The Rossini Bicentennial Birthday Gala

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The Rossini Bicentennial Birthday Gala
Rossini bicentennial birthday gala cd.jpg
EMI Records CD: 0777 7 54643 2 0
Live album by
Roger Norrington
Released1994
VenueAvery Fisher Hall, Lincoln Center, New York City
Genre Opera and sacred music
Length78:31
LanguageFrench, Italian and Latin
The Rossini Bicentennial Birthday Gala
Rossini bicentennial birthday gala ld.jpg
EMI Records Laserdisc: LDB491007-1

The Rossini Bicentennial Birthday Gala is a live album of operatic and sacred music by Gioachino Rossini, performed by Rockwell Blake, Craig Estep, Maria Fortuna, Thomas Hampson, George Hogan, Marilyn Horne, Kathleen Kuhlmann, Mimi Lerner, Chris Merritt, Jan Opalach, Samuel Ramey, Henry Runey, Frederica von Stade, Deborah Voigt, the Concert Chorale of New York and the Orchestra of St. Luke's under the direction of Sir Roger Norrington. It was released in 1993 as a 119-minute video album and in 1994 as a 78-minute CD.

Contents

Background

In 1992, New York City's Lincoln Center for the Performing Arts hosted two gala concerts commemorating the two hundredth anniversary of Rossini's birth. [1] The concerts were filmed for EMI Records, who edited the best of their footage into a video album that they released in 1993 on both VHS tape and twelve-inch Laserdisc. [2] The following year, EMI issued most of the contents of their video album (arranged in a different running order) on CD: the omissions were the Overture to La gazza ladra , the quartet "Cielo il mio labbro inspira" from Bianca e Falliero , the trio "Pappataci! Che mai sento" from L'italiana in Algeri and the duet "Perché mi guardi" from Zelmira . [2] [1]

Recording

The album was compiled from recordings of concerts that took place on 29 February and 2 March 1992 in the Avery Fisher Hall at the Lincoln Center, New York City. [1] The audio was recorded digitally. [1]

Packaging

The covers of video and audio-only versions of the album feature photographs taken during the concerts at which the recording was made. [1]


Critical reception

Gioacchino Rossini, painted in the first half of the nineteenth century by an unknown artist Pesaro-Gioacchino Rossini.jpg
Gioacchino Rossini, painted in the first half of the nineteenth century by an unknown artist

Barrymore Laurence Scherer reviewed one of the concerts from which the album was derived in Gramophone in May 1992. The singer whose contribution he enjoyed most was Marilyn Horne, who performed not only "Mura felici" from La donna del lago but also a "Di tanti palpiti" that was to have been sung by an indisposed June Anderson. She was not as miraculous as in her prime. but "if steel [had] replaced the former velvet of Horne's tone, her passagework [remained] undiminished in splendour." The runners-up for the palm of the evening were Thomas Hampson with his "delectable" if somewhat over-familiar "Largo al factotum" from Il barbiere di Siviglia, Deborah Voigt in the "Inflammatus" from the Stabat mater and Kathleen Kuhlmann in the "Agnus Dei" from the Petite messe solennelle. His view of some of the gala's other artists was harsher. Chris Merritt sang "Asile hérédetaire" from Guillaume Tell with "insensitivity to phrase and colour, merely treating the music as a build-up for a series of high notes that sounded like blood squeezed from a stone." As for Rockwell Blake, "his grotesque rendition of 'Terra amica, ove respire' from Zelmira provided a series of bleats and squawks that were a travesty of bel canto." The concert's opening number, the overture to La gazza ladra, was disappointing too, omitting its customary cymbals in order to achieve a "bloodless correctitude in the eyes of modern scholarship". It seemed to Scherer that Rossini's music had become an industry, in thrall to academia, in which all that mattered was that more and more of his scores should be performed. Whether his music was sung beautifully or wretchedly had ceased to be important. [3]

