I am less enthusiastic about the other singers, fine though they are. Raimondi hasn't got the low notes, is lugubrious rather than grave and sonorous as Tozzi and Christoff are, and he can't touch the best Padre Guardiano of all in the old Marinuzzi set: Casoni is ordinary, though competent, whereas Verrett is thrilling in the essentially irritating role of Preziosilla. Cappuccilli exhibits his usual superb breath control and long line but lacks the heft and richness of Merrill or, even finer, Bastianini in the live Naples set that also features Franco Corelli.
Elegant and impassioned though Bergonzi is, he cannot match the heroic tone of either Corelli or Del Monaco; you simply require a bigger voice to do justice to Alvaro's anguished utterances and I find him rather careful, especially in his big aria. Callas' set is unmissable for her unique plangency of tone and insight into character but much of the rest of the cast falls short of her standard. So this recording does not shake my alliegiance to the Schippers or the live Molinari-Pradelli set which has fair sound and a dream cast but it's still a very fine version and few purchasers will be disappointed with it, unless, like me, you require something more than "just" the perfection of Arroyo's assumption - after all, this is very much an ensemble opera, dependent on its succcession of wonderful duets, not a star-vehicle for one soprano.
This definitely is one of the best recordings of this opera and I wonder why it is not more popular. The Verdian singing of these artists is exemplary and Gardelli's conducting is inspiring as in most of his recordings. Arroyo is a superb lyrico-spinto soprano and it is a pity she did not record more in studio. She is probably the best Leonora on disc after the unsurpassed Renata Tebaldi. Arroyo has the beautiful firm and strong voice this role needs.
In addition she uses it intelligently and creates an interesting portrait of the sad Leonora. Bergonzi's Alvaro is a perfect match for Arroyo's Leonora. I do prefer a more heroic tenor in this role Corelli or Del Monaco for example but Carlo's elegant phrasing and rare musicianship make him a unique Alvaro. Cappuccilli and Raimondi are perfect for their roles both vocally and dramatically. We really miss such strong and handsome low voices today.
Casoni is said to be the weakest link of the cast; I found her OK although nowhere near the great Barbieri or Simionato. For a more powerful Forza recording, look for the earlier Decca recording with Tebaldi, Del Monaco, Bastiannini, Simionato and Siepi or even better, the legendary live Mitropoulos Forza with a similar cast.
See all 6 reviews. Most recent customer reviews. Published 7 months ago. Published on September 22, There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations. English Choose a language for shopping. Firstly, there are no genuine weaknesses among the singers here; even the smaller roles are superbly cast not unexpectedly if you look at the list of names - and there's a lot of those smaller roles in this opera, where several of them enter in and do their parts at quite crucial moments.
This is, then, no minor feat, and it strongly counts in favor of this set as a top choice. In particular, Agnes Baltsa sings gloriously as Preziosilla in one of those marvelous scenes that really reveals Verdi's genius in act 1. Secondly, there is Rosalind Plowright. Not only is her singing fabulous, but it is so full of character and feeling I can hardly think of any relevant comparison.
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Carreras pales in comparison, but he is to be honest generally very good as well, even though - especially later in the opera - he comes across as seeming a little disinterested. Bruson is as characterful as ever, even though the voice is not as fresh as it once was. Now, what about the orchestral contribution? Well, the Philharmonia orchestra plays excellently, of course, and brings forth all the interesting textures and details one could possibly wish for. I generally like Sinopoli's approach as well - and he is superbly able to complement the singers with pacing and color.
Sometimes the tempi are a little broad and he allows some juxtapositions of atmosphere and tempo that don't always convince me. Yet, the attention he brings to detail and the surging power he whips up from the Philharmonia players more than compensate, I think - I was a little dismayed when hearing the overture, but my worries were never realized in the opera itself. No qualms about the sound quality either, which is immediate and well-balanced. In short, this is a serious contender that really should be heard. Only drawback is that no libretto is included, but it is easy to find online.
One person found this helpful. This is a good recording, no doubt about it, but costumers should be aware of the fact that there is no libretto included, but only a detailed synopsis. La Forza del Destino. La Forza del Destino is my favorite opera of all time, so I probably have listened to every noteworthy release of it many times. As Verdi envisioned, it's truly epic - it has it all, and all is thrown against a backgdrop of war, which is really the force that's chiefly responsible for the curious hand that fate deals its principals. Several arias and duets, along with the famous overture, from this opera have been made famous in various opera gala concerts, but there's nothing like listening to the full thing - a masterwork of the composer's mature years.
Initially, the opera was commissioned for St. Petersburg's premier and there are many amusing photos of Verdi in traditional Russian fur attire. Valery Gergiev recorded that original version with the talented cast of Mariinsky frm Kirov Opera Company, including the wonderful and missed! Galina Gorchakova as Leonora: The subsequent revision is used for virtually all commercial recordings, including this one. Giuseppe Sinopoli was one of the most promising young conductors, whose early death robbed the world of classical music of a major talent.
His conducting can't ever be dismissed as conventional. He liked to emphasize the dramatic thrust without over-indulgence; his musical instincts were always spot-on.
REF DISC NUMBER LABEL CNDN PRICE PERFORMER DESCRIPTION VOCAL
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Manual La forza del destino, Act 3, No. 18, Round. Compagni, sostiamo (Vocal Score)
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You might be a bit confused if you are not familiar with the "Integral" world, but I suspect you'll find something of value anyway. I should probably note that Deida doesn't pretend that what he offers is empirically validated science.
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The Nightingale feat. Overture, Overture, Scherzo and Finale, op. Scherzo, Overture, Scherzo and Finale, op. Finale, Piano Quartet in G minor, op. Allegro, Piano Quartet in G minor, op.
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Intermezzo: Allegro ma non troppo, Piano Quartet in G minor, op.