Musik / romantik

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Lucia di Lammermoor

Gaetano Donizetti

Indhold

Seneste udgave,

Lucia di Lammermoor (uddrag)(solister: Joan Sutherland og Nadine Sauterau, Choeur de l'Opéra de Paris, Paris Conservatoire Orchestra, dirigent: Nello Santi)

Gaetano Donizetti

Lucia di Lammermoor (uddrag)(solister: Joan Sutherland, Robert Merrill, Cesare Siepi, Rinaldo Pelizzoni og Ana Raquel Satre, Coro dell'Accademia di Santa Cecilia, Roma, Orchestra dell'Accademia di Santa Cecilia, Roma, dirigent: Sir John Pritchard)

Gaetano Donizetti

Emneord

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Minder om

Aida

Giuseppe Verdi

Les contes d'Hoffmann

Jacques Offenbach

Don Juan

Wolfgang Amadeus Mozart

In the beginning

Kira Skov

Kim i cirkus

Kim Larsen (f. 1945)

Guld & grønne skove : Kim Larsens greatest

Kim Larsen (f. 1945)

Le quattro stagione

Antonio Vivaldi

Puccini - love affairs

Giacomo Puccini

Døgnet har 24 timer

Niels Skousen

Anti

Love Shop

Anmeldelser (21)

The gramophone classical music guide

2009

"Sutherland's second commercial recording finds her on great form in one of her signature roles. Pavarotti is a stylish Edgardo and Bonynge is the most sympathetic of conductors".

Operabladet Ascolta

(2009) 28. årgang nr. 3

Henrik Marcussen

(2009) 28. årgang nr. 3

"En attråværdig og mønstergyldig formidling af Lucia di Lammermoor. Sutherland havde dog som 45-årig ikke den samme ungdommelige friskhed, men var derimod vokset med rollen ... Desuden en ung Pavarotti, der brænder igennem med den herligste voluminøse sølverne renfærdige stemmepragt".

BBC music magazine

2011 October

Michael Tanner (musikanmelder)

2011 October

"Everything Dessay does is lovely, but there is a lack of the desparation which should pervade the role ... Still, as post-Maria Callas Lucias go, this is one of the best".

BBC music magazine

2015 January

George Hall (musikanmelder)

2015 January

"Damrau seizes hold of the text and is expressive and imaginative with her vocalism, even if she lacks an ideal richness of tone to quite achieve classic status. She's slightly outgunned by Calleja, whose highly distinctive voice allows him to be ardent and eager; he shapes his lines with firm and sound artistic intentions".

Fono Forum

2015 Januar

Gerhard Persché

2015 Januar

"Jesús López-Cobos ... führt das aus Instrumentalisten bekannter bayerischer Klangkörper zusammengestelltte Münchner Opernorchester und den Münchner Opernchor ... mit sensibler Routine und legt den Solisten den adäquaten Klangteppich".

Jyllands-posten

d. 15. mar. 2004

Politiken

d. 6. mar. 2003

Jyllands-posten

d. 16. dec. 2002

Operabladet Ascolta

(2003) 21. årgang nr. 6

Operabladet Ascolta

(2001) 20. årgang nr. 2

Operabladet Ascolta

(2003) 21. årgang nr. 6

Jyllands-posten

d. 6. maj 2002

Jyllands-posten

d. 26. mar. 2001

Operabladet Ascolta

(2002) 21. årgang nr. 4

Politiken

d. 15. sep. 2002

Jyllands-posten

d. 15. sep. 2009

John Christiansen

d. 15. sep. 2009

"Joan Sutherland var fantastisk som Donizettis Lucia di Lammermoor ... På indspilningen får hun flot følgeskab af Luciano Pavarotti, Sherrill Milnes og Nicolai Ghiarov, mens ægtemanden Richard Bonynge er en yderst kompetent og alt andet end kedelig dirigent".

International record review

2011 September

Roger Pines

2011 September

"Dessay's perforamnces have always offered ample rewards on CD ... Besides Dessay, there's only on other reason to purchase the Mariinsky recording - Piotr Beczala ... his gleaming, immaculate centred tone and unfailing sincerity of address, stands comparison with any other recorded Edgardo".

International record review

2015 February

Hugh Canning

2015 February

"Diana Damrau is the Lucia of choice at most of the world's leading opera houses ... I'm not entirely convinced ... She rarely sound at ease in the music ... Indeed Joseph Calleja strikes me as the main reason for wanting to acquire and revisit this set ... López-Cobos ... leads a not always perfectly co-ordinated performance ... I can't disguise my disappointment here".

The gramophone

2015 January

Mike Ashman

2015 January

"It would be mealy-mouthed to deny the soprano's cool, unflinching note-for-note accuracy. In the Mad scene every high note and every strand of coloratura written or implied ... has been faultlessly planned and rehearsed and is executed likewise ... But our temperatures rarely rise or our pulses beat faster".