Antonio Melandri

On this CD:

1. Stabat mater for 2 sopranos, tenor, bass, chorus, & orchestra Cujus anima
Composed by Gioachino Rossini
Performed by La Scala Theater Orchestra & Chorus with Antonio Melandri
Conducted by Lorenzo Molajoli

2. Ernani, opera A te scegli seguimi
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra & Chorus with Antonio Melandri, Corrado Zambelli
Conducted by Lorenzo Molajoli

3. Ernani, opera Terzetto finale
Composed by Giuseppe Verdi
Performed by La Scala Theater Orchestra & Chorus with Antonio Melandri, Iva Pacetti, Corrado Zambelli
Conducted by Lorenzo Molajoli

4. Faust, opera No interrogo invan
Composed by Charles Gounod
Performed by La Scala Theater Orchestra & Chorus with Nazzareno de Angelis, Antonio Melandri
Conducted by Lorenzo Molajoli

5. Cavalleria rusticana, opera in 1 act Tu qui Santuzza?
Composed by Pietro Mascagni
Performed by La Scala Theater Orchestra & Chorus with Giannina Arangi-Lombardi, Antonio Melandri, Maria Castagna
Conducted by Lorenzo Molajoli

6. Cavalleria rusticana, opera in 1 act Intanto amici qua
Composed by Pietro Mascagni
Performed by La Scala Theater Orchestra & Chorus with Antonio Melandri, Maria Castagna
Conducted by Lorenzo Molajoli

7. Cavalleria rusticana, opera in 1 act Mamma quel vino è generoso
Composed by Pietro Mascagni
Performed by La Scala Theater Orchestra & Chorus with Ida Mannarini, Antonio Melandri
Conducted by Lorenzo Molajoli

8. Fedora, opera Amor ti vieta
Composed by Umberto Giordano
Performed by La Scala Theater Orchestra & Chorus with Antonio Melandri, Gilda Dalla Rizza, Eugenio Dall'Argine
Conducted by Lorenzo Molajoli

9. Fedora, opera Loris Ipanov
Composed by Umberto Giordano
Performed by La Scala Theater Orchestra & Chorus with Antonio Melandri, Gilda Dalla Rizza
Conducted by Lorenzo Molajoli

10. Mefistofele, opera Dai campi dai prati
Composed by Arrigo Boito
Performed by La Scala Theater Orchestra & Chorus with Nazzareno de Angelis, Antonio Melandri
Conducted by Lorenzo Molajoli

11. Mefistofele, opera Giunto sul passo estremo
Composed by Arrigo Boito
Performed by La Scala Theater Orchestra & Chorus with Nazzareno de Angelis, Antonio Melandri
Conducted by Lorenzo Molajoli

Customer Reviews:

A fine recording.......2004-07-08

This was the first and is perhaps the best of all recordings of Boito's opera Mefistofele. Boito is more famous as being the librettist for Verdi's Otello and Falstaff, and Ponchielli's La Gioconda (though under the false name of Tobia Gorrio). However, he was also a composer in his own right, and his finest achievement is his opera Mefistofele, based on the Faust legend. This 1931 recording represents it well, showing off the Italian singing talent of the time. The highlight is Nazzareno de Angelis in the title role. His rich, dark voice and fine characterisation skills show up later basses who attempted this role, including Norman Triegle and Nicolai Ghiaurov. The Faust is Antonio Melandri, now almost completely unknown, but he is a fine tenor, up to the demands of the role. Mafalda Favero is Margherita, a beautiful soulful portrayal. Only Mirella Freni is more yearning but Freni is troubled more by vocal shortcomings especially in the great aria "L'altra notte" which Favero brings off beautifully. It is a real treat to have Giannina Arangi-Lombardi, one of the great Italian dramatic sopranos of the time singing Helen of Troy (you are similarly treated by the appearance of Montserrat Caballe in the same role in the de Fabritiis set). Molajoli conducts well, with great fondness for the score. In my opinion, this is the very best of Mefistofele recordings. Of course, the sound is not the best, but this is hardly important with performing of this quality. If you demand the best up-to-date digital sound, I recommend the de Fabritiis set on Decca (with Mirella Freni and Pavarotti in fine voice). But otherwise, this is my firm recommendation.

