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Rossini - Ermione / Gasdia, Zimmermann, Palacio, Merritt, Matteuzzi, Alaimo, Scimone Import

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Audio CD, Import, June 2, 1992
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Track Listings

Disc: 1

  1. Act I: Sinf: Maestoso - Allegro - Chor Phil De Prague/Joseph Veselka
  2. Act I, Scene 1. Chor D'Intro - Andante: Troja! Qual Fosti Un Di! - Simone Alaimo/Margarita Zimmermann/Elisabetta Tandura/Mario Bolognesi
  3. Act I, Scene 1. Cavatina - Andantino: Mia Delizia! Un Solo Istante - Margarita Zimmermann/Elisabetta Tandura/Simone Alaimo/Mario Bolognesi/Chor Phil De Prague...
  4. Act I, Scene 1. Scena - Recitativo: All'ombra Del Tuo Sposo - Mario Bolognesi/Simone Alaimo/Margarita Zimmermann/Elisabetta Tandura
  5. Act I, Scene 2. Allegro Vivace: Dall'Oriente L'astro Del Giorno - Chor Phil De Prague/Joseph Veselka
  6. Act I, Scene 2. Recitativo: A Tante Cure, O Amiche - Cecilia Gasdia/Ernesto Palacio
  7. Act I, Scene 2. Duetto - Allegro: Non Proseguir - Cecilia Gasdia/Ernesto Palacio
  8. Act I, Scene 2. Allegro Vivace: Sul Lido Di Agamennone - Chor Phil De Prague/Joseph Veselka
  9. Act I, Scene 2. Scena - Recitativo: Venga Il Greco Orator - Ernesto Palacio/Cecilia Gasdia
  10. Act I, Scene 3. Recit: Reggia Abborrita! - Chris Merritt/William Matteuzzi
  11. Act I, Scene 3. Cavatina - Andante: Che Sorda Al Mesto Pianto - Chris Merritt/William Matteuzzi
  12. Act I, Scene 3. Cavatina - Allegro: Ah! Come Nascondere - Chris Merritt/William Matteuzzi
  13. Act I, Scene 3. Cavatina - Scena - Recit: Che Fai Di Te - William Matteuzzi/Chris Merritt
  14. Act I, Scene 4. Marche Marziale - Orch Phil De Monte-Carlo/Claudio Scimone
  15. Act I, Scene 4. Recit: Mi Guarda, E Impallidisce! - Cecilia Gasdia/William Matteuzzi/Chris Merritt/Margarita Zimmermann/Ernesto Palacio/Simone Alaimo
  16. Act I, Scene 4. Aria - Allegro: Balena In Man Del Figlio - Ernesto Palacio/Cecilia Gasdia/Margarita Zimmermann/William Matteuzzi/Chris Merritt/Simone Alaimo...
  17. Act I, Scene 4. Andante: Deh Serena I Mesti Rai - Ernesto Palacio/Cecilia Gasdia
  18. Act I, Scene 4. Allegro: Non Pavento: Quest'alma - Ernesto Palacio/Chor Phil De Prague/Joseph Veselka/Cecilia Gasdia/Margarita Zimmermann...
  19. Act I, Scene 4. Scena - Recit: Periglioso E Il Restar - William Matteuzzi/Margarita Zimmermann/Simone Alaimo
  20. Act I, Scene 5. Recit: E Pirro Ancor - Elisabetta Tandura/Cecilia Gasdia/Chris Merritt
  21. Act I, Scene 5. Duetto - Maestoso: Amarti? - Cecilia Gasdia/Chris Merritt

