Montemezzi: L'Amore Dei Tre Re [Import]

Italo Montemezzi (Composer), Nello Santi (Conductor), London Symphony Orchestra (Orchestra), Anna Moffo (Performer), Placido Domingo (Performer), Cesare Siepi (Performer), Pablo Elvira (Performer) | Format: Audio CD

Product Details

• Performer: Anna Moffo, Placido Domingo, Cesare Siepi, Pablo Elvira
• Orchestra: London Symphony Orchestra
• Conductor: Nello Santi
• Composer: Italo Montemezzi
• Audio CD (August 25, 1998)
• Number of Discs: 2
• Format: Import
• Label: RCA Red Seal / BMG Classics
• ASIN: B000009W7N
• Average Customer Review: 4.5 out of 5 stars  See all reviews (8 customer reviews)
• Amazon Best Sellers Rank: #124,060 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Act 1: Grazie Flaminio - Cesare Siepi/Rybald Davies

2. Act 1: Dorma, Dorma - Cesare Siepi/Rybald Davies

3. Act 1: Italia, Italia E Tutto Il Mio Ricordo! - Cesare Siepi

4. Act 1: Tu Taci... E Mi Guardi Forse Con Odio - Cesare Siepi/Rybald Davies

5. Act 1: E Ancora Notte Fonda - Pacido Domingo/Anna Moffo

6. Act 1: Dammi Le Labbra A Tanta Ti Doro - Pacido Domingo/Anna Moffo

7. Act 1: Fiora! Fiora! - Cesare Siepi/Anna Moffo

8. Act 1: Ho Per Te Come Il Terrore D'Un Bimbo - Cesare Siepi/Anna Moffo/Ryland Davies

9. Act 1: Padre! - Pablo Elvira/Cesare Siepi

10. Act 1: Oh, Padre Mio - Pablo Elvira/Cesare Siepi/Anna Moffo

See all 14 tracks on this disc

Disc: 2

1. Act 2: Addio Fiora; Ho Voluto Rivederti - Placido Domingo/Anna Moffo

2. Act 2: Avito! Resta . . . Non Domandare - Anna Moffo/Pacido Domingo

3. Act 2: Come Tremi, Diletto! - Anna Moffo/Placido Domingo

4. Act 2: Ah, Ah, Ah - Eccoti, Fiora - Michael Sanderson/Placido Domingo

5. Act 2: Fiora! Fiora! - Cesare Siepi/Anna Moffo/Ryland Davies

6. Act 2: Quello Ch'Io Baciavo - Anna Moffo/Cesare Siepi

7. Act 2: Silenzio! Notte Fonda! - Cesare Siepi/Pablo Elvira

8. Act 2: Impura Ell' Era Si Come La Notte - Cesare Siepi/Pablo Elvira

9. Act 3: Intro - Morte In Gelido Stupore - Chor/Elaine Tomkinson/Alan Byers

10. Act 3: Alzate, Tutti, Gli Occhi In Volto A Lei - Elizabeth Bainbridge/Chor

See all 12 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

20 of 20 people found the following review helpful:

4.0 out of 5 stars Pelleas and Tristan in a blender - in Italian, March 8, 1999

By 

Julian Grant (London, Beijing, New York) - See all my reviews
(REAL NAME)   

This review is from: Montemezzi: L'Amore Dei Tre Re (Audio CD)

Though Italian opera was very much in decline by 1914, when this opera was premiered, this work has a compelling and individual flavour, robust and decadent all at once, that is certainly worth experiencing. The story, set in 10th century Italy, concerns Fiora (Anna Moffo) , who is having an affair with the neighbouring Prince Avito (Domingo) under the eyes of her suspicious but blind father-in-law (Cesare Siepi) who is anxious for the honour of his son, Manfredo (Pablo Elvira) who is unaware that his wife is misbehaving. The musical characterization is compelling, Archibaldo has a simple but stumbling motif that portrays his groping attempts to shadow Fiora and catch her out, and the music given to the lovers (like "Tristan und Isolde", the second act is given over to an extended love-duet) is ecstatic, very sensuous and gorgeously scored. Montemezzi writes symphonically and very fluently, far more assured and inspired than his contemporaries Mascagni and Leoncavallo. The work is let down by a rather perfunctory conclusion to the last act, but this performance has such pace, superior orchestral playing and exciting singing as to minimize this. Anna Moffo is in sumptuous voice and really points the text, her first word "ritorniamo" (let us return) upon exiting her bedroom to escort her lover off the premises, leaves no doubt as to what went on behind those drapes. Siepi, as blind King Archibaldo, possibly his last recording, gives a powerhouse performance that leaps out of the speakers. Domingo sings with customary burnished tone and Pablo Elvira makes the most of the rather bemused and weakly Manfredo. Highly recommended. Can someone tell me why this opera is called "The Love of Three Kings" when there is only one king and two princes involved?