Average customer rating:

Boito: Mefistofele

Manufacturer: Documents
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B0000BA6O0
Release Date: 2006-05-04

Average customer rating:

WOW!

Mascagni: Cavalleria Rusticana

Manufacturer: Bongiovanni
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B00000447F
Release Date: 1994-04-04

Customer Reviews:

WOW!.......2000-12-02

I can't stop listening to this recording. I never brag about recordings but I urge you to run to buy this CD. Lina Bruna Rasa was barely able to find the theatre to sing (she was apparently a little touched), but when she did, she sang the most amazing Santuzza on record (and some of the most incredible verismo). She has a huge, ripe sound with a clean register from her clarion top to her low chest notes. Melandri creates a warm Turiddu and seems to come alive with Bruna Rasa. Mascagni conducts the most thoughtful and serious Cavalleria I have ever heard (and I don't normally like this opera). All in all, it's a complete revelation. I only wish that Bruna Rasa had recorded more...

Cavalleria Rusticana - Arangi-Lombardi, Melandri (SRO)

Average customer rating:

Cavalleria Rusticana - Arangi-Lombardi, Melandri (SRO)

Manufacturer: SRO/ Legato
ProductGroup: Music
Binding: Audio CD
ASIN: B000U1VLKM

Average customer rating:

COMPOSER-LED "CAV" IS A STUNNER

Mascagni: Cavalleria Rusticana

Manufacturer: Grammofono 2000
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000003UJ7
Release Date: 1997-07-29

Tracks:

Opr in One Act: Prelude - Orch E Coro Dell' Opera Italiana D' Olanda
Opr in One Act: 'O Lola' - Antonio Melandri
Opr in One Act: 'Gli Aranci Olezzano' - Orch E Coro Dell' Opera Italiana D' Olanda
Opr in One Act: 'Dite Mamma Lucia' - Lina Bruna Rasa
Opr in One Act: 'Il Cavallo Scalpita' - Afro Poli
Opr in One Act: 'Voi Lo Sapete O Mamma' - Lina Bruna Rasa
Opr in One Act: 'Tu Qui, Santuzza?' - Antonio Melandri
Opr in One Act: 'Oh, Il Signore Vi Manda' - Lina Bruna Rasa
Opr in One Act: Intermezzo - Orch E Coro Dell' Opera Italiana D' Olanda
Opr in One Act: 'A Casa, A Casa' - Orch E Coro Dell' Opera Italiana D' Olanda
Opr in One Act: 'Mamma, Quel Vino E Generoso' - Antonio Melandri
Opr in One Act: 'A Voi Tutti, Salute' - Afro Poli
Opr in One Act: 'Mamma, Quel Vino E Generoso' - Antonio Melandri

Customer Reviews:

COMPOSER-LED "CAV" IS A STUNNER.......2000-03-05

Although Mascagni conducted "Cavalleria Rusticana", his most famous and enduring opera, in the studio, those performances were subject to the limitations of the 78rpm side. Here, caught live at white heat, we hear the opera as Mascagni intended it to sound, with his chosen singers.

Two reservations: the broadcast sound from the late 1930s - one mike above the orchestra pit? - is basic, but it is quite adequate and captures the singer's voices well. Unfortunately it also captures the voice of a most enthusiastic prompter with equal clarity so that at times arias and duets become duets and trios! Apart from that, just slip the CD into your player and revel in a stunning, no-holds barred object lesson in verismo opera performance from a vanished era.

All the principals, singing with much beauty of tone, take glorious liberties with the score in the name of drama, but presumably they had the composer/conductor's blessing, even if they are not invariably at one with the orchestra. Antonio Melandri is a splendid Turiddu; he has a huge voice, sometimes a little like Jon Vickers in timbre and he sings with great involvement. Alfredo Poli is just as good, deploying his refulgent baritone voice with terrific effect as Alfio.

It is fascinating to hear the great Lina bruna Rasa in a live performance, singing as if her life depended on it. She carries the chest voice dangerously high, but it's a beautiful and exciting sound, full of emotion. She is capable of ravishing pianissimi when the occasion demands and - a crucial requirement for any Santuzza - she hurls a MEAN curse when Turiddu rejects her love. Rasa was schizophrenic, seldom talking to anyone off stage, but she certainly knows how to communicate with an audience. Hers is a unique performance.

