Teresa Berganza: Eighteenth-Century Portraits
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Label: Australian Eloquence
Cat No: ELQ4825836
Format: CD
Number of Discs: 2
Genre: Vocal/Choral
Release Date: 6th April 2018
Contents
Works
MedeaCh'io mi scordi di te ...Non temer, amato bene, K505
Cosi fan tutte, K588
Nina
Artists
Teresa Berganza (mezzo-soprano)Gervase de Peyer (clarinet)
Geoffrey Parsons (piano)
Felix Lavilla (piano)
Orchestra of the Royal Opera House, Covent Garden
London Symphony Orchestra
Conductors
Alexander GibsonJohn Pritchard
Works
MedeaCh'io mi scordi di te ...Non temer, amato bene, K505
Cosi fan tutte, K588
Nina
Artists
Teresa Berganza (mezzo-soprano)Gervase de Peyer (clarinet)
Geoffrey Parsons (piano)
Felix Lavilla (piano)
Orchestra of the Royal Opera House, Covent Garden
London Symphony Orchestra
Conductors
Alexander GibsonJohn Pritchard
About
These portraits are of both heroines and trouser-role heroes, including Gluck’s Orfeo and Cherubini’s Medea, as well as arias from an earlier generation by Pergolesi and Handel. In all of them may be appreciated Teresa Berganza’s captivating stage presence and a wide-eyed, coltish eagerness of characterisation. Back in London’s Kingsway Hall in 1962, she set down seven Mozart arias with the supple accompaniment of John Pritchard, and graced with sensitive obbligato contributions from Gervase de Peyer (in ‘Parto, parto’ from La clemenza di Tito) and Geoffrey Parsons in the concert-aria Ch’io mi scordi di te.
The collection is completed by Haydn’s tragic cantata Arianna a Naxos, partnered at the piano in 1977 by her husband and long-standing accompanist Felix Lavilla. It is distinguished by a classical nobility of style, as well as the dramatically lived feeling for text and for the heroine’s predicament that made Berganza ‘the Carmen of the century’ according to no less than Herbert von Karajan.
‘The Berganza voice [...] is surely one of the loveliest and most flexible to come along since the war. Here she gives evidence of a very firm grip on classical style ... ‘O del mio dolce ardor’ [...] is spun forth with great tranquillity: the vocal texture, the relaxed but never slack attack, are exactly right.’ - High Fidelity, July 1961 (Eighteenth-century Portraits)
‘In Berganza’s work there are no stylistic mannerisms. She tears into the music like a violinist launching a cadenza, and her extraordinary gifts make it all the more natural sounding, giving her temperament its extroverted way... Cherubino’s songs are done to a turn.’ - High Fidelity, December 1963 (Mozart arias)
‘This has always been one of Teresa Berganza’s most attractive records.’ - Opera, September 1968 (Mozart arias)
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