi, opera: Act II, Scene 1; 'Ebbene, signor paggio' - Angelo Romero/Elena Zilio/Silvana Manga

2. Gianni di Parigi, opera: Act II, Scene 2; 'Un'ora e forse più' - Angelo Romero/Enrico Fissore

3. Gianni di Parigi, opera: Act II, Scene 2; 'Eccellenza, se sapesse' - Angelo Romero/Enrico Fissore

4. Gianni di Parigi, opera: Act II, Scene 3; 'La Dea della festa'

5. Gianni di Parigi, opera: Act II, Scene 4; Aria di Gianni: 'Il mio destin dipende'

6. Gianni di Parigi, opera: Act II, Scene 4; Recitativo dopo l'Aria di Gianni: 'Il mio destin dipende'

7. Gianni di Parigi, opera: Act II, Scene 4; Romanza di Oliviero: 'Mira o bella il trovatore'

8. Gianni di Parigi, opera: Act II, Scene 4; Tarantella

9. Gianni di Parigi, opera: Act II, Scene 4; Recitativo dopo la Tarantella: 'Bravo, signor borghese!'

10. Gianni di Parigi, opera: Act II, Scene 4; Brindisi: 'Persona più amabil'

See all 14 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

3 of 4 people found the following review helpful:

2.0 out of 5 stars Thoroughly second rate, April 12, 2001

By 

John Cragg (Delta(greater Vancouver), B.C Canada) - See all my reviews
(REAL NAME)   

This review is from: Donizetti: Gianni di Parigi / Serra, Morino, Cillario (Audio CD)

This is a rather weak opera by Donizetti. He wrote it with no specific performance in view, but instead in the hopes that an outstanding tenor would persuade theatre managers in Paris (and in some versions London) to put it on (since it has a showcase part for which would show off his talents.) In the event, this did not happen; there were a couple of unauthorized productions in Donizetti's lefetime and a couple in the 20th century; but the work is hardly a lost masterpiece. It is full of very routine and at times very shallow writing, with glimpses only occasionally that it is by the same comic genius as La Fille du Regiment or L'Elisir d'Amor.

This version from a festival recording does not feature stellar performers. Giuseppe Morino, the tenor in the title role, luckily not a very dominant part, is rather strained when he tackles some of the showier bits. One feels for him, stuck in what is supposed to be a showpiece for brilliant tenors. The female lead, Luciana Serra, is considerably better. The orchestra and conducting are at best adequate.

Part of the source of these inadequacies may lie in poor engineering, especially at the start, which makes what is coming through seem thin and strained. It is notable that either the cast sings their way into the opera as it proceeds, or the engineers figure out how to get a warmer and more sympathetic balance.

There is a lot of better Donizetti available, and better performed, so this production should be well down most people's list, even if they are bel-canto opera nuts.