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Rigoletto [Import]

Sutherland , Cioni , Macneil , Sanzogno , Orchestra Dell'a Audio CD
4.6 out of 5 stars  See all reviews (14 customer reviews)

Price: $21.88 & FREE Shipping on orders over $35. Details
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Rigoletto + Lucia Di Lammermoor
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Product Details

  • Audio CD (April 11, 1995)
  • Number of Discs: 2
  • Format: Import
  • Label: Decca Import
  • ASIN: B00000425O
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #53,161 in Music (See Top 100 in Music)

Disc: 1
1. Act 1 Scene 1: Preludio - Acad Sta Cecilia/Nino Sanzogno
2. Act 1 Scene 1: Della mia bella incognita borhese - Renato Cioni/Angelo Mercuriali
3. Act 1 Scene 1: Questa o quella - Renato Cioni/Luisa Valle/Cornell MacNeil
4. Act 1 Scene 1: Gran nuova! gran nuova! - Renato Cioni/Angelo Mercuriali/Cornell MacNeil/Giuseppi Morresi
5. Act 1 Scene 1: Ch'i gli parli - Renato Cioni/Cornell MacNeil/Fernando Corena/Giuseppe Morresi
6. Act 1: Scene 2: Quel vecchio maledivami! - Cornell MacNeil/Cesare Siepi
7. Act 1: Scene 2: Pari siamo! - Cornell MacNeil
8. Act 1: Scene 2: Figlia!-Mio pardre! - Cornell MacNeil/Joan Sutherland/Anna di Stassio
9. Act 1: Scene 2: Ah! Veglia, o donna - Renato Cioni/Cornell MacNeil/Joan Sutherland/Anna di Stassio
10. Act 1: Scene 2: Giovanna, ho dei rimorsi - Renato Cioni/Joan Southerland/Anna di Stassio
See all 14 tracks on this disc
Disc: 2
1. Act II: Ella mi fu rapita - Renato Cioni
2. Act II: Duca, duca? - Renato Cioni
3. Act II: Possente amor mi chiama - Renato Cioni
4. Act II: Povero Rigoletto! - Angelo Mercuriali/Cornell MacNeil/Giuseppe Morresi/Giulio Corti
5. Act II: Cortigiani, vil razza dannata - Cornell MacNeil
6. Act II: Mio padre!..Tutte le feste al tempio - Cornell MacNeil/Joan Sutherland
7. Act II: Schiudete, ire al carcere Monteron dee - Cornell MacNeil/Maria Fiori/Fernando Corena/Joan Sutherland
8. Act III: E I'ami - Renato Cioni/Cornell MacNeil/Joan Sutherland/Cornell Siepi
9. Act III: La donna e mobile - Cornell MacNei/Renato Cioni/Cesare Siepi
10. Act III: Un di, se ben rammentomi - Renato Cioni/Cornell MacNeil/Stefania Malagu/Joan Sutherland
See all 15 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews
19 of 19 people found the following review helpful
Format:Audio CD
Cioni is very good as the Duke, though my personal favorites in this role are Jan Peerce and Luciano Pavarotti. His voice is very lyrical and sweet, which may be one of the reasons so many girls in this opera fall for him. It strikes me that he captures the libertine in the Duke: a man who really doesn't care for anyone else other than himself.
Joan Sutherland often captures a lot of flack for her diction. Personally, I don't find it to be very bad at all, and I am a stickler for wanting to hear the words as well as the music. She does sound mature for Gilda, even this early in her career, but maybe Gilda was a mezzo, anyway. Many quite young women have deeper voices, so this does not throw Sutherland out of character for me. (Am I the only one, or does Dame Joan sound like a mezzo who became a soprano to anyone else out there besides me? The sound is heavenly, but there's a truly mature coloration in her voice I hear in few other sopranoes, even the great dramatic ones like Crespin and Nilsson.) Joan Sutherland does throw the character's emotions out there for the listener to hear, make no mistake about that. I can feel her humiliation after her abduction and subsequent seduction. Whatever your feelings may be about her suitability for the role, she sounds magnificent- no problems hearing this Gilda, even live in the opera house. Her voice shines here and adds a grand touch to this recording.
Speaking of grand touches... there is the voice of Cornell MacNeil, one of the most magnificent baritone voices ever to grace any stage anywhere at any time. In his prime, MacNeil's voice was full and dark in the lower to upper middle, while it rang out with a tenorish ease that is breathtaking at the top. Was MacNeil bland as Rigoletto? No. Not at all. Was he as histrionic as some? No.
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15 of 15 people found the following review helpful
5.0 out of 5 stars Surprisingly vital and well sung August 31, 2003
Format:Audio CD
I have come to really appreciate this Rigoletto with repeated hearings. I am even surprised to find myself liking it better than the later Decca version with Sutherland, Pavarotti and Milnes and even putting it at the top of the list of the note complete recordings.
Conductor, orchestra and chorus are Italian, and that makes a huge difference in matters of phrasing, rhythmic details, and handling of the text. The fact that the style is so idiomatic gives the performance an immediate leg up on much of the competition. Other conductors may do more with the score, other orchestras play with greater accuracy and sheen, but the loss s such second nature naturalness with the music and text, is palpable.
