Rossini: Ermione (Remastered) Carmen Giannattasio, Patricia Bardon, Paul Nilon, Colin Lee, London Philharmonic Orchestra & David Parry

• Gioachino Rossini (1792 - 1886): Ermione, Act 1:
• 1 Rossini: Ermione, Act 1: "Troia! qual fosti un di!" (Chorus) 08:28
• 2 Rossini: Ermione, Act 1: "Troia! qual fosti un di!" (Andromaca, Cefisa, Attalo, Fenicio, Chorus) 03:45
• 3 Rossini: Ermione, Act 1: "Mia Delizia" (Andromaca) 03:31
• 4 Rossini: Ermione, Act 1: "Io ti perdei!" (Andromaca, Cefisa, Fenicio, Attalo, Chorus) 03:02
• 5 Rossini: Ermione, Act 1: "All'ombra del tuo sposo" (Attalo, Andromaca, Fenicio, Cefisa) 04:33
• 6 Rossini: Ermione, Act 1: "Dall'Oriente" (Cleone, Maidens) 03:05
• 7 Rossini: Ermione, Act 1: "A tante cure, o amiche" (Ermione, Pirro) 02:08
• 8 Rossini: Ermione, Act 1: "Non proseguir! comprendo" (Ermione, Pirro) 04:10
• 9 Rossini: Ermione, Act 1: "Ah! m'odia gia l'ingrato!" (Ermione, Pirro) 02:49
• 10 Rossini: Ermione, Act 1: "Sul lido, di Agamennone" (Chorus, Pirro, Ermione) 03:23
• 11 Rossini: Ermione, Act 1: "Venga il greco orator" (Ermione, Cleone, Pirro) 02:55
• 12 Rossini: Ermione, Act 1: "Reggia abborrita!" (Oreste, Pilade) 06:36
• 13 Rossini: Ermione, Act 1: "Che fia di te, se tal mollezza a Pirro" (Pilade, Oreste) 01:41
• 14 Rossini: Ermione, Act 1: March 00:58
• 15 Rossini: Ermione, Act 1: "Mi guarda, e impallidisce!" (Ermione, Oreste, Pilade, Pirro, Andromaca, Fenicio, Attalo) 03:14
• 16 Rossini: Ermione, Act 1: "Balena il man del figlio" (Pirro) 04:16
• 17 Rossini: Ermione, Act 1: "Deh serena i mesti rai" (Pirro, Ermione) 03:48
• 18 Rossini: Ermione, Act 1: "Non pavento" (Pirro, Ermione, Andromaca, Pilade, Chorus) 02:27
• 19 Rossini: Ermione, Act 1: "Periglioso e il restar" (Pilade, Andromaca, Fenicio) 01:14
• 20 Rossini: Ermione, Act 1: "E pirro ancor di tanti oltraggi ad onta" (Cleone, Ermione, Oreste) 02:44
• 21 Rossini: Ermione, Act 1: "Amarti?" (Ermione, Oreste) 02:10
• 22 Rossini: Ermione, Act 1: "Anime sventurate" (Ermione, Oreste) 02:29
• 23 Rossini: Ermione, Act 1: "Alfin l'eroeda forte" (Chorus) 02:24
• 24 Rossini: Ermione, Act 1: "Dal valor de' detti tuoi" (Pirro, Cleone, Pilade, Fenicio, Andromaca, Cefisa, Attalo, Oreste) 01:58
• 25 Rossini: Ermione, Act 1: "Sperar... Temer... Poss'io?" (Ermione, Pilade, Oreste, Pirro, Andromaca, Cleone, Cefisa, Attalo) 03:08
• 26 Rossini: Ermione, Act 1: "A me Astianatte" (Pirro, Andromaca, Ermione, Oreste, Pilade, Fenicio) 01:29
• 27 Rossini: Ermione, Act 1: "Pirro, deh serbami" (Ermione, Pirro, Cleone, Cefisa, Oreste, Pilade, Attalo, Andromaca, Fenicio, Chorus) 03:45
• Ermione, Act 2:
• 28 Rossini: Ermione, Act 2: "Liete novelle, o Sire!" (Attalo, Pirro, Cleone, Cefisa, Adromaca) 03:53
• 29 Rossini: Ermione, Act 2: "Ombra del caro sposo!" (Andromaca, Pirro) 04:00
• 30 Rossini: Ermione, Act 2: "Vieni a giurar" (Pirro, Andromaca) 03:03
• 31 Rossini: Ermione, Act 2: "Sia compiuto il mio fato" (Andromaca, Ermione, Fenicio, Cleone) 02:34
• 32 Rossini: Ermione, Act 2: "Essa corre al trionfo!" (Ermione) 03:26
• 33 Rossini: Ermione, Act 2: "Ah! voglia il Ciel" (Fenicio, Cleone, Ermione) 01:30
• 34 Rossini: Ermione, Act 2: "Amata, l'amai" (Ermione, Cleone, Chorus) 04:33
• 35 Rossini: Ermione, Act 2: "Un'empia mel rapi!" (Ermione) 01:32
• 36 Rossini: Ermione, Act 2: "Il tuo dolor ci affretta..." (Ermione, Chorus, Oreste, Cleone) 03:45
• 37 Rossini: Ermione, Act 2: "Ah! qual sovrasta a Pirro" (Fenicio, Pilade) 01:21
• 38 Rossini: Ermione, Act 2: "A cosi trista immagine" (Fenicio, Pilade) 02:32
• 39 Rossini: Ermione, Act 2: "Che feci? dove son?" (Ermione) 05:26
• 40 Rossini: Ermione, Act 2: "Vendicata!" (Ermione, Oreste) 01:14
• 41 Rossini: Ermione, Act 2: "Ah! ti rinvenni" (Pilade, Chorus, Ermione, Oreste) 01:50
• Total Runtime 02:06:49

