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    Rossini: Il barbiere di Siviglia - de los Angeles, Alva, Bruscantini [Gui] [2 CD]

    Posted By: aibdescalzo
    Rossini: Il barbiere di Siviglia - de los Angeles, Alva, Bruscantini [Gui] [2 CD]

    Rossini - Il barbiere di Siviglia [Gui]
    EAC Rip | Classical (opera) | 2 CD | FLAC + CUE + Logs | Full Scans | 632 mb | RS + SM + FS | TT 02:21:11
    Released: 1994 | Label: Emi Classics | Recorded: 09/1962 - EMI Abbey Road Studio No. 1, London

    John Rhys Evans, Victoria de los Angeles, Luigi Alva, Ian Wallace, Carlo Cava, Laura Sarti, Duncan Robertson, Sesto Bruscantini, Harold Williams
    Royal Philharmonic Orchestra, Glyndebourne Festival Chorus, Vittorio Gui (conductor)

    Vittorio Gui and Rossini's "Barber"

    More than any conductor of his generation, Vittorio Gui (1885-1975) helped redeem Rossini's opere buffe in general, and Il barbiere di Siviglia in particular, from the endless alterations and distortions they had undergone for the best part of a century. In an essay "Tradition and Rossini's Barber", which accompanied the present recording when it first appeared in 1963, Gui wrote: "These incrustations ultimately assert themselves under the terrible name of "traditions", frightening young interpreting artists who no longer feel free to search out the secret of those signs under which lies hidden the eternal life of creation".
    Gui's Rossini revolution began in 1925 with a series of now legendary performances of L'italiana in Algeri, staged in a charming semi-private theatre in Turin, with Conchita Supervia in the title role. The revelation of Rossini as an elegant stylist, urbane and classicaly-minded, suited the neo-classical temper of the times. (How Rossini would have relished works like Pulcinella, Apollo, and Jeu de cartes.) "Traditional" Rossini continued to hold sway in opera houses, but the quiet revolution continued with Gui's 1929 revival of Rossini's exquisite late masterpiece the Petite messe solennelle, Supervia's brilliant performances in La Cenerentola, and, in 1942, Gui's historic re-thinking of what he called "the all-too-distorted Barber". The production in Florence's Teatro Comunale starred Gino Bechi as Figaro and Ferruccio Tagliavini as the Count, but it was Gui's first-hand study
    of Rossini's autograph manuscripts in Bologna and Pesaro that gave this production - and Gui's subsequent productions in Palermo, Venice, and, finally, Glyndebourne - their unique authority and appeal.
    With his edition of Il barbiere, Gui anticipated much that was later to find permanent embodiment in the Fondazione Rossini's Critical Edition, edited by Alberto Zedda. Indeed, Gui was considerably irked by what he took to be Zedda's (and Abbado's) discourtesy when a 1971 recording based on the new Critical Edition was written up as a decisive and revelatory break with the bad old traditions of the past. Fences were later mended (Gui left his entire music library to the Fondazione Rossini) but Gui was right to feel that it was he, and not Zedda or Abbado, who had first reclaimed Il barbiere from the musical and theatrical bear-pit.
    The list of things Gui had begun to put right in 1942 is formidable. First, the role of Rosina, written for a mezzo-soprano, had to be reclaimed from bird-brained soubrettes. In fact, as the casting of the delectable Victoria de los Angeles reveals, Gui's essentially classical view of the score left him with a marked preference for a lighter rather than a darker mezzo in this crucial role. In a later essay on the opera, written in 1969, Gui described Rosina as "the perfec example of the joy of living, of youth, love, and aspiration to liberty; she is a rose who opens herself up to the light but who isn't entirely without thorns to protect her against evil". Under Gui, Rosina's cavatina "Una voce poco fa" is restored to the lower key of E major and Rossini's own music is reinstated in the Act 2 singing lesson. (For years ,opranos had turned this into a private recital sequence, with showpieces like Arditi’s Il baccio much in favour.) It was also neccessary for Gui to restore to Dr Bartolo the two superb and musically difficult numbers Rossini had originally provided. Over the years simpler music had made it increasingly easy for stage directors to cast voiceless buffoons in the role of this distinguished pillar of the Seville community. Comparable restraints were put on performers of the role of Don Basilio, a popular role for ham actors of whom (according to Gui) Chaliapin was one of the most offensive. Typically, Gui's Don Basilio, Carlo Cava, is required to sing his "Calumny" aria in the original key of D, where on a rival recording Cava got away with the traditional downward transposition to C. Though Gui permitted some cuts in the recitatives, he very rightly declined to reinstate the Count's lengthy aria at the end of the opera. It was reassigned with Rossini's consent within monyhs of the opera's prima in 1816 and retaining it, as some "authenticists" have done, is pseudo-scholarship of the worst klind.

