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Early Verdi Arias
Giuseppe Verdi

Lucia Aliberti / Orchestra Sinfonica e Coro Sinfonico di Milano Giuseppe Verdi / Oleg Caetani

Early Verdi Arias

Price: € 14.95
Format: CD+Book
Label: Challenge Classics
UPC: 0608917258929
Catnr: CC 72589
Release date: 12 April 2013
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Label
Challenge Classics
UPC
0608917258929
Catalogue number
CC 72589
Release date
12 April 2013

"the eternal heroine of bel canto"

Mélomano, 01-11-2014
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Artist(s)
Composer(s)
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About the album

Soprano arias from the time of Verdi’s notorious penchant for a pessimistic stylisation all his own, for doom-mongering, and for black humour…these were his “galley years”, as he described them. Verdi was the most successful Italian composer of his generation, was besieged with commissions, and toiled away to such an extent that his health was endangered.

Lucia Aliberti presents twelve Verdi heroines. Each one is at a turning point, one dictated by fate. And each character senses all too well the need to show resolve in an extreme situation. Three of them (Giovanna, Lady Macbeth, and Elena) are not allowed to give vent to their feelings and display their wares at all costs in a cabaletta. But Verdi leaves ample room for this with the remaining nine. Cavatina and cabaletta – a dramatic model that can produce a plethora of arias and can bring forth countless variations. The Verdi that Lucia Aliberti interprets here is mainly a Verdi the world has not encountered up to now, and it soon becomes apparent – perhaps the degree of surprise is not so great – that the “unknown” Verdi is also a “Verdissimo”.

Belcantospecialist Aliberti laat een onbekende kant van Verdi zien
Dit album, uitgebracht in het Verdi-jaar in 2013, bevat sopraanaria’s van Verdi, gezongen door sopraan en belcanto-specialist Lucia Aliberti.

Verdi was de meest succesvolle Italiaanse componist van zijn generatie. Hij werd overladen met commissies en werkte zo hard dat zijn gezondheid eronder moest lijden.

De aria’s zijn vroege werken van Verdi, gecomponeerd tussen 1840 en 1855, een periode die Verdi zelf zijn ‘galei-jaren’ noemde. In deze periode had Verdi een voorliefde voor het stileren van zijn eigen pessimisme en voor zwarte humor. In de aria’s wordt gebruik gemaakt van het contrast tussen cavatina en cabaletta. In het cavatina bekijkt de zanger de situatie van een afstand. Na interventie van de toeschouwers volgt het cabaletta. In dit snelle deel met virtuoze passages worden de emoties die eerder werden ingehouden uitgedrukt.

Lucia Alberti presenteert op dit album twaalf heldinnen, die op een omslagpunt staan dat hen door het noodlot is opgelegd. Drie van hen (Giovanna, Lady Macbeth en Elena) kunnen hun gevoelens niet uiten in een cabaletta. Verdi geeft de overige negen hier echter wel voldoende ruimte voor. Aliberti’s interpretaties van Verdi laten een Verdi zien die de wereld tot nu toe nog niet heeft ontmoet.

Verdi-Heldinnen zwischen Leiden, Leidenschaft und Entscheidung.

Die großartige Sopranistin und Belcanto-Spezialistin Lucia Aliberti singt Sopran-Arien aus einer Zeitspanne, die Giuseppe Verdi selber als seine „Galeerenjahre“ bezeichnet. Zwölf Frauencharaktere aus seinen Opern, die zwischen 1840 und 1855 entstanden sind. Arien, in denen die Primadonna im zweiten Teil jeweils die Gelegenheit hat, durch Auszierungen und Variationen ihr Können dem Operpublikum in extravaganter Weise zu präsentieren. Lucia Aliberti ist hier in ihrem Element.
Eine würdige Bereicherung im Verdi-Jahr 2013!
All’interno dell’ampia produzione operistica verdiana, questo album sceglie una carrellata di dodici eroine create nell’arco di quindici anni, dalla baronessa Giulietta di Kelbar (Un giorno di regno, 1840) alla contessa Elena (I Vespri siciliani, 1855). Arie per soprano, dunque, concepite in quel lungo lasso di tempo che Verdi, nella sua abituale tendenza al pessimismo, ad una visione catastrofica e ad un umorismo funereo, aveva definito “gli anni di galera”.

