Descripció PROGRAMES DE MÀ PREMSA FOTOGRAFIES
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Daniela Schillaci
IN COLLABORAZIONE Non ci fermeremo mai! con il patrocinio Non deporremo mai la nostra cetra. La nostra voce si alzerà pura e soave per cantare la nostra umanità. Saremo testimoni di bellezza per un sentimento di vera rinascita Premio Lirico e il nostro canto entrerà nei cuori dei buoni Internazionale e farà breccia in quelli di pietra. MARCELLA I nostri giorni saranno cantare e danzare l’amicizia tra i popoli. POBBE Insieme vedremo l’aurora di un nuovo tempo 2020 lasciando nell’aria il profumo della vita. Young Opera Project 2020 CON IL SOSTEGNO Daniela Schillaci Teatro Olimpico di Vicenza Sabato 19 Settembre 2020 ore 21.00 Daniela Schillaci, diplomata in canto al Conservatorio Gioacchino Premio Lirico Internazionale Rossini di Pesaro con il massimo dei voti, vince quale Migliore giovane can- tante il concorso Giuseppe Di Stefano di Trapani nel 1998. MARCELLA POBBE 2020 Inizia immediatamente una brillante carriera che la vede debuttare in Così Gala fan tutte (Despina) all’Opera Giocosa di Savona; Werther (Sophie) a Spoleto; Un ballo in maschera (Oscar) a Venezia e Catania; La sonnambula (Lisa) a Roma, Messina e Palermo; Il cappello di paglia di Firenze (Elena) a Messina e Comitato d’Onore all’Opéra de Lausanne; Turandot (Liù) a Seoul; I Lombardi alla prima crocia- Concert ta al Maggio Musicale Fiorentino; Ariane et Barbe-bleu, Thaïs e Peter Grimes Francesco Rucco a Torino, Elektra e Die Frau ohne schatten al Maggio Musicale Fiorentino; Il Sindaco di Vicenza Silvia Bonino telefono di Menotti (Lucy) a Catania; Carmen all’Opera di Roma, all’Arena di Verona e ad Ascoli Piceno; La serva padrona (Serpina) a Firenze e Roma. -
Libretto Nabucco.Indd
Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane. -
Musica Lirica
Musica Lirica Collezione n.1 Principale, in ordine alfabetico. 891. L.v.Beethoven, “Fidelio” ( Domingo- Meier; Barenboim) 892. L.v:Beethoven, “Fidelio” ( Altmeyer- Jerusalem- Nimsgern- Adam..; Kurt Masur) 893. Vincenzo Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Aragall- Zaccaria; Abbado) 894. V.Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Monachesi.; Abbado) 895. V.Bellini, “Norma” (Caballé- Domingo- Cossotto- Raimondi) 896. V.Bellini, “I Puritani” (Freni- Pavarotti- Bruscantini- Giaiotti; Riccardo Muti) 897. V.Bellini, “Norma” Sutherland- Bergonzi- Horne- Siepi; R:Bonynge) 898. V.Bellini, “La sonnanbula” (Sutherland- Pavarotti- Ghiaurov; R.Bonynge) 899. H.Berlioz, “La Damnation de Faust”, Parte I e II ( Rubio- Verreau- Roux; Igor Markevitch) 900. H.Berlioz, “La Damnation de Faust”, Parte III e IV 901. Alban Berg, “Wozzeck” ( Grundheber- Meier- Baker- Clark- Wottrich; Daniel Barenboim) 902. Georges Bizet, “Carmen” ( Verret- Lance- Garcisanz- Massard; Georges Pretre) 903. G.Bizet, “Carmen” (Price- Corelli- Freni; Herbert von Karajan) 904. G.Bizet, “Les Pecheurs de perles” (“I pescatori di perle”) e brani da “Ivan IV”. (Micheau- Gedda- Blanc; Pierre Dervaux) 905. Alfredo Catalani, “La Wally” (Tebaldi- Maionica- Gardino-Perotti- Prandelli; Arturo Basile) 906. Francesco Cilea, “L'Arlesiana” (Tassinari- Tagliavini- Galli- Silveri; Arturo Basile) 907. P.I.Ciaikovskij, “La Dama di Picche” (Freni- Atlantov-etc.) 908. P.I.Cajkovskij, “Evgenij Onegin” (Cernych- Mazurok-Sinjavskaja—Fedin; V. Fedoseev) 909. P.I.Tchaikovsky, “Eugene Onegin” (Alexander Orlov) 910. Luigi Cherubini, “Medea” (Callas- Vickers- Cossotto- Zaccaria; Nicola Rescigno) 911. Luigi Dallapiccola, “Il Prigioniero” ( Bryn-Julson- Hynninen- Haskin; Esa-Pekka Salonen) 912. Claude Debussy, “Pelléas et Mélisande” ( Dormoy- Command- Bacquier; Serge Baudo). 913. Gaetano Doninzetti, “La Favorita” (Bruson- Nave- Pavarotti, etc.) 914. -