    Gui also paid great attention to Rossini's original orchestrations, ignoring beefed-up nineteenth-century versions of the overture and preferring, instead, the scoring specified by Rossini in 1815 when the piece had the seccond of its three outings, as overture to Elisabetta, regina d'lnghilterra. Zedda's edition would later refine the orchestral detail even more, and now we have period instruments as well. But Gui's "ear", both as a conductor and as an editor, is second to none. Helped by the refined and stylish playing of Beecham's RPO, and a series of beautifully honed performances by the Glyndebourne principals, his reading turns Il barbiere into an obvious but distinctive sequel to Mozart's Figaro. Rossini himself couldn't - wouldn't - have asked for more.

    Richard Osborne, 1992 (review extracted from the booklet)

    Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

    EAC extraction logfile from 10. July 2010, 23:22

    Rossini, Gioachino 1792 - 1868 / Il barbiere di Siviglia (Disc 1 of 2)

    Used drive : HL-DT-STDVD-ROM GDR8163B Adapter: 0 ID: 1

    Read mode : Secure
    Utilize accurate stream : Yes
    Defeat audio cache : Yes
    Make use of C2 pointers : No

    Read offset correction : 102
    Overread into Lead-In and Lead-Out : No
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : No
    Used interface : Installed external ASPI interface

    Used output format : User Defined Encoder
    Selected bitrate : 768 kBit/s
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    Add ID3 tag : Yes
    Command line compressor : C:\Archivos de programa\Exact Audio Copy\Flac\flac.exe
    Additional command line options : -6 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T comment="%e" -T "comment=EAC (Secure Mode)" %s


    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
    ––––––––––––––––––––––––––––-
    1 | 0:00.33 | 7:33.57 | 33 | 34064
    2 | 7:34.15 | 3:01.53 | 34065 | 47692
    3 | 10:35.68 | 4:20.32 | 47693 | 67224
    4 | 14:56.25 | 1:09.73 | 67225 | 72472
    5 | 16:06.23 | 1:50.22 | 72473 | 80744
    6 | 17:56.45 | 0:28.60 | 80745 | 82904
    7 | 18:25.30 | 4:44.65 | 82905 | 104269
    8 | 23:10.20 | 2:18.60 | 104270 | 114679
    9 | 25:29.05 | 1:32.20 | 114680 | 121599
    10 | 27:01.25 | 2:11.70 | 121600 | 131494
    11 | 29:13.20 | 2:54.03 | 131495 | 144547
    12 | 32:07.23 | 1:11.00 | 144548 | 149872
    13 | 33:18.23 | 8:10.57 | 149873 | 186679
    14 | 41:29.05 | 5:28.43 | 186680 | 211322
    15 | 46:57.48 | 1:15.07 | 211323 | 216954
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    22 | 64:27.15 | 1:29.50 | 290040 | 296764
    23 | 65:56.65 | 5:19.43 | 296765 | 320732


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    Test CRC 7B768DE3
    Copy CRC 7B768DE3
    Copy OK

    No errors occurred


    AccurateRip summary

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    21 track(s) accurately ripped
    2 track(s) not present in the AccurateRip database

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    Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

    EAC extraction logfile from 10. July 2010, 23:45

    Gioachino Rossini / Il Barbiere di Siviglia

    Used drive : HL-DT-STDVD-ROM GDR8163B Adapter: 0 ID: 1

    Read mode : Secure
    Utilize accurate stream : Yes
    Defeat audio cache : Yes
    Make use of C2 pointers : No

    Read offset correction : 102
    Overread into Lead-In and Lead-Out : No
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : No
    Used interface : Installed external ASPI interface

    Used output format : User Defined Encoder
    Selected bitrate : 768 kBit/s
    Quality : High
    Add ID3 tag : Yes
    Command line compressor : C:\Archivos de programa\Exact Audio Copy\Flac\flac.exe
    Additional command line options : -6 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T comment="%e" -T "comment=EAC (Secure Mode)" %s


