Composer: Antonio Carlos Gomes
Performer: Coro del Teatro Lirico di Cagliari
Orchestra: Orchestra del Teatro Lirico di Cagliari
Conductor: John Neschling
Audio CD
Number of Discs: 2
Format: FLAC (tracks)
Label: Dynamic
Size: 2.29 GB
Recovery: +3%
Scan: cover
Marco Puggioni (tenor),
Daniele Terenzi (baritone),
Dongho Kim (bass),
Svetla Vassileva (soprano),
Andrea Borghini (baritone),
Massimiliano Pisapia (tenor),
Elisa Balbo (soprano),
Francesco Musinu (bass),
Michelangelo Romero (tenor)
Orchestra del Teatro Lirico di Cagliari, Coro del Teatro Lirico di Cagliari
John Neschling
Lo Schiavo
01. Preludio
Act 1
02. Oggi Imene qui prepara
03. Salute a voi, signor…
04. Una rivolta degli schiavi
05. Segue e sorveglia i passi miei
06. Vittoria!
07. Fermate… Che avvenne mai?
08. In aspra guerra per la mia terra
09. Che dissi io mai!
10. Baciar desìo la tua man
11. Di ribellione autore
12. Ah! Amo l’angelo che Iddio
13. Che vedo! Là…
14. Conservi ognor fedele
15. Ah! Tradimento!
Act 2
16. Piacer! Ecco la cura
17. Conte, voi obliarmi sembrate
18. All’istante partir di qui vorrei
19. Quando nascesti tu
20. Grazie davver, signori
21. Un astro splendido
22. Quegl’infelici or dunque
23. Che vedo? Qui costoro?
24. La fiamma cocente
Act 3
25. Alba dorata del natio mio suol
26. Oh ciel di Parahyba
27. La stella dell’amor
28. Vedi? Son teco!
29. Fragile cor di donna
30. Iberè!
31. Di quale frastuono la selva risuonò!
32. Guerrier prode e fedele
33. Pari alla tigre
Act 4
34. All’erta! All’erta!
35. Uno scampo Iberè si prepara…
36. Sospettano di me
37. Sogni d’amore
38. Ullàa! All’erta!
39. Preludio orchestrale
40. Oh come splendido e bello
41. Come serenamente
42. Ecco l’ombra mia funesta
43. Il temerario vien dal mar
44. Benché le insegne e l’armi
45. Traditor! La giusta vendetta
46. È ver, l’amai nell’iride
47. Olà! Che tardi?
Brazilian composer Antônio Carlos Gomes was among the many musicians who travelled to Italy to master the language and the rules of operatic works. He studied in Milan and succeeded in having a few operas staged at Italian venues, before returning to Brazil where he was hailed as the most famous living national composer. Gomes felt compelled to commit his work to the country’s anti-slave cause, which was still legal practice then.
Lo schiavo was therefore conceived as a politically engaged work. However, the issue was rather volatile and the composer had to change the contemporary time setting to a more distant one. In Brazil the opera was a triumph, but elsewhere it failed to gain popularity and soon fell into oblivion. This recording of the Teatro Lirico di Cagliari’s production documents the opera’s first performance in modern times and reveals Gomes’ flamboyant richness of melodic creativity, his sound grasp of construction, and a technical mastery of the theatrical mechanisms that are always of the highest level.
‘The most popular title of the entire Brazilian repertoire. The most represented and, perhaps, the most loved one.’ – John Neschling, conductor.
‘Davide Garattini Raimondi has provided simple but effective stage direction… Alessandro Verazzi’s lighting provides the right touch for dawns and sunsets in the Brazilian forest… Massimiliano Pisapia has a strong center register and a vivid volume with impressive high Cs… Svetla Vassileva handles her difficult arias quite well.’