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
40 JAHRE FRANZ-SCHUBERT-INSTITUT Internationaler Meisterkurs Für Liedinterpretation 2018Konzerte | Teilnehmer | Dozenten EHRENSCHUTZ KONZERTE 2018 Dipl
2010 40 JAHRE FRANZ-SCHUBERT-INSTITUT Internationaler Meisterkurs für Liedinterpretation 2018Konzerte | Teilnehmer | Dozenten EHRENSCHUTZ KONZERTE 2018 Dipl. Ing. Stefan Szirusek Termine 40 Jahre Schubertiaden in Baden LiederabendSa. 28. Juli, 17.00 Uhr Erstmals ohne den Badener Kulturpreisträger, Prof. Dr. Im Rahmen des Meisterkurses für Liedinterpretation Deen Larsen, der uns völlig Stift Heiligenkreuz, Kaisersaal überraschend im Jänner 2018 verlassen hat. Damit Eintritt frei, Spenden erbeten ist die Seele, der Motor und der Initiator dieser weltweit beachteten Ausbildungs- und Konzert- serie von uns gegangen. Seine Witwe, Verena Larsen, hat die Verantwortlichen der „Schubert- tage Baden“ um sich geschart um diese Kultur- schiene auf die Art und Weise, wie es Prof. Dr. FestkonzertMo. 30. Juli, 20.00 Uhr Deen Larsen angedacht hatte, weiterzuführen. 40 Jahre Franz-Schubert-Institut Ich wünsche dem neuen Team unter der Leitung von Vreni Larsen viel Erfolg und gutes Gelingen! in memoriam Dr. Deen Larsen Es musizieren Meisterlehrer und ehemalige Studenten Stadtpfarrkirche St. Stephan, Baden bei Wien Dipl. Ing. Stefan Szirucsek Eintritt frei, Spenden erbeten Bürgermeister www.schubert-institut.at 2 I Meisterkurs 2018 40 JAHRE SCHUBERT-INSTITUT Meisterkurs 2018 Im Herbst 1977 kam Deen Larsen von einem wenig erfolgreichen Sommerkurs für Liedinterpretation zurück, und beschloss "let's do it better, let's create our own master course". So fand im Sommer 1978 LiederabendSa. 28. Juli, 17.00 Uhr der erste Meisterkurs des Franz-Schubert-Institutes statt. Im Rahmen des Meisterkurses für Liedinterpretation Die Kernidee des Kurses, dem Wort und nender Energie suchte er auf vielen Rei- Stift Heiligenkreuz, Kaisersaal dem Gedicht das Hauptaugenmerk zu sen und Meisterkursen an den besten Eintritt frei, Spenden erbeten widmen, stieß bei den Größen der Lied- Musikuniversitäten auf der ganzen Welt kunst von Anfang an auf reges Interesse. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Beata Kornatowska Wspomnienia Głosem Pisane : O Autobiografiach Śpiewaków
Beata Kornatowska Wspomnienia głosem pisane : o autobiografiach śpiewaków Acta Universitatis Lodziensis. Folia Litteraria Polonica 16, 140-154 2012 140 | FOLIA LITTERARIA POLONICA 2 (16) 2012 Beata Kornatowska Wspomnienia głosem pisane. O autobiografiach śpiewaków W literackim eseju Güntera de Bruyna poświęconym autobiografii czytamy: Opowiadający dokonuje pewnego okiełznania tego, co zamierza opowiedzieć, wtłacza to w formę, której wcześniej nie miało; decyduje o początku i zakończeniu, układa szczegóły [...] w wybranych przez siebie związkach, tak