J. B. Steane reviewed the video version of the album in Gramophone in June 1993. The "happy event" began, he wrote, with the overture to La gazza ladra (The thieving magpie), "the only gazza recognized by the judicial bench", conducted by a man who appeared to be Jacques Offenbach but was in fact Roger Norrington. Marilyn Horne, still blessed with a royal, marvellously unwearied voice despite her advancing years, sang one of Malcom's arias from La donna del lago with rock-solid control and the precision of a pianist. Deborah Voigt was not quite so impressive in her "Inflammatus", singing with "some grandeur if little variety", but things looked up when Frederica von Stade presented an aria from La Cenerentola "with generous spirit and a winning smile". Rockwell Blake sang "runs prestissimo and high Cs galore, just as we knew he would", and his confrère, the "amazing" Chris Merritt, followed suit. Another high C came from the "hyperactive" barber of Seville, "more irrepressible than ever in the person of Thomas Hampson". Three less showy pieces were a reminder that there was more to Rossini's music than just an invitation to great singers to parade their scintillating technique. "As Kathleen Kuhlmann [sang] the 'Agnus Dei' and the chorus quietly [reiterated] 'Dona nobis pacem', there [was] a moment of something like depth." A men's chorus joined Samuel Ramey in a "fine example of Rossinian mastery" from Le siège de Corinthe. And some "serious-minded dramatic tension" was introduced with a quartet from Bianca e Falliero. Finally a fourteen-voiced ensemble from Il viaggio a Reims gave all the concert's soloists the chance to bring the house down in an extravaganza of a finale. [2]

Avery Fisher Hall in 2014 Avery Fisher Hall photo D Ramey Logan.jpg
Avery Fisher Hall in 2014

Richard Osborne reviewed the CD version of the album in Gramophone in December 1994. Like Scherer and Steane, he singled out Marilyn Horne for special praise, lauding her contribution as the only "classically fine" one on the disc. He also mentioned Thomas Hampson's "over the top" aria from Il barbiere di Siviglia and the "Agnus Dei" from the Petite messe solennelle, the latter of particular interest because it was performed with Rossini's "reluctantly and tardily supplied orchestration". About the album as a whole, he was equivocal. On the one hand, he called it "spectacular", with "plenty that was fiery and eloquent", "set ablaze" by Roger Norrington's conducting. On the other hand, it had only a few items that he imagined himself wanting to hear again. He concluded by advising his readers that it was a concert best enjoyed when seen as well as heard. He had been amused, on returning from an evening out with his wife, to find his babysitter and her husband both engrossed in watching its video version on his television. [4]

CD track listing

Gioachino Rossini (1792-1868)

Le siège de Corinthe (Paris, 1826), libretto by Luigi Balocchi and Alexandre Soumet

La donna del lago (Naples, 1819), libretto by Andrea Leone Tottola after Walter Scott

La Cenerentola (Rome, 1817), libretto by Jacopo Ferretti

Stabat Mater (Madrid, 1832; Bologna, 1841), text by Jacopone da Todi

Guillaume Tell (Paris, 1829), libretto by Victor-Joseph Étienne de Jouy and L. F. Bis

Petite messe solennelle (Paris, 1863; orchestration: Paris, 1867)

Il barbiere di Siviglia (Rome, 1816), libretto by Cesare Sterbini after Pierre Beaumarchais

Zelmira (Naples, 1822), libretto by Andrea Leone Tottola

Il viaggio a Reims (Paris, 1825), libretto by Luigi Balocchi

Laserdisc chapter listing

Gioachino Rossini

La gazza ladra (Milan, 1817)

La donna del lago

Stabat Mater

La Cenerentola

Zelmira

Bianca e Falliero (Milan, 1819), libretto by Felice Romani

Guillaume Tell

Il barbiere di Siviglia

Petite messe solennelle

L'italiana in Algeri (Venice, 1813), libretto by Angelo Anelli

Zelmira

Le siège de Corinthe

Il viaggio a Reims

Personnel

Performers

Other

Release history

In 1993, EMI Records released a 119-minute, thirteen-item version of the album on VHS (UK catalogue number MVD491007-3) and Laserdisc (UK catalogue number LDB491007-1, US catalogue number 0777 7 40300-1 4). [2] [5] Both issues provided 4:3 NTSC colour video and stereo sound. As of September 2019, the album had not been issued on DVD or Blu-ray.