Disc: 2

  1. Act I, Scene 6. Marziale: Alfin L'Eroe Da Forte - Chor Phil De Prague/Joseph Veselka/Chris Merritt/Cecilia Gasdia/Ernesto Gasdia
  2. Act I, Scene 6. Andante: Sperar Poss'io? - Cecilia Gasdia/Elisabetta Tandura/Margarita Zimmermann/Chris Merritt/William Matteuzzi...
  3. Act I, Scene 6. Marziale: A Me Astianatte - Chor Phil De Prague/Joseph Veselka
  4. Act II, Scene 1. Recit: Liete Novelle - Mario Bolognesi/Ernesto Palacio/Margarita Zimmermann
  5. Act II, Scene 1. Duetto - Andantino: Ombra Del Caro Sposo - Margarita Zimmermann/Ernesto Palacio
  6. Act II, Scene 1. Duetto - Allegro: Vieni A Giurar - Margarita Zimmermann/Ernesto Palacio
  7. Act II, Scene 2. Recit: Sia Compiuto Il Mio Fato - Margarita Zimmermann/Cecilia Gasdia/Simone Alaimo/Elisabetta Tandura
  8. Act II, Scene 2. Recit - Vivace: Essa Corre Al Trionfo - Cecilia Gasdia
  9. Act II, Scene 2. Aria - Andante: Di, Che Vedesti Piangere - Cecilia Gasdia
  10. Act II, Scene 2. Recit: Il Voglia Il Ciel - Simone Alaimo/Elisabetta Tandura/Cecilia Gasdia
  11. Act II, Scene 2. Aria - Andante: Amata, L'amai - Cecilia Gasdia
  12. Act II, Scene 2. Marche: Ma Che Ascolto? - Elisabetta Tandura/Cecilia Gasdia/Chor Phil De Prague/Joseph Veselka
  13. Act II, Scene 2. Recit: Un' Empia Mel Rapi - Cecilia Gasdia
  14. Act II, Scene 3. Allegro: Il Tuo Dolor Ei Affretta - Chor Phil De Prague/Joseph Veselka/Cecilia Gasdia/Chris Merritt
  15. Act II, Scene 4. Recit: Ah! Qual Sovrasta A Pirro - Simone Alaimo/William Matteuzzi
  16. Act II, Scene 4. Duettino - Allegro Giusto: A Cosi Triste Immagine - Simone Alaimo/William Matteuzzi
  17. Act II, Scene 5. Recit - Allegro Agitato: Che Feci? Dove Son? - Cecilia Gasdia
  18. Act II, Scene 5. Andantino: Parmi, Che Ad Ogn'istante - Cecila Gasdia
  19. Act II, Scene 5. Duetto: Sei Vindicata - Chris Merritt/Cecilia Gasdia
  20. Act II, Scene 6. Finale - Allegro Vivace: Ah! Ti Rinvenni! - William Matteuzzi/Chor Phil De Prague/Joseph Veselka/Chris Merritt/Cecilia Gasdia

Product Details

  • Performer: Gioachino Rossini, Claudio Scimone, Cecilia Gasdia, Chris Merritt, Orchestre Philharmonique de Monte-Carlo, et al.
  • Audio CD (June 2, 1992)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Import
  • Label: Wea International
  • ASIN: B000005E8G
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #432,543 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

