Search - Vincenzo Bellini, Ettore Gracis, Renata Scotto :: Bellini: La Straniera / Scotto, Signor, Trimarchi

Great music ...

08/20/2002

(5 out of 5 stars)

"Recorded live in Venice January 7 1970 with Renata Scotto (Alaide), Beniamino Prior (Arturo), Domenico Trimarchi (Valdeburgo) and the Orchestra and Chorus of Teatro la Fenice. No libretto with this 2 CD set -- only 6 pages of brief historical notes and synopsis. A lovely, very tuneful, old-fashioned 'melodramatic' opera. If bel canto opera delights you this treasure certainly will. I wasn't disappointed! 5 stars for performances."

A beautiful sample of bel canto!

11/07/2002

(4 out of 5 stars)

"Let me begin my saying the recording was made in 1970,
therefore, not the greatest of quality sound. It is also a live recording which makes it a bit noisy. However, it adds to the excitement of the performance. The singing is first rate. Renata Scotto is at her best. She sings with great flexibility and emotion. All the other singers are also wonderful. This is one of Bellini's forgotten operas but beautifully melodic. If you are a lover of "Bel Canto" this recording should be in your library."

Fine Performance of An Unjustly Neglected Opera

Wayne Leigh | Singapore | 11/18/2007

(4 out of 5 stars)

"La Straniera of 1829 has seen better days in the 19th century. In the last 40 years or so, it has seen sporadic revivals by, amongst others, Scotto, Caballe, Aliberti and Fleming. Aliberti issued the only commercial recording of this opera, which is now out-of-print and sells for nearly $200 on the black market!



Sad to say the work is marred by a ridiculous story line, a problem which afflicts at least half of Bellini's works. Given the expectations of audiences nowadays, it means that the work will never be staple fare in opera houses. Which is a pity. As with most of Bellini's scores, it contains volumes of glorious, unforgettable, music which are the envy of even Verdi and Wagner, and the soul-mate of Chopin. Whatever its faults, La Straniera represents another milestone in Bellini's rebellion against Rossini's stylistic domination of the opera scene in his aim to create his version of music drama. You will find that the music is more coherent than in Il Pirata, and the scenes more taughtly constructed. The conscious reduction of coloratura passages is also obvious (both Donizetti and Verdi are his heirs in this respect). Unlike Rossini, Bellini had always been concerned with the unity of the text and the music.



There are at least 2 pirated performances of Scotto in the market. I have only heard this. She was then still in her prime, and it shows here. The other singers are ok, and her highly charged performance obviously the reason to get this performance.



However, as a reviewer has mentioned, the recording sound leaves something to be desired, there's a strong hiss. In this respect, the Caballe (and lots of her famed pianissimi!) recording may be a better choice.



As for me I cannot do without either. I'm still trying to get hold of the Aliberti version (it is uncut, unlike this or the Caballe) at a decent price. A Youtube shot of her finale is surprisingly impressive..."