In 1994, EMI Records issued a 78-minute, nine-item version of the album on CD (catalogue number 0777 7 54653 2 0 or CDC 7 54643 2). [4] The CD was accompanied by a 32-page insert booklet featuring an essay by the Rossini scholar Philip Gossett in English, French and German, texts in French, Italian and Latin and translations of those texts into English, French and German.

Related Research Articles

Gioachino Rossini 19th-century Italian opera composer

Gioachino Antonio Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity.

Marilyn Horne American operatic mezzo-soprano

Marilyn Horne is an American mezzo-soprano opera singer. She specialized in roles requiring beauty of tone, excellent breath support, and the ability to execute difficult coloratura passages. She is a recipient of the National Medal of Arts, the Kennedy Center Honors, and has won four Grammy Awards.

Samuel Edward Ramey is an American operatic bass.

<i>La gazza ladra</i>

La gazza ladra is a melodramma or opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on La pie voleuse by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez. The Thieving Magpie is best known for the overture, which is musically notable for its use of snare drums. The unique inspiration in the melodies is extreme, famously used to bizarre and dramatic effect in Stanley Kubrick's A Clockwork Orange. It was referenced by Haruki Murakami in his work The Wind-Up Bird Chronicle. This memorable section in Rossini's overture evokes the image of the opera's main subject: a devilishly clever, thieving magpie.

June Anderson is a Grammy Award-winning American dramatic coloratura soprano. Originally known for bel canto performances of Rossini, Donizetti, and Vincenzo Bellini, she was the first non-Italian ever to win the prestigious Bellini d'Oro prize.

Messa per Rossini

The Messa per Rossini is a Requiem Mass composed to commemorate the first anniversary of Gioachino Rossini's death. It was a collaboration among 13 Italian composers, initiated by Giuseppe Verdi. The composition was intended to be performed on 13 November 1869 in the Basilica of San Petronio, Bologna, where Rossini grew up and spent a large part of his life.

Gianluigi Gelmetti

Gianluigi Gelmetti OMRI, is an Italian-born, naturalized Monaco citizen conductor and composer.

Deborah Voigt is an American dramatic soprano who has sung roles in operas by Wagner and Richard Strauss.

<i>La donna del lago</i>

La donna del lago is an opera composed by Gioachino Rossini with a libretto by Andrea Leone Tottola based on the French translation of The Lady of the Lake, a narrative poem written in 1810 by Sir Walter Scott, whose work continued to popularize the image of the romantic highlands. Scott's basic story has been noted as coming from "the hint of an incident stemming from the frequent custom of James V, the King of Scotland, of walking through the kingdom in disguise".

<i>Ermione</i>

Ermione (1819) is a tragic opera in two acts by Gioachino Rossini to an Italian libretto by Andrea Leone Tottola, based on the play Andromaque by Jean Racine.

<i>Bianca e Falliero</i>

Bianca e Falliero, ossia Il consiglio dei tre is a two-act operatic melodramma by Gioachino Rossini to an Italian libretto by Felice Romani. The libretto was based on Antoine-Vincent Arnault's play Les Vénitiens, ou Blanche et Montcassin.

Stabat Mater (Rossini)

Stabat Mater is a work by Gioachino Rossini based on the traditional structure of the Stabat Mater sequence for chorus and soloists. Initially he used his own librettos and compositions for a portion of the work and, eventually, the remainder by Giovanni Tadolini, who composed six additional movements. Rossini presented the completed work to Varela as his own. It was composed late in his career after retiring from the composition of opera. He began the work in 1831 but did not complete it until 1841.

<i>Robert Bruce</i> (opera)

Robert Bruce is an 1846 pastiche opera in three acts, with music by Gioachino Rossini and Louis Niedermeyer to a French-language libretto by Alphonse Royer and Gustave Vaëz, after Walter Scott's History of Scotland. The music was stitched together by Niedermeyer, with the composer's permission, with pieces from La donna del lago, Zelmira, and other Rossini operas. The work was premiered on 30 December 1846, by the Paris Opera at the Salle Le Peletier. The audience may not have noticed, but the orchestra included for the first time a recently invented instrument, which later came to be known as the saxophone.