13 of 13 people found the following review helpful By Kirk Falconer on June 17, 2005
Format: Audio CD
Prior to my encounter with Ermione, I tended to hold with the standard prejudice that Rossini's operatic genius resided with comedy, not drama. However, I was happy to proven altogether wrong by his treatment of Racine's Andromache (which Rossini perhaps sensibly named Ermione - the Italian for Hermione - given the pivotal role assumed in the story by this character). The Scimone recording captures all of the pace, lucidity, and sheer beauty that Rossini invested in the score, which matches, in its own special Rossinian way, the pace, lucidity and sheer beauty of Racine's tragic play (not a small achievement when one considers how great composers have wrestled when setting the works of Euripides, Sophocles, Shakespeare and other great tragic poets). Congratulations are owing to all involved in the recording, and especially to Gasdia as Ermione and Palacio as Pirro, both of whom I found stirring throughout. This is not to take anything away from the other perfomers, as the Erato set is blessed with a peerless group of Rossinians, not the least of which is Scimone himself, who well sustains the momentum of the piece, and always drives the climaxes home. Repeated hearings of this recording inspired me to go see the New York City Opera production in 2004, which featured an equally talented selection of voices, led by Alexandrina Pendatchanska. There are precious few opportunities to see live performances of this great opera, so don't hesitate to turn to the Scimone recording, which is unlikely to disappoint. Indeed, it stands among my very favourite recordings, along with the Gui recording of a somewhat less neglected Rossini masterpiece, Le Comte Ory.
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20 of 23 people found the following review helpful By Halvor on August 24, 2000
Format: Audio CD Verified Purchase
Now here's an underrated opera by Rossini if there ever was one. It has everything a good Rossini opera possesses: a profusion of melody, tasteful coloratura, excitement, and first rate, innovative orchestration. The overture, as a matter of fact, pioneers the use of male chorus punctuating the orchestra with cries about the fall of Troy. The singers are all up to their tasks, especially Chris Merritt and Cecilia Gasdia. Both execute the brilliant fioratura with ease, and both have extremely agreeable voices to listen to. Ernesto Palacio also has a large role in this opera. His tone is very easy on the ears, but he has trouble in spots with the fast passages. (I still like Palacio, however, ever since I first heard him in a 1978 Tancredi.) Margarita Zimmerman has a nice enough contralto voice, but her execution of coloratura is more than messy. Bill Matteuzzi has a smaller role here, but he sings it with aplomb. Simone Alaimo also has a small part, but he shines in it. This guy is going places! The secondaries handle their fairly noticeable assignments well. Scimone conducts with style and vigor, and there is never a dull moment in this recording. The chorus is also well-rehearsed and produces with feeling. The libretto is a bit silly, but aren't those of most Italian operas? The music more than makes up for it, so throw the libretto away and just listen! I guarantee you'll have a good time; buy this set, sit back, and enjoy top-drawer Rossini.
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4 of 4 people found the following review helpful By James M. Ward on August 27, 2011
Format: Audio CD Verified Purchase
This recording is a must have for serious music lovers. You might at first squirm a bit at some of the iffy vocal feats for soprano and tenors, but that's Rossini...and the reason it is never produced or even embraced in recitals. To my knowledge it was only produced in this country by City Opera. They were so important for that kind of repertoire. I immediately wanted to hear it again but couldn't. Till I found this wonderful set. Everyone is marvelous, especially Peter Matteuzzi who has ultra high notes thrown in bizarrely casually (were the first performers castrati or not singing dal petto?) Anyway you've got to have it; and after the third hearing will be humming the infectious dance rhythms. The energy, the excitement, the passion are not to be missed. Would love to be a time traveler to hear what tenor Giuseppe Ciccimara made of the role of Pilade. Must have been amazing even to audiences in 1819.
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2 of 2 people found the following review helpful By John Cragg on January 23, 2012
Format: Audio CD
Ermione is one of Rossini's greatest operas. The libretto by Andrea Tottola based on the tragedy by Racine, Andromaque, is one of the richest Rossini ever set, for Tottola in boiling down Racine retained the essence of the play without producing the silliness which so often characterizes bel canto librettos. Possibly, it was the atrength of the libretto that inspired Rossini to write his most profound and innovative opera. He is uncompromising on his demands on the singers. The opera also makes huge demands on the producer since there are major roles for at least three first-class tenors as well as extremely demanding music for a soprano, a contralto or mezzo soprano and a bass. The orchestral and chorus demands are also very high.

The glories of this set are the singing particularly of Cecelia Gasdia in the title role and of Chris Merritt. They sing with lovely tone and almost flawless technique. Margarita Zimmermann in the other very demanding female role, that of Andromaca, is almost as good, while William Matteuzzi in a smaller role is also excellent. In a more major role, tenor Ernesto Palacio, is at times a bit shaky.

Neither the chorus nor orchestra are really first rate, but Claudio Scimone draws from them a well-balanced, subtly nuanced, and effective performance. The digital recording from 1986 is very good. This is a recording of a concert performance (whether given more than once is not clear in the booklet, but probably not) so any technical flaws are partly the result of everyone having to perform without the safety net of second takes.

There is a more recent, excellent recording of Ermione currently available from Opera Rara. I would judge the Scimore set to be the better of the two because of the quality of the main singers and the effectiveness of the conducting, but both are tremendous renditions of this very satisfying opera.
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