11 of 11 people found the following review helpful:

4.0 out of 5 stars As good as it gets, March 1, 2002

By 

Kevin Hagen (Albuquerque, NM United States) - See all my reviews

This review is from: Montemezzi: L'Amore Dei Tre Re (Audio CD)

This is a (mostly) terrific recording of a (mostly) terrific opera. Yes, the ending is anti-climactic but there is some absolutely dynamite material through the first two acts. I agree with the first review -- despite Moffo's vocal shortcomings, the exchange with Domingo's Prince Avito reeks of what has gone on offstage. Siepi is everything that Rydl is not in the Koch/Schwann recording (avoid this one at all costs!)-- dignified, powerful, frightening, and vocally solid as can be. If this is his last recording, it is a magnificent exit.

The opera is a fascinating document of the time of its composition, and of the attempts of the generation that included Montemezzi, Martucci, and others to marry Italian lyricism with Germanic orchestral writing. One wishes that there were other recorded works of Montemezzi to see what other solutions he devised to these problems. This was, to me, clearly a very talented composer with a distinctive voice that is not available to be heard except in this one work. Too bad!

9 of 9 people found the following review helpful:

5.0 out of 5 stars Wild with passion, December 31, 2004

By 

S Duncan "sfedlandd" (London) - See all my reviews
(REAL NAME)   

This review is from: Montemezzi: L'Amore Dei Tre Re (Audio CD)

From the opening bars of this opera you get the feeling that something very dramatic is about to unfold before you. Then, you get swept away by the prelude. I've rarely heard music THIS passionate and convincing. I felt like a falcon soaring above the castle before finally coming to land on the wind-swept terrace where Flaminio has just led Archibaldo; just in time to hear Archibaldo say "Grazie Flaminio."

The music is very compelling. Imagine the most tuneful Strauss (say `Beim Schlafangehen' or that beautiful cello interlude in `Die Frau Ohnne Schatten')...well infuse that with some Italian `verissimism' and you begin to understand what I'm getting at...or you could just listen to this gorgeously harmonic opera. Of ALL the Italian operas I've ever listened to, this is the most amorous.

Domingo as Avito is superb....not the `spring chicken' clarion bell he formerly was but I like the slightly `smokey' flavour to his voice. Don't take this as merely fanaticism....his performance is truly excellent and his voice is in very good condition. Anna Moffo, particularly for those of us who were familiar with her before, had started to show her vocal decline. Like Simionato, she sang with a passion, beauty and drama that took a heavy toll on her voice. It meant a shorter career but such performances!! So there is a slight grate....VERY slight....in the voice towards the beginning. Whether it's the addictive performance or her `warmed up' vocals, however, all trace of `wear and tear' disappear towards the end. In fact, it all works rather well when you think about it: if you've just woken up from an amazing amorous encounter, wouldn't you be slightly `winded' and a little `sandy'? Well this brings me to my final remark about these to wonderful singers: everything about their performance oozes sex! And wait until you get to Act II!!!!! Phenomenal!

Good faithful Flaminio is superbly sung by Ryland Davies. He brings beauty and drama to his minor role, making it truly memorable. Cesare Siepi casts a spell of darkness about you with his seemingly depthless, sonorous bass. You therefore have no trouble appreciating the emotions of the blind, suspicious and vengeful old monarch, Archibaldo. He characterises his moods very well. "O ricorda!"..."Italia! Italia!" sees the old dragon rise again on the winds of past memories, pulsing with virility. Then the apparition fades as he resigns himself to the blind, old man again: "Tu taci," he says to a silent Flaminio who understandably doesn't share his enthusiasm for conquest. "Io son servo," Flaminio explains. He seems to brush aside the old man's folly as lack of vision rather than lack of sight. Then the music changes and we're off again on more of Motemezzi's swirling symphonic tide!

While all (and I do mean ALL) the other (minor) roles are very good -including a stunning chorus that rises and ebbs as one body- final mention goes to Pablo Elvira's heart-wrenching Manfredo. Talk about smouldering baritone....actually, it's more the upper baritone range but it gains all the more depth for his sonorous voice. He also sings with a most affecting `sob' in the voice without actually sobbing. To hear it is to understand.

One of my all-time favourites; enjoy!