Christine Weidinger is an American operatic soprano who has had an active international career in operas and concerts since the early 1970s. Her career started at the Metropolitan Opera, after which she was active as a resident artist with opera houses in Germany during the late 1970s and 1980s. From the 1970s through the 1990s she worked as a guest artist with many leading opera houses throughout Europe, South America, and the United States.

Gloria Banditelli is an Italian mezzo-soprano. She debuted in La Cenerentola in Spoleto in 1979. She is well known both for late-classical early-bel canto era roles of Rossini, Cimarosa and Paisiello, and also baroque opera, such as Monteverdi and Cavalli.

<i>Mozart & Rossini Arias</i> 1976 studio album by Frederica von Stade

Frederica von Stade sings Mozart & Rossini Arias is a 52-minute studio album of operatic arias performed by von Stade and the Rotterdam Philharmonic Orchestra under the direction of Edo de Waart. It was released in 1976. A second, 69-minute version of the album, Frederica von Stade: Haydn, Mozart & Rossini Arias, released by Philips on CD, adds bonus tracks derived from von Stade's contributions to Antal Doráti's recordings of Joseph Haydn's operas La fedeltà premiata and Il mondo della luna. A third, 52-minute version released on SACD by PentaTone in 2005 reverts to the contents of the first version, but presents the music in quadraphonic surround sound.

<i>Le nozze di Figaro</i> (Georg Solti recording) 1982 studio album by Georg Solti

Le nozze di Figaro is a 168-minute studio recording of Wolfgang Amadeus Mozart's opera, performed by a cast of singers headed by Sir Thomas Allen, Lucia Popp, Samuel Ramey, Frederica von Stade, Kurt Moll and Dame Kiri Te Kanawa with the London Philharmonic Orchestra under the direction of Sir Georg Solti. It was released in 1982.

<i>A Salute to American Music</i> 1992 live album by James Conlon

A Salute to American Music is a 113-minute live album of music, both classical and popular, performed by Steven Blier, Renée Fleming, Paul Groves, Jerry Hadley, Karen Holvik, Marilyn Horne, Jeff Mattsey, Robert Merrill, Sherrill Milnes, Maureen O'Flynn, Phyllis Pancella, Leontyne Price, Samuel Ramey, Daniel Smith, Frederica von Stade, Tatiana Troyanos, Carol Vaness and Denise Woods with the Collegiate Chorale and members of the Metropolitan Opera Orchestra under the direction of James Conlon. The album was released in 1992.

<i>The Metropolitan Opera Centennial Gala</i>

The Metropolitan Opera Centennial Gala was a televised concert, lasting more than eight hours, that New York City's Metropolitan Opera staged on 22 October 1983 to commemorate the hundredth anniversary of its first performance. A 230-minute selection of excerpts from the concert was first released in 1985 on a pair of Pioneer Artists Laserdiscs, subsequently appearing on a pair of Bel Canto Paramount Home Video VHS videocassettes in 1989 and on a Pioneer Classics DVD in 1998. A remastered double DVD of the film was issued by Deutsche Grammophon in 2009.

<i>James Levines 25th Anniversary Metropolitan Opera Gala</i>

James Levine's 25th Anniversary Metropolitan Opera Gala was a concert, lasting approximately eight hours, that the Metropolitan Opera staged in 1996 in honour of its then principal conductor and Artistic Director. Excerpts from the gala were released by Deutsche Grammophon on a 72-minute CD, a 161-minute VHS videocassette and a 161-minute double Laserdisc in 1996, and on a 293-minute double DVD in 2005.

References

  1. 1 2 3 4 5 6 Rossini, Gioachino: The Rossini Bicentennial Birthday Gala, cond. Roger Norrington, EMI Records CD, 0777 7 54643 2 0, 1994
  2. 1 2 3 4 5 Gramophone, June 1993, pp. 104-106
  3. Gramophone, May 1992, p. 16
  4. 1 2 Gramophone, December 1994, pp. 159-160
  5. 1 2 Rossini, Gioachino: The Rossini Bicentennial Birthday Gala, cond. Roger Norrington, EMI Records Laserdisc, 0777 7 40300-1 4, 1993