Customer Reviews

Rossini: Matilde di Shabran

5 star:		(9)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

This may not be Rossini's greatest opera, but it certainly deserves to be heard for the singing alone. The story is part "seria" and part "buffo", but none of this matters. With the very special gifts of Juan Diego Florez (truly this opera could have been written for him!), as well as the honed florid skills of the rest of the cast, we are given here a Rossinian banquet of singing that must be heard to be believed. Florez, as expected, executes coloratura embellishments and roulades that would defeat any other tenor di grazia ---- living or historical. The beauty of his voice is never in doubt, and he rides the roller-coaster-like roulades and cadenzas with the precision of a machine gun. Annick Massis, a French soprano unknown in our country, is equally as impressive in the title role. She's clearly been well schooled in Rossini singing, and her singing has beauty, flexibility, as well as character. If Massis ultimately comes off with less sheer impact than Florez, it's probably because her role has a bit less "fireworks", and moreover, his is the star name in the cast. Virtually all of the cast members are top notch, especially Israeli mezzo Hadar Halevy in the trouser role of Eduardo. She too is given a role with formidable demands, and she meets them head-on. The orchestra and chorus, under the direction of Riccardo Frizza, is outstanding. If you love showy and spectacular singing, I can't see how you wouldn't want this in your collection.

I can't believe no one has reviewed this yet. Maybe it's because there is not much to add to the editorial reviews. But this is a truly wonderful all-around recording of a little-known Rossini opera - another mostly comic battle of the sexes in which a clever, strong-willed woman and love ultimately triumphs over a powerful and primitive man who is determined to resist the charms of all women. Rossini, of course, wrote many, many operas - some more memorable than others. To me, Matilde de Shabran is similar to L'Italiana in Algeri (and almost, but not quite as delightful).

Colatura duels as well as some wonderful ensembles keep the opera cheerfully zipping along from start to finish, despite a threatened but thwarted execution, which seems somehow incongruous - at least by today's standard - to the overall comic lightness of the music. Ah, but all ends well.

As you would expect, Juan Diego Florez is absolutely wonderful, and he is reason enough to buy this CD. Annick Massis as Mathilde, however, is equally excellent, as is Riccardo Frizza's conducting - and really, the rest of the cast.

The price for this CD may seem steep, but for me at least, it was worth every penny and then some.

I pretty much agree with all the previous reviewers, apart from the curiously curmudgeonly and wrong-headed one by S Wells, and would add only that the quality of sound is, for all practical purposes, indistinguishable from a studio recording in quality but gains from its source as a live recording. Florez is, of course, the star of the show but all the singers here have neat, firm, accomplished voices (with the exception of Chiara Chialli's wobbly mezzo as the Contessa; she quite spoils the homogeneity of the ensembles she is in) and I would particularly single out the Israeli mezzo, Halevy, for her "chocolate" tone and accurate roulades. It's true that not all the music is as inspired as that in Rossini's masterpieces and I don't warm to Massis as some do, finding her a little bland, but she certainly has all the notes. Glory in Florez' virtuosity in a part seemingly tailor-made for him; this is great fun and underscored by some nice satirical touches in an ironic storyline which parodies the very operatic conventions that Rossini himself helped to establish. This much-vilified plot emerges as no more absurd or incomprehensible than many another more celebrated opera and seems quite straightforward to me, if patently - and deliberately - absurd. A must for Rossini aficionados.