<>. Karl Dietrich Gräwe, dalle note di copertina>>

Artist(s)

Lucia Aliberti

The sicilian soprano Lucia Aliberti was awarded a diploma with special recognition from the Conservatory in Messina while she was still very young. She studied with Luigi Ricci in Rome, with Herbert von Karajan and Alfredo Kraus.Musician and composer, while studying singing, she was also studying the piano and other musical instruments like guitar, accordion, violin and mandolin. She has composed many pieces for piano, clarinet, flute and voice. After winning the Spoleto and ENAL competitions, she began her artistic career as Amina in Bellinis “La Sonnambula” in Spoleto at the festival dei Due Mondi under the direction of Giancarlo Menotti. She sings at the world’s major theatres: The Metropolitan Opera in New York, Washington Opera, Royal Opera House Covent Garden...
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The sicilian soprano Lucia Aliberti was awarded a diploma with special recognition from the Conservatory in Messina while she was still very young. She studied with Luigi Ricci in Rome, with Herbert von Karajan and Alfredo Kraus.Musician and composer, while studying singing, she was also studying the piano and other musical instruments like guitar, accordion, violin and mandolin. She has composed many pieces for piano, clarinet, flute and voice.
After winning the Spoleto and ENAL competitions, she began her artistic career as Amina in Bellinis “La Sonnambula” in Spoleto at the festival dei Due Mondi under the direction of Giancarlo Menotti. She sings at the world’s major theatres: The Metropolitan Opera in New York, Washington Opera, Royal Opera House Covent Garden in London, Scala in Milan, Deutsche Oper Berlin, Bayerische Staatsoper Munich, Hamburg Staatsoper, Staatstheater Stuttgart, Vienna State Opera, Opera House Zurich, Bolshoi in Moscow, Royal Opera Stockholm, Teatro Real in Madrid, Nederlandse Opera in Amsterdam, Theatre de la Monnaie in Brussels, Teatro Colon in Buenos Aires and Bunka Kaikan Tokyo. She gives concerts in leading concert-houses of the world: Grosses Festspielhaus Salzburg, KKL Lucerne, Concertgebow Amsterdam, Queen Elizabeth Hall London, Theatre Champs-Elysée Paris, Auditorium Milano, Philharmonie Berlin, Festspielhaus Baden-Baden, Gewandhaus Leipzig, Herkulessaal Munich, Suntory Hall Tokyo, Seoul Arts Center and Carnegie Hall New York.
She works with conductors such as Riccardo Chailly, Fabio Luisi, Lorin Maazel, Riccardo Muti and Kent Nagano.
She supports UNESCO and UNICEF with concerts, she sang for Pope Johannes Paul II. at the Vatican, Queen Sirikit of Thailand in Bangkok, Prince Charles of England, German President Horst Köhler and Prince Hiro of Japan.
Her natural vocal talents are enhanced by a technique which allows her to sustain even the most difficult parts in the “Belcanto”-repertory. International critics have also underlined her particular stage presence. She is considered a specialist in the repertory of Bellini (Norma, La Sonnambula, Il Pirata, I Puritani, I Capuleti e I Montecchi, Beatrice di Tenda, La Straniera). The other most important composers in her repertory are Donizetti (Lucia di Lammermoor, Anna Bolena, Lucrezia Borgia, L’ elisir d’amore, Don Pasquale, La fille du régiment Linda di Chamounix), Rossini (Semiramide, Tancredi), and Verdi (La Traviata, Rigoletto, Luisa Miller, Simon Boccanegra).