The orchestra and chorus are acceptable, and it's fascinating to hear Mascagni's interpretation. About 4 minutes longer than most performances, this one lets the music breathe as Mascagni allows the singers and the music space to make their point. All too often conductors rush at "Cav" in the hope that speend will provide tension. This version proves that this need not be the case.

Tracks:

Stabat Mater: Cujus Anima - Antonio Melandri
Ernani: A Te Scegli Seguimi - Antonio Melandri/Corrado Zambelli
Ernani: Terzetto Finale - Antonio Melandri/Iva Pacetti/Corrado Zambelli
Faust: No, Interrogo Invan - Antonio Melandri/Nazzareno De Angelis
Cavalleria Rusticana: Tu Qui Santuzza? - Antonio Melandri/Giannina Arangi Lombardi/Maria Castagna
Cavalleria Rusticana: Intanto Amici Qua - Antonio Melandri/Maria Castagna
Cavalleria Rusticana: Mamma, Quel Vino E Generoso - Antonio Melandri/Ida Mannarini
Fedora: Amor Ti Vieta - Antonio Melandri/Gilda Dalla Rizza/Eugenio Dall'Argine
Fedora: Loris Ipanov - Antonio Melandri/Gilda Dalla Rizza
Mefistofele: Dai Campi, Dai Prati - Antonio Melandri/Nazzareno De Angelis
Mefistofele: Giunto Sul Passo Estremo - Antonio Melandri/Nazzareno De Angelis

Customer Reviews:

The first modern Diva.......2004-03-31

Maria Caniglia is often not given credit for the artists she inspired who would later record and perform her repertoire. Upon studying her recordings, I compared them to find out that not only Tebaldi, Mancini, and other Italian divas on record followed her lead, but even Milanov emulated her approach to dramatic declamation. The one soprano who emulated her in the extreme is Leontyne Price whose recording of La mamma morta is a carbon copy of La Caniglia's 1941 recording, and so is her first complete recording of La Forza. You only need listen to first 30 minutes to fully comprehend the depth of influence from Caniglia's version. Not surprisingly, La Price's approach to the high notes is exactly in the manner of Caniglia: light, high, and spinning.

Caniglia's influence is enormous and I find her dramatic approach absolutely supreme. The voice is interesting though; there are unsure pitches to be found throughout her range, but the voice is rich and creamy and at its best, quite beautiful. The velvet or corona of her voice never deserted and that is something quite special. Here was a unique woman, a soulful singer, and a daring prima donna.

I recommend La Caniglia highly!

The Real Thing.......2003-08-21

Perhaps a few more words may be added to those of Madame Caniglia's distant cousin.

Maria Caniglia was the real thing, an honest-to-gosh, red-blooded, thrilling, Verdi-Puccini soprano who flourished in the 1930s and 40s. Her great contemporary was Zinka Milanov, who firmly reigned at the Met in New York while Madame Caniglia appears to have taken the famous line from Verdi's Attila to heart: "Take all the world but leave Italy to me."

She was the chosen partner with the tenor, Benjiamino Gigli, in magnificent complete recordings--Puccini's Tosca, Verdi's Requiem, Ballo in maschera, Aida and the non-Gigli Forza del destino, all available on CD--that easily hold their own against subsequent contenders. Though her partnership with Gigli was long and successful, both in the recording studio and on stage, there was one peculiarity in it, or so the story goes: Gigli would never speak a word to her. And Madame Caniglia never knew why.

La Caniglia was characterized by burning intensity as a singing actor in the let-it-all-hang-out school of the first half of the Twentieth Century. At her best, her voice had an exciting, full, lush sound, not to be found in our piping times. At her worst, her higher warblings were dramatic, if not overly beautiful or accurate. In the style of her time, she tended to be less caring about a composer's written notes than is common among the present generation of singers.

Magnificent.......2002-06-14

Unfortunately, I cannot carry a note. I'm sorry that my family never got to see her. You see, Maria and my grandmother were cousins. Maria could really hit the High C. Excellent, CD.