This recording of MATILDE DI SHABRAN (Pesaro 2004) being my 38th Rossini opera on disc (only RICCIARDO & ZORAIDE is missing!), I can't recommend it highly enough, not least to rare opera hunters. Hearing the set over and over again for more than a week now, I purchased it primarily for Massis, whose unforgettable Countess Adele I saw three times in Glyndebourne's LE COMTE ORY 10 years ago and still enjoy endlessly on DVD. She and Florez (my first disc of either artist) nail their fiendish notes disarmingly, as if they're doing nothing less than breathing like the rest of mankind, though many times you'd wonder if they breathe at all! The supporting (obscure but generally secure) cast - together with a superb chorus and orchestra - complement the well-matched athletic couple to near perfection. Only the fade-out of the end of set pieces - also true of Abbado's IL VIAGGIO A REIMS recordings - is slightly annoying: I sense that we lose a second or two evidently left out to preclude applause, which could have been abridged (I can't believe that the audience - whose applause here is confined to the end of each of the opera's two acts - responded silently to those breathtaking numbers, unless they were gagged and bound!). No need to hesitate: the memorable score is no less inspired than IL VIAGGIO and ORY (my favourite Rossini comedies), the extended ensembles (in particular) - which are nothing short of orgasmic - showing the composer at his most regal. It would be a crime if Decca didn't tape this for DVD release: if it weren't recorded, I hope the ROH will do us the favour of recording its production next year (either a new Pesaro staging or a revival of the 2004 production, but I'm sure with Florez). If you seriously think that Rossini is at his best only in IL BARBIERE and CENERENTOLA (neither is a favourite of mine), you'll realize how wrong you were upon discovering MATILDE. An irresistible, charming work from the king of dramatic melody.

This is the opera that put Florez on the map. Frankly I don't see why. Not that he sings badly, he is fine. The role however, is not that big or spectacular. The opera itself has many fine moments with some spectacular ensemble singing and the remaining singers are all more than competent as is the orchestra. It was just a let down for me because of all the hype about Florez performance in this opera.

No wonder this opera is so rarely performed. It is quite long and is very taxing of the lead tenor and soprano. I was completely smitten with the beautifully lyric music and the stunning performances of Florez and Massis. I heartily recommend this album to all bel canto afficionados and, in particular, lovers of Rossini.

I bought this disc becauce I wanted to hear Annick Massis before we saw her in the Met's new production of Lucia. I wondered if she could step ito Natalie Dessay's shoes. This recording makes me wonder why she is not a household name in New York. She is a perfect match for Florez and I look forward to seeing her go mad in Act three of Lucia.
I tend to shy away from "LIVE" reordings due to stage noise, audience coughing etc.; But I fear that this audience was bound and gagged with duct tape. Not a sound until the end of the first act which is the end of the second disc. Only then applause. Decca did an amazing job of editing these performances together. The sigers are captured a little two forward of the orchestra but the acoustic is quite nice. A very nice addition to any collection!

I was competely blown away by Juan Diego Florez and Annick Massis's singing, and of course, the rest of the cast (including conductor, Ricardo Frizza) are wonderful. This is simply the must-have CD.

The music in this opera is fresh, engaging, and EXCITING. I am not a musician, nor a singer, but I can listen to it over and over, to discover new turns and twists. The ensembles are riveting. The libretto reveals tons of humor and irony. I think some of the words, like the final rondo "women were born to rule over men", is quite hillarious.
Now about the performers: they are all excellent and suit their roles very well. Juan Diego Florez is amazing in his fast paced singing, and shows off his voice well in the more lyrical parts. While he does not have a single aria, he sings in ensembles of 2-s, 3-s,..through the majority of the opera. I love the musical bickering between Matilde and the countess, and the laments of Eduardo, and the poet. This is a rare opera and production. For Rossini fans it's a must or if you are tired of the same old Barber or Cenerentola. My only wish is to have it on DVD. (youtube has a few clips of this production)

It is not William Tell, or the Barber of Seville.
The arias come mainly in ensembles (especially for Corodino, the male protagonist). Duets, trios, quartets...and the cast does these well enough.
If you have any prick on this recording, well, allow me to say, is that Florez's fluid coloraturas flow too often (as in all Rossini pieces), too lyrically, too successfully. And as if to add to it, Annick Massis also gave a florid display of her coloratura skills. Well, if you are not into this style of bel canto singing, forget it. If you are into it, it is a must to own.
If you are hunting for showcase solo arias, there is just one - for Massis. Florez fans may be a bit disappointed here.