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Oleg Caetani (conductor)

Oleg Caetani is an opera and concert conductor. He finds these two aspects of his work equally important. Caetani considers Nadia Boulanger to be the driving inspiration of his career. She discovered his talent, initiated him to music and gave him the philosophical approach to life, linked to Montaigne, that he still has today. At the Rome Conservatory of Santa Cecilia he attended Franco Ferrara’s conducting class and studied composition with Irma Ravinale. At the age of 17, he made his theatre debut with a production of Monteverdi’s Il combattimento di Tancredi e Clorinda and other madrigals that he organized himself. After studying all the Shostakovich Symphonies with Kondrashin at the Moscow Conservatory, he graduated with Mussin at the St. Petersburg Conservatory...
more
Oleg Caetani is an opera and concert conductor. He finds these two aspects of his work equally important.
Caetani considers Nadia Boulanger to be the driving inspiration of his career. She discovered his talent, initiated him to music and gave him the philosophical approach to life, linked to Montaigne, that he still has today.
At the Rome Conservatory of Santa Cecilia he attended Franco Ferrara’s conducting class and studied composition with Irma Ravinale. At the age of 17, he made his theatre debut with a production of Monteverdi’s Il combattimento di Tancredi e Clorinda and other madrigals that he organized himself. After studying all the Shostakovich Symphonies with Kondrashin at the Moscow Conservatory, he graduated with Mussin at the St. Petersburg Conservatory with maximum votes, conducting Shostakovich’s fifth symphony. Winner of the RAI Turin competition and Karajan Competition in Berlin, he started his career at the Berlin State Opera “Unter den Linden” as repetiteur and assistant of Otmar Suitner. That experience in a great German opera house with all Wagner and Strauss works gave a decisive turn to his repertoire.
Caetani’s deep experience, now of almost thirty years, in the opera repertoire by Verdi, Mussorgsky and Wagner (including several Ring productions) has influenced his approach to the great works also symphonic works, of the twentieth century (particularly Bartok, the second Viennese school and the French impressionism).
The first opera Caetani conducted at the age of 24, was Eugene Onegin in 1981, when graduating from St. Petersburg’s Conservatory. Since then has Tchaikovsky played an important role in his repertoire. He conducted new productions of Orleanskaya Deva (Joan of Arch) in Strasbourg (first performance in France in 1998), The Queen of Spades with J. Schaaf in Stuttgart, and Nutcracker with the Swiss architect Mario Botta in Zürich. He recently recorded all Tchaikovsky’s Symphonies including Manfred (2008). The Financial Times wrote: “Do we need another set of Tchaikovsky symphonies? Having listened and re-listened to these live recordings, the answer is an emphatic yes. Caetani is not an indulgent Tchaikovskyan... he lets Tchaikovsky speak for himself: the contrapuntal rigour, the emotional tenderness, the occasional hint of hysteria within a classical structure... a treasure at any price”.
After conducting Oedipe by Enescu as his first professional opera performance in 1983, Caetani has endeavoured to conduct the wonderfully original music of Enescu whenever possible. As a result, following his performances of Oedipe as opening of the 2009 Enescu Festival in 2009, he received the legion of honor of the Romanian Republic for performing Enescu’s music around the world.
Caetani has also devoted himself to recording and conducting other less-known composers of the twentieth century such as Mossolov, Pizzetti, Gerhard etc.
Since the studying time, Shostakovich’s music has a central role in his repertoire. Caetani translated the libretto of The Nose in German for his production in Frankfurt in 1991. He conducted the Italian premiere of the operetta Moscow Cheriomushki in 2007 and has conducted many first performances of Shostakovich’s symphonies all over the world as well as recording Italy’s first complete cycle of Shostakovich symphonies with the Verdi Orchestra in Milan. The CDs have won several prizes: 10/10 from Classical Today in USA, ffff Télérama in France and Record Geijutsu in Japan.
Since 1999 Caetani has a particularly close relationship with the Sydney Symphony, the Staatskapelle Dresden, the Maggio Musicale Fiorentino and the Verdi Orchestra and with them he has also toured in South America (2003) and Spain (2009). In April 2008, he conducted the Verdi Orchestra in a concert presented by the Italian President to Pope Benedetto XVI. in the Vatican which was recorded live for Eurovision TV.
In 2001 he made his debut at La Scala, Milan with Turandot, returning there in 2005 to conduct Otello. He opened the 2001 season of the Theatre of the Maggio Musicale Fiorentino with Don Pasquale.
Recent engagements have included Vaughan Williams’ Sir John In Love and Khovanchina at the English National Opera, a company with which Caetani has a particularly close relationship, The Flying Dutchman at the Teatro dell’Opera di Roma, L’enfant et les sortilèges at the Théâtre des Champs-Élysées in Paris, La voix humaine coupled with The Bluebeard Castle and Don Carlos in Köln, Madama Butterfly in Berlin and in London at the ENO etc. He regularly conducts orchestras such as Staatskapelle Dresden, Munich Philharmonic, Symphonieorchester des Bayerischen Rundfunks, Gewandhausorchester, Wiener Symphoniker (with whom he has recorded Poliuto by Donizetti for Emi-Cbs), Orchestre National de Radio France, the RAI National Symphonic Orchestra, l’Accademia di Santa Cecilia, Yomiuri Orchestra, Maggio Musicale Fiorentino, Tchaikovsky Symphony Orchestra of Moscow etc.