    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
    ––––––––––––––––––––––––––––-
    1 | 0:00.33 | 0:35.50 | 33 | 2707
    2 | 0:36.08 | 9:03.10 | 2708 | 43442
    3 | 9:39.18 | 3:42.30 | 43443 | 60122
    4 | 13:21.48 | 3:43.55 | 60123 | 76902
    5 | 17:05.28 | 5:02.40 | 76903 | 99592
    6 | 22:07.68 | 0:49.10 | 99593 | 103277
    7 | 22:57.03 | 2:27.05 | 103278 | 114307
    8 | 25:24.08 | 2:08.52 | 114308 | 123959
    9 | 27:32.60 | 0:44.43 | 123960 | 127302
    10 | 28:17.28 | 5:15.22 | 127303 | 150949
    11 | 33:32.50 | 0:37.48 | 150950 | 153772
    12 | 34:10.23 | 1:04.65 | 153773 | 158637
    13 | 35:15.13 | 2:47.07 | 158638 | 171169
    14 | 38:02.20 | 9:58.28 | 171170 | 216047
    15 | 48:00.48 | 0:34.35 | 216048 | 218632
    16 | 48:35.08 | 3:39.57 | 218633 | 235114
    17 | 52:14.65 | 3:01.35 | 235115 | 248724
    18 | 55:16.25 | 2:59.23 | 248725 | 262172
    19 | 58:15.48 | 1:01.20 | 262173 | 266767
    20 | 59:16.68 | 5:58.27 | 266768 | 293644
    21 | 65:15.20 | 1:38.30 | 293645 | 301024
    22 | 66:53.50 | 0:44.20 | 301025 | 304344
    23 | 67:37.70 | 2:18.38 | 304345 | 314732


    Range status and errors

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    Filename C:\Documents and Settings\Administrador\Escritorio\Rossini.Barbiere di Siviglia.Gui\Rossini - Il Barbiere di Siviglia [Gui] - CD 2.wav

    Peak level 97.7 %
    Range quality 100.0 %
    Test CRC D03270D2
    Copy CRC D03270D2
    Copy OK

    No errors occurred


    AccurateRip summary

    Track 1 accurately ripped (confidence 2) [0A0C5DCF]
    Track 2 accurately ripped (confidence 2) [E90641F8]
    Track 3 accurately ripped (confidence 2) [C5AAD314]
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    Track 21 accurately ripped (confidence 2) [96842498]
    Track 22 accurately ripped (confidence 2) [A0670087]
    Track 23 accurately ripped (confidence 2) [C136AB37]

    All tracks accurately ripped

    End of status report


    Disc 1
    1. Ouverture
    2. Piano, pianissimo, senza parlar
    3. Ecco ridente in cielo
    4. Ehi, Fiorello! - Mio signore
    5. Mille grazie, mio signore
    6. Gente indiscreta!
    7. La ran la le ra … Largo al factotum
    8. Ah, che bella vita!
    9. Non è venuto ancora
    10. Le vostre assidue premure
    11. Se il mio nome saper voi bramate
    12. Oh cielo!… Nella stanza convien
    13. All'idea di quel metallo
    14. Una voce poco fa
    15. Sì, sì, la vincerò
    16. Ah, disgraziato Figaro!
    17. Ah! Barbiere d'inferno
    18. La calunnia è un venticello
    19. Ah, che ne dite?
    20. Ma bravi! Ma benone!
    21. Dunque io son
    22. Ora mi sento meglio
    23. A un dottor della mia sorte

    Disc 2
    1. Finora in questa camera
    2. Ehi, di casa, buona gente
    3. Che cosa accadde
    4. Freddo ed immobile
    5. Ma signor…ma in dottor
    6. Ma vedi il mio destino!
    7. Pace e gioia sia con voi
    8. Insomma, mio signore
    9. Venite, signorina
    10. Contro un cor che accende amore
    11. Bella voce! Bravissima!
    12. Quando mi sei vicina
    13. Bravo, signor barbiere
    14. Don Basilio!…Cosa veggo!
    15. Che vecchio sospettoso!
    16. Il vecchiotto cerca moglie
    17. Dunque voi Don Alonso
    18. Temporale
    19. Alfine eccoci qua
    20. Ah, qual colpo inaspettato!
    21. Ah, disgraziati noi!
    22. Insomma io ho tutti i torti
    23. Di sì felice innesto

    Thank you to my dear mother Patricia Rametta and her outstanding opera collection for making this contribution possible.

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    This is an original rip and upload, both made by myself.
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