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Macbeth Import


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Audio CD, Import, April 8, 2003
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Product Details

  • Audio CD (April 8, 2003)
  • Number of Discs: 2
  • Format: Import
  • Label: Polygram Int'l
  • ASIN: B000025WF9
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #262,789 in Music (See Top 100 in Music)

Disc: 1
1. Macbeth, opera: Preludio
2. Macbeth, opera: Act 1. Scene 1. Che faceste? dite su!
3. Macbeth, opera: Act 1. Scene 1. S'allontanarono! N'accozzeremo
4. Macbeth, opera: Act 1. Scene 2. Oh donna mia!
5. Macbeth, opera: Act 1. Scene 2. Sappia la sposa mia che, pronto appena
6. Macbeth, opera: Act 1. Scene 2. Di destarlo per tempo il re m'impose
7. Macbeth, opera: Act 2. Scene 1. Perché mi sfuggi
8. Macbeth, opera: Act 2. Scene 2. Chi v'impose unirvi a noi?
9. Macbeth, opera: Act 2. Scene 2. Studia il passo, o mio figlio
10. Macbeth, opera: Act 2. Scene 3. Salve, o Re!
Disc: 2
1. Macbeth, opera: Act 3. Tre volte miagola la gatta in fregola
2. Macbeth, opera: Act 3. Ondine e Silfidi dall'ali candide
3. Macbeth, opera: Act 3. Ove son io?
4. Macbeth, opera: Act 4. Scene 1. Patria oppressa!
5. Macbeth, opera: Act 4. Scene 1. O figli, o figli miei!
6. Macbeth, opera: Act 4. Scene 2. Vegliammo invan due notti
7. Macbeth, opera: Act 4. Scene 3. Perfidi! All'anglo contra me v'unite!
8. Macbeth, opera: Act 4. Scene 4. Vittoria!

Customer Reviews

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Most Helpful Customer Reviews

13 of 13 people found the following review helpful By Mike Leone on July 21, 2011
Format: Audio CD
Even though Macbeth is the title character of Verdi's opera, Lady Macbeth's role is at least as important as that of her husband; musically, it is probably even more important, with her four arias and the groundbreaking Sleepwalking Scene, probably the first scene of its kind (mad/sleepwalking) that didn't involve various flights of coloratura, although there is that pianissimo D-flat at the end of the scene. Accordingly, many people may well choose a recording of the opera based on the performer of the role of Lady Macbeth. Even though the received opinion is that Elena Souliotis was well past it by the time of this recording, my own opinion is that she, more than any other singer I have heard in this music, is just right for the role. I believed that when I first heard this recording at the end of 1972, and I still think so. This was Elena's final recording of a major role, although Suor Angelica's Zia Principessa in Mirella Freni's Trittico was still about 20 years into her future.

Verdi clearly stated that he wanted a harsh, choked sound from his Lady Macbeth. For me, Souliotis' dark voice comes closest of any singer to Verdi's description. It's true that she occasionally does not have her voice fully under control and that she lacks a trill. Still, to listen to her deliver a line such as "Dammi il ferro!" in the Act I duet with Macbeth with such utter contempt for her husband's fear is to realize what a wonderful actress she was.
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8 of 8 people found the following review helpful By Rudy Avila on October 23, 2005
Format: Audio CD
From 1971,this is a powerful, dramatic interpretation of Verdi's Macbeth starring the electrifying Italian soprano Elena Suliotis as Lady Macbeth, acclaimed baritone Dietrich Fischer Dieskau as Macbeth, and surprise surprise a young Pavarotti as Macduff. The cast, despite detractor's commentary, is sensational and the conductor may not be famous but being Italian captures the spirit of the work perfectly. He is a terrific exponent of Verdian musical line, as are Italian-born Elena Soliotis and Luciano Pavarotti. The cover is quit intimidating and if that is how Dieskau looked on stage as Macbeth, what a powerfully magnetic performance that must have been.

Verdi's darkest opera Macbeth, based on Shakespeare's darkest play, is a work that has found many a room in studio recording. Devoted fans Maria Callas still cling to her recording, Shirley Verrett as Lady Macbeth is a supreme portrayal and regarded as the best by most critics, and there are the Lady Macbeths of Grace Bumbry, Carol Vaness, Ghena Dimitrova and Sylvia Sass. Regarding this recording, the two principal singers- Dieskau and Suliotis are singing the heck out of their respective roles. Solitois does outshine Dieskau's Macbeth because her voice is more Italiante, edgy, hefty and drak. She has such command of the role. However, let's not underestimate Dietrich Fischer Dieskau. This German/Austrian singer took on Italian baritone roles in his career with great success, including terrific Don Giovannis and Scarpias. He is maligned for lacking a true Italian baritone voice because he practically filled up his career with recitals and a plethora of German Lieder. However, he has great fire and it shows. He is slimy, wicked and his dramatic commitment to the role shows. It takes a trained ear to hear it.
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5 of 5 people found the following review helpful By New Yorker on September 2, 2013
Format: Audio CD
I remember when this recording first appeared. Critics savaged it. Souliotis was
thought utterly inadequate and Fischer-Dieskau too lyric a baritone for Verdi. Now
many years have passed and the two leads are no longer with us; it's time for a
reassessment. First of all, this is a complete Macbeth--the earlier Decca version,
with Birgit Nilsson, was cut. Second, you get Luciano Pavarotti in a secondary
role--Nicolai Ghiaurov, too. As for the leads, Fischer-Dieskau is one of opera's
great interpreters, and I have never heard a lack of volume or top in his Verdi.
Elena Souliotis did indeed have some problems keeping her voice together after
expending so much intensity after too little training, but she was, all the same,
a dynamo when she was on, and in this performance she's on. Yes, she flubs this
or that moment, but she's still operatic in the best sense: a real diva, as the role
demands. I love this opera and I love this recording. It's unfortunate that it's so
rare now.
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3 of 3 people found the following review helpful By jose on May 14, 2013
Format: Audio CD
the cast is amazing, i love every single fisher dieskau recording; is my favorite bariton (followed by placido domingo; lol!), love siluotis voice, even when i read that her voice was in shambles by then, & gardelli is always a good choice for director. i miss the death of macbeth aria. it would have been a very special showcase piece for dieskau. this & abbado-verret are my favorite versions. brusson-zampieri is also very good, but is on 3 cd's & that anoyes me, so i sticked with the first 2 i mentioned the 3rd i got rid of it
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