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Composer(s)

Giuseppe Verdi

Giuseppe Verdi is viewed as one of the most important, and most popular, opera composers of Italy. Few composers knew how to balance artistic ideals and commericial interersts like him. He was a composer of 'hits', like his 'La donna è mobile' from his opera Rigoletto and his 'Chorus of the Hebrew Slaves' from his opera Nabucco, and he was careful not to have his audience feel bored at any moment. Especially his early works are characterised by strongly propelling, rhytmic power. A common example is his Il Trovatore.  Yet, Verdi was also a composer with ideals. If he would get intrigued by a character, it became his mission to portray to persona as best as he could in the music. This sometimes meant he was forced...
more

Giuseppe Verdi is viewed as one of the most important, and most popular, opera composers of Italy. Few composers knew how to balance artistic ideals and commericial interersts like him. He was a composer of 'hits', like his "La donna è mobile" from his opera Rigoletto and his "Chorus of the Hebrew Slaves" from his opera Nabucco, and he was careful not to have his audience feel bored at any moment. Especially his early works are characterised by strongly propelling, rhytmic power. A common example is his Il Trovatore. Yet, Verdi was also a composer with ideals. If he would get intrigued by a character, it became his mission to portray to persona as best as he could in the music. This sometimes meant he was forced to alter or neglect traditional opera forms, like he did in Rigoletto. He was not afraid to touch on socially sensitive matters, which at times led to issues with the establishment. For instance, his opera La traviata turned out to be a controversial one, due to its courtesan heroine. Verdi never engaged in the intellectual discussions on music of his time. He pretended to be a simple man who felt most at home in the countryside. Nonetheless, with the masterful fugal ending of his last opera Falstaff he undoubtedly showed his intellectual level of composing.


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Press

the eternal heroine of bel canto
Mélomano, 01-11-2014

one of the more collectible tributes to Verdi in his 200th anniversary year
International Record, 10-10-2013

Lucia Aliberti is exactly the right soprano to tap the lyrical power of Verdis vocal writing.  In a well-chosen collection of arias that welcome the filigree puritiy of her voice.  She delivers expressive elements and vocal fireworks as all of a piece.  Often, young Verdi seemed to expect multiple vocal types of within the same aria.  Aliberti suggests that he knew exactely what he was doing, seconded by Oleg Caetani's alert conducting.
Gramophone, 01-10-2013

"With a legato line unblemished by aspirating, the seasoned Bellini specialist Lucia Aliberti is exactly the right soprano to do so in a well-chosen collection of arias that welcomes the filigree purity of her voice but doesn't lead the ear to expect the kind of truck-driver chest voice that Verismo singers bring to Verdi"
Gramophone, 30-9-2013

Geen quote - slechte recensie
www.opusklassiek.nl, 03-9-2013

A special voice, for timbre and color, Aliberti confirms her privileged relationship with early XIXth Century ‘expressive belcanto’. Thanks to an outstanding technique, Aliberti not only manages difficulties, but can also achieves an absorbing performance.
L'opera, 01-9-2013