Sutherland is extraordinary. The voice is full, clear, floating, amazing. Her portion of the first Rigoletto/Gilda duet is a case in point. The high tessitura of Gilda's part are breathtakingly beautiful and touching in themselves. Her Caro nome is supreme, and unique among her versions, includes an amazing trill on high D flat in place of the stacatto reiterations usually heard. Her characterization is well thought out and clearly projected. This is some of her best work on records.
Cornel MacNiell is a fine Rigoletto and upholds the American tradition of fine Verdi baritones. The voice is big, bold, beautiful, and used very dramatically. A gripping performance.
Renato Cioni was the biggest surprise. Sutherland's early recordings usually featured second string supporting casts and Cioni's Edgardo in her first Lucia was decent but no great shakes. Here, however, he is in his element. While no Pavarotti, Bjorliong or DiStefano, he is certainly quite fine. Easy legato, musical and stylish phrasing, charming and vivid characterization and easy high notes. Quite good.
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5 of 5 people found the following review helpful
5.0 out of 5 stars Sutherland and MacNeil Shine like Solid Gold! January 28, 2012
Format:Audio CD|Verified Purchase
A person on Youtube advised me not to get this recording because, besides Sutherland's high notes, this version did not compare favourably to the 1971 Bonynge version. I took a risk and bought it anyway. Boy, was I glad! Yes, Cioni is not Pavarotti, he doesn't take the high D at the end of Possente Amore, and he probably shouldn't have taken the rather flat Db at the end of his duet with Sutherland, but he's still a very good Duke. I find his phrasing to be much more creative than Pavarotti's. If you didn't like him on the Lucia recording with Sutherland, he's much better here. Now for the other leads. Cesare Siepi is, as usual, his incredibly sonorous self. He sounds like a big evil foghorn in this role, which is how Sparafuciles should sound, despite the under powered ones we hear today. I thought Sutherland's 1971 performance couldn't be topped, but it was by the one on this record. Her voice is even more crystalline, high notes earth-shatteringly powerful (the Eb at the end of Act II literally distorts your speakers!), and pretty good acting too, though not as well acted as the later version. And now for MacNeil. I thought Sherrill Milnes was a dramatic baritone who owned the title role. Not true. He sounds like a lyric tenor compared to the ocean of sound that MacNeil issues forth on this recording. Arguably the most powerful baritone on record, he is the only baritone I've heard who actually gives Sutherland a run for her money on sheer vocal force. People have commented elsewhere on Amazon that his acting is flawed. I find it incredible. The screams of "Gilda!!" at the end of Act I send chills down your spine, and he almost growls the first few bars of "Cortigiani... Read more ›
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Most Recent Customer Reviews
5.0 out of 5 stars Brilliant interpretation!
Very good performace of the orchestra; Nino Sanzogno is a very experienced conductor and his work is notable. The performers are highly qualified especially Cioni. Read more
Published 17 months ago by Joao Ferreira Alves
4.0 out of 5 stars Three beautiful voices...and Cioni
Available at bargain prices and in good sound for a recording over fifty years old, this would be a sound introduction to any novice but they would be missing one important thing,... Read more
Published 20 months ago by Ralph Moore
4.0 out of 5 stars the perfect rigoletto voice?
Trolling through my Rigoletto holdings the other day, I got a surprise. I was playing that section of Act 2 from "Cortigiani! Read more
Published 22 months ago by Stanley Crowe
3.0 out of 5 stars For Sutherland Fans Like Me
Unlike the critical reviews of this recording I've read, I feel that Sutherland is the strongest aspect of this recording. Read more
Published on January 31, 2011 by Aronne
5.0 out of 5 stars Reference Recording
Rigoletto is my favorite Verdi's Opera and this version has been my absolute reference for ages. Everything here is in the perfect place. Read more
Published on March 18, 2010 by Colloredo von Salzburg
5.0 out of 5 stars Superb........
I had the LP of this when I was a teenager, and was delighted to find it on CD...and was VERY delighted that it has stood the test of time. Read more
Published on August 19, 2008 by Robert C. Hufford
3.0 out of 5 stars Sutherland, MacNeil and a negligible tenor
This is the "Rigoletto" for people who are not particularly interested in "Rigoletto".
The main draw, naturally, is Joan Sutherland. Read more
Published on April 25, 2004 by L. E. Cantrell
5.0 out of 5 stars vintage sutherland
Sutherland sounds so innocent and girlish here. EXactly as the role should be sung. She sings the most beautiful "Caro nome" I've ever heard. Read more
Published on June 4, 2003
5.0 out of 5 stars beautiful singing
This set of Rigoletto is perhaps stronger at vocal splendour
than drama. Cornell MacNeil has a magnificent voice - dark,
rich, roomy - and sings extremely well but the... Read more
Published on June 22, 2001 by Michel
5.0 out of 5 stars Prime Joan Sutherland
This is vintage Joan Sutherland. Recorded in 1960, it offers the great dame in the freshest of voice. Read more
Published on August 14, 1999
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