Info for Rossini: Ermione (Remastered)

In den Jahren 1815 bis 1822 konzentrierte sich Gioachino Rossinis Karriere hauptsächlich auf Neapel. Der Dreijahresvertrag am dortigen Teatro San Carlo war sogar Rossinis erste dauerhafte Anstellung an einem großen Theater überhaupt. Hier entstanden Meisterwerke wie Otello (1816), Armida (1817), Mosè in Egitto und Ermione (beide 1819), wobei letztere heutzutage wohl zu den am wenigsten bekannten Opern Rossinis zählen. In Neapel konnte der Komponist unter denkbar besten Bedingungen arbeiten: ein hervorragendes Orchester und Sänger, die als Hauskräfte das beste Ensemble seiner Zeit bildeten. Rossini avancierte zum führenden Komponisten der Opera seria und wagte bald einige Experimente, die u.a. auf kompaktere dramaturgische Lösungen abzielten. Die Ouvertüren kürzt er zu knappen Vorspielen, die nahtlos mit der Introduzione verbunden sind. Im Falle der Ouvertüre zu Ermione bereichert er sie zusätzlich durch überraschende Choreinsätze bei noch geschlossenem Vorhang. Solche und andere Experimente in dieser Oper kamen allerdings bei Publikum gar nicht gut an: Ermione verschwand nach nur einer Vorstellung in der Versenkung. Rossini schätzte sein Schmerzenskind dagegen sehr und prophezeite ihm den Durchbruch nach seinem Tod. Tatsächlich gilt das Werk seit seiner Wiederaufnahme 1987 in Pesaro als Rossinis neapolitanisches Meisterwerk. Die liebevolle Produktion bei OPERA RARA unterstreicht diesen Rang durch eine vorzügliche Einspielung, die dem Werk hoffentlich wieder häufiger den Weg zurück auf die Bühnen der Welt bahnen wird.

"Umso bemerkenswerter, dass die Sänger und allen voran die vier Protagonisten sich nicht nur mit stimmlichem Volleinsatz in ihre Partien hineinknien, sondern auch ihr Menschenmögliches leisten und damit zu überzeugen vermögen. Vor allem Carmen Giannattasio in der Titelpartie. Ihre Stimme verfügt in der Mittellage über eine apart dramatische Grundierung, mit der sie sich dann, immer wieder heldenhaft Schwung nehmend, in die zuweilen stratosphärischen Höhen ihrer Koloraturkaskaden hinaufkatapultiert. Ein veritables Fressen für Melomanen." (FonoForum)

"There's a spaciousness to David parry's conducting and the london Philharmonic Orchestra finds ominous foreboding and sumptuous colours.Add to that some soloists who really bubble with simmering angst,and you have a cery attractive package indeed." (Classic fm)

"This lavishly presented studio recording preceded a festival hall concert and makes as strong case for Rossini's most experimental serious opera." (Sunday Times)

"David Parry expertly leads the LPO through this fine piece as if they had been playing it all their professional lives. Performance **** Recording **** (BBC Music Magazine)

"Purposeful performance of a 19th -century gem." (Gramophone)

Carmen Giannattasio, Sopran (Ermione)
Patricia Bardon, Mezzosopran (Andromaca)
Paul Nilon, Tenor (Pirro)
Colin Lee, Tenor (Oreste)
Bülent Bezdüz, Tenor (Pilade)
Graeme Broadbent, Bass (Fenicio)
Rebecca Bottone, Sopran (Cleone)
Victoria Simmonds, Mezzosopran (Cefisa)
Loic Felix, Tenor (Attalo)
London Philharmonic Orchestra
David Parry, Dirigent