12 Verdi-heroines.  Excellent Entertainment.  Bold playing, a rich recording.
Radio BBC, 31-8-2013

Lucia Aliberti sings 21 top-notch arias from 12 Verdi operas. This CD is the best Verdi disc to come my way this year and deserves its attractive packaging. With alert accompaniments conducted by Oleg Caetani, Aliberti sings 21 top-notch arias from 12 operas, many of them lesser-known and all showcasing her majestic coloratura.
Financial Times (UK), 13-8-2013

Lucia Aliberti recorded this program five years ago. Alas, even at that time, her voice had to much of an annoying vibrato. However, when she sings with her beautiful mezza voce, one can experience a nice belcanto. In any case, the program of the CD with only arias from young Verdi is interesting enough to recommend this new release. 
pizzicato, 05-8-2013

"Lucia Aliberti recorded this program five years ago. Alas, even at that time, her voice had to much of an annoying vibrato. However, when she sings with her beautiful mezza voce, one can experience a nice belcanto. In any case, the program of the CD with only arias from young Verdi is interesting enough to recommend this new release."
Pizzicato blog , 05-8-2013

More than a fascinating battle, with time, this exemplary composite recital this is also a fascinating final agreement for the fans then.
Luister, 01-8-2013

She shows she is a master in managing her voice, and she sings downright enchanting. 
Luister, 31-7-2013

At her best, she is beguiling.
Sunday Times UK, 28-7-2013

With time this exemplary composite recital, it's also an exciting finale for the fans from then.
Luister, 26-7-2013

It's real fireworks
Akapelle, 01-7-2013

More than just a fascinating fight with time. This Remarkably well put together recital is also a very absorbing final chord for fans from the early years.
Luister, 17-6-2013

The beautiful aria's from opera's as 'Ernani', 'Alzira' and 'I due foscari' deserve a bigger audience. This beautiful recital will certainly contribute to their fame.
Platomania, 07-6-2013

Lucia Aliberti shines on this release by showing the generous attitude of diva, heroine and virtuoso. Besides she reveals her will to forms, her creative imagination, her keen sense of details in phrasing, articulation and colouring, she sings consistently eminent musically and with passionate abandonment.
klassik-heute.de, 07-6-2013

No quote 
Gramophone, 01-12-2012

Eraly Verdi interpreted with maturity
klassik.com, 10-6-2012

Play album Play album
01.
I vespri Siciliani: Mercé, dilette amiche
03:19
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
02.
I masnadieri: Tu del mio Carlo al seno
03:35
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
03.
I masnadieri: Carlo vive?
02:42
Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
04.
Alzira: Da Gusman, su fragil barca
03:57
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
05.
Alzira: Nell’astro che piu fulgido
03:39
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
06.
Attila: Allor che i forti corrono
02:49
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
07.
Attila: Da te questo or m’è concesso
02:35
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
08.
Aroldo: Ah! Dagli scanni eterei
03:02
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
09.
Aroldo: Ah, dal sen di quella tomba
04:07
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
10.
I Lombardi alla prima Crociata: Se vano é il pregare
03:45
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
11.
I Lombardi alla prima Crociata: I vinti sorgono
04:25
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
12.
Giovanna d’Arco: Sempre all’alba ed alla sera
04:19
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
13.
Un giorno di regno: Non san quant’ io nel petto...
04:49
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
14.
Un giorno di regno: Non vo’ quel vecchio
03:09
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
15.
La Battaglia di Legnano : Quante volte come un dono
03:04
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
16.
La Battaglia di Legnano : A frenarti, o cor nel petto
03:42
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
17.
Ernani: Ernani, involami
04:22
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
18.
Ernani: Tutto sprezzo che d’Ernani
03:19
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
19.
I due Foscari: Tu al cui sguardo onnipossente
03:44
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
20.
I due Foscari: O patrizi, tremate
02:36
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
21.
Macbeth: Si colmi il calice
03:02
(Giuseppe Verdi) Lucia Aliberti, Orchestra Sinfonica e Coro Sinfonico Di Milano Giuseppe Verdi
show all tracks

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