że nie są już tylko szczegółami, ale nabierają znaczenia, i określa punkty ciężkości1. Przy lekturze wspomnień znanych śpiewaków trudno oprzeć się wrażeniu, że przyszli na świat po to, żeby śpiewać. Już dobór wspomnień z dzieciństwa ma coś z myślenia magicznego: wydarzenia, sploty okoliczności, spotkania — wszystko to prowadzi do rozwoju kariery muzycznej. Dalsze powtarzalne elementy tych wspomnień to: odkrycie predyspozycji wokalnych i woli podję- cia zawodu śpiewaka, rola nauczycieli śpiewu i mentorów (najczęściej dyrygen- tów), największe sukcesy i zdobywanie kolejnych szczytów — scen kluczowych dla świata muzycznego, pamiętne wpadki, kryzysy wokalne, podszyte rywali- zacją relacje z kolegami, ciągłe podleganie ocenie publiczności, krytyków i dy- rygentów, myśli o konieczności zakończenia kariery, refleksje na temat doboru repertuaru, wykonawstwa i — generalnie — muzyki. W tle pojawiają się rów- nież wydarzenia z historii najnowszej, losy kraju i rodziny, kondycja instytucji muzycznych, uwarunkowania personalne. Te uogólnione na podstawie sporej liczby tekstów z niemieckiego kręgu ję- zykowego2 prawidłowości w organizowaniu wspomnień „głosem pisanych” chciałabym przedstawić na przykładzie wyróżniających się w mojej ocenie ja- kością autobiografii autorstwa ikon powojennej wokalistyki niemieckiej — Christy Ludwig ...und ich wäre so gern Primadonna gewesen. Erinnerungen („...a tak chciałam być primadonną. Wspomnienia”)3 i Dietricha Fischer-Dies- kaua Zeit eines Lebens. -
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
The Ukrainian Weekly 2012, No.39
www.ukrweekly.com INSIDE: l Russia’s “soft power with an iron fist” – page 3 l The Ukrainian minority in Poland, 1944-1947 – page 9 l Tennis championships at Soyuzivka – page 11 THEPublished U by theKRAINIAN Ukrainian National Association Inc., a fraternal W non-profit associationEEKLY Vol. LXXX No. 39 THE UKRAINIAN WEEKLY SUNDAY, SEPTEMBER 23, 2012 $1/$2 in Ukraine Foreign Relations Ukraine’s 2012 parliamentary elections: Committee approves Two parties that might make the cut Tymoshenko resolution by Zenon Zawada Special to The Ukrainian Weekly WASHINGTON – A resolution intro- duced by U.S. Sen. Jim Inhofe (R-Okla.), a KYIV – Polls indicate that at least four member of the Senate Foreign Relations political parties will qualify for the 2012 Committee, and co-sponsored by U.S. Verkhovna Rada. Another two parties have Sen. Dick Durbin (D-Ill.), Senate majori- a chance of surpassing the 5 percent ty whip, on September 19 unanimously threshold on election day, October 28: the passed the Senate Foreign Relations Ukraine – Forward! party launched by Luhansk oligarch Natalia Korolevska and Committee. The resolution, S. Res. 466, the Svoboda nationalist party launched by calls for the unconditional release of Oleh Tiahnybok. political prisoner and former Ukrainian At the moment, however, both parties Prime Minister Yulia Tymoshenko. would fail to qualify. Ukraine – Forward! “Tymoshenko was a key revolution- would earn 4 percent of the votes for ary in Ukraine’s 2004 Orange closed party lists, while Svoboda would get Revolution and is a pro-Western reform- about 3.8 percent, according to a poll er,” said Sen. -
Contents: 1000 South Denver Avenue Suite 2104 Biography Tulsa, OK 74119 Critical Acclaim