Digitally remastered

David Parry
is acknowledged as an inspirational champion of operatic, concert and symphonic repertoire across a vast range. He has been responsible for the re-appraisal of countless lesser-known compositions in a series of multi-award-winning productions and recordings, featuring some of the world’s finest singers. Engagements in 2011 included Lucia di Lammermoor for Opera Murcia, Il turco in Italia for Garsington Opera, Il barbiere di Siviglia for Staatstheater Stuttgart, Petrushka, Le Spectre de la Rose and Les Sylphides in new productions at Grand Théâtre de Genève, concert appearances with the Philharmonia Orchestra featuring Sir John Tomlinson and Carmen Giannattasio, and recordings with the BBC Symphony Orchestra, including a new recording for Opera Rara of Donizetti’s Caterina Cornaro, a work with which he enjoyed enormous critical and public success at the Concertgebouw Amsterdam in 2010. His much-anticipated recording for Opera Rara of Il pirata, featuring Carmen Giannattasio, has just been released in May 2012.

Significant credits, including the world premiere of Jonathan Dove’s The Adventures of Pinocchio (in separate productions for Opera North and Staatstheater Stuttgart), Der fliegende Holländer (for Portland Opera), Madama Butterfly (in Anthony Minghella’s production for ENO which earned him an Olivier Award), Così fan tutte and the world premiere of Jonathan Dove’s Flight (both for Glyndebourne Festival Opera) and more recently Maria Stuarda (for The Stockholm Royal Opera), are testimony to a maestro of unique versatility, influence and enthusiasm, and have deservedly earned him his place in the operatic history books.

David Parry studied at Cambridge University and the Royal Academy of Music, London. He went on to study conducting with Sergiu Celibidache and began his career at Glyndebourne Festival Opera, later joining Sir John Pritchard as assistant conductor for Glyndebourne Touring Opera and at the Théâtre Royal de la Monnaie in Brussels. His operatic breakthrough came with La Cenerentola for English Music Theatre, which was followed by an invitation to join the Opernhaus Dortmund, before going on to become Resident Conductor at the then newly-formed Opera North. He was Music Director of Opera 80, and in 1992 founding Music Director of Almeida Opera, with whom he gave the world premieres of Nigel Osborne’s Terrible Mouth, Kevin Volans’s The Man who Strides the Wind, Elena Firsova’s The Nightingale and the Rose and Ion by Param Vir. Other significant world premieres have included Stephen Oliver’s Mario and the Magician at the Batignano Festival and Jonathan Dove’s Tobias and the Angel in 2006 and his oratorio There was a Child with the City of Birmingham Symphony Orchestra in 2009, while the UK premiere of Bruno Maderna’s Satiricon for Opera Factory was also presented under his baton.

Highlights of his appearances in the UK have included, for ENO: Le Comte Ory, Don Giovanni, Così fan tutte, The Rape of Lucretia, Ernani, La Vestale, The Turk in Italy and The Barber of Seville; for Opera North: Nabucco, Idomeneo, L’elisir d’amore, Der Zwerg, Pagliacci, and La gazza ladra; for Garsington Opera: La Cenerentola, Don Pasquale, La gazza ladra, Il barbiere di Siviglia, L’equivoco stravagante, Armida and La donna del lago.

Among his numerous international successes feature the Spanish premiere of Peter Grimes, The Rake’s Progress and Jenůfa in Madrid, La Fille du régiment, La traviata and Il barbiere di Siviglia at the Oviedo Festival, Carmen and Les Contes d’Hoffmann in San Sebastian, Nixon in China at the National Theatre of Greece, Jonathan Dove’s Flight at the Nationale Reisopera, Die Zauberflöte for Oper Köln and Don Giovanni at Staatstheater Hannover. Further afield, he conducted Tosca and Die Zauberflöte for the Hong Kong International Festival, Kat’a Kabanova and Fidelio for the New Zealand International Festival and Lucia di Lammermoor for New Israeli Opera, with other significant European credits including Maria Stuarda and La finta giardiniera for Theater Basel. He enjoys a close association with Staatstheater Stuttgart, where, in addition to the second production of Dove’s The Adventures of Pinocchio, he has conducted Don Giovanni, Le Comte Ory, Il barbiere di Siviglia, and Turandot.

David Parry boasts an enviable discography of recordings for Opera Rara, one of the most authoritative and comprehensive of its kind, which has been responsible for the re-evaluation of many re-discovered masterpieces of the bel-canto era, with notable examples including Rossini’s Ermione (winner of the 2011 Gramophone Award for Opera), Donizetti’s Rosmonda d’Inghilterra, L’assedio di Calais, Mercadante’s Orazi e Curiazi and Meyebeer’s Il crociato in Egitto.

In addition, David’s series of classic repertoire for Chandos Records continues to top the best-selling charts in both CD and state-of-the-art digital downloadable format, with particular successes including Fidelio, The Flying Dutchman, Don Pasquale, Tosca, Der Rosenkavalier, La Bohème, Il trovatore, Faust and Carmen.

Booklet for Rossini: Ermione (Remastered)