Conductor Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Karrah O’Daniel-Cambry Opera and Marketing Manager [email protected] Mailing Address: Contents: 1000 South Denver Avenue Suite 2104 Biography Tulsa, OK 74119 Critical Acclaim Website: DIscography http://www.pricerubin.com Testimonials Indiana University Review Video LInks Complete artist information including video, audio and interviews are available at www.pricerubin.com Grzegorz Nowak – Biography Grzegorz Nowak is the Principal Associate Conductor of the Royal Philharmonic Orchestra in London. He has led the Orchestra on tours to Switzerland, Turkey and Armenia, as well as giving numerous concerts throughout the UK. His RPO recordings include Mendelssohn’s ‘Scottish’ and ‘Italian’ Symphonies, Shostakovich’s Symphony No.5, Dvořák’s Symphonies Nos. 6–9, all the symphonies of Schumann and complete symphonies and major orchestral works of Brahms and Tchaikovsky. He is also the Music Director & Conductor of the Orquesta Clásica Santa Cecilia and Orquesta Sinfonica de España in Madrid. Recordings of Grzegorz Nowak have been highly acclaimed by the press and public alike, winning many awards. Diapason in Paris praised his KOS live recording with Martha Argerich and Sinfonia Varsovia as ”indispensable…un must”, and its second edition won the Fryderyk Award. His recording of The Polish Symphonic Music of the XIX Century with Sinfonia Varsovia won the CD of the Year Award, the Bronze Bell Award in Singapore and Fryderyk Award nomination; the American Record Guide praised it as “uncommonly rewarding… 67 minutes of pure gold” and hailed his Gallo disc of Frank Martin with Biel Symphony as “by far the best”. -
DVORÁK of Eight Pieces for Piano Duet
GRZEGORZ NOWAK CONDUCTS DVO RÁK Symphonies no 6 - 9 Carnival Overture 3 CDs ˇ composer complied in 1878 with a set Symphony No.6 in D major, Op.60 the Vienna cancellation must have galled ANTONÍN DVORÁK of eight pieces for piano duet. These did the composer, was a resounding success. I. Allegro non tanto The work was published in Berlin in 1882 as (1841-1904) much to enhance his reputation abroad, II. Adagio and in 1884 he was invited to conduct ‘Symphony No.1’, ignoring the fact it actually III. Scherzo: Furiant-Presto had five symphonic predecessors, and leading his Stabat Mater in London, where his Antonín Dvorˇák was born in what was IV. Finale: Allegro con spirito to a situation where the celebrated work we music became immensely popular. In then known as Bohemia, in the small In the mid-1870s Dvorˇák, then in his now know as the Ninth appeared in print village of Mühlhausen, near Prague. 1891 he was made an honorary Doctor mid-thirties, was still struggling to gain as the Fifth. He was apprenticed as a butcher in of Music by Cambridge University and recognition and renown outside his native Dvorˇák’s earlier symphonies were strongly the following year made the first of his country. In 1874 he was awarded the first his father’s shop, encountering strong influenced by those of Beethoven. Indeed, visits to America, a country that would of several Austrian State Stipendium grants, paternal opposition to his intended his First Symphony, which was composed through which he made the acquaintance career as a musician. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.