This set is what early music or baroque opera purists might call politically incorrect. The orchestra at Venice's La Fenice is too big, the playing is Romantic, with plenty of rubato and not crisp, and very few of the sing... more »ers get through the music as Handel wrote it or embellish it the way he wished. But it does feature Joan Sutherland at her most amazing. Her huge voice, pure tone, impeccable technique, seamless legato, and glorious ease are the definition of bel canto. London/Decca recorded her in the role, with a much better cast, in 1963, but that set is currently unavailable. While this two-CD release is not ideal, it does present Alcina in much of its loveliness. --Robert Levine« less
This set is what early music or baroque opera purists might call politically incorrect. The orchestra at Venice's La Fenice is too big, the playing is Romantic, with plenty of rubato and not crisp, and very few of the singers get through the music as Handel wrote it or embellish it the way he wished. But it does feature Joan Sutherland at her most amazing. Her huge voice, pure tone, impeccable technique, seamless legato, and glorious ease are the definition of bel canto. London/Decca recorded her in the role, with a much better cast, in 1963, but that set is currently unavailable. While this two-CD release is not ideal, it does present Alcina in much of its loveliness. --Robert Levine
"The Italians dubbed Dame Joan as La Stupenda after her incredible performance of this obscure opera. Of La Stupenda, this was what the legendary director Franco Zefferelli had to say.."she was stunning, sensational..." He went on to say that she was perhaps the phenomenal singer of our time. Absolutely, Sutherland's voice was the wonder of the operatic world, huge in size( especially the top notes ), bell-like tone quality, and a complete mastery of all colortura demands. Especially incredible were Dame Joan's lightning fast staccato and perfect trill. We are fortunate to have many of her great performance preserve in numerous recordings, LIVE and in the recording studio. As for Alcina as an opera, of course it gave Joan a great vehicle to show off her amazing technique and glorious voice. But the music is very beautiful, with many memorable arias and ensembles. The sound in this recording, however, is not too good. But it's all we have until Decca re-release Dame Joan's 1963 studio recording of this lovely Grand Opera."
Most beautiful voice of our time.
11/30/1998
(5 out of 5 stars)
"If you want to hear the most beautiful, pure tone of a soprano's voice in a recording, you must buy this set. Sutherland's voice is huge, clear as a bell, and coloratura unmatched. This opera contain many lovely music, and the supporting cast is impressive indeed."
Astoundingly gorgeous tone
03/05/2001
(5 out of 5 stars)
"Joan Sutherland at this stage of her career had the most beautiful voice in the world, and the most amazing technique that existed. Listen to this and be blown away by the "Voice of the Century". Every aria takes your breath away. This is supreme."
Stupendous
John Cragg | Delta(greater Vancouver), B.C Canada | 06/20/2000
(4 out of 5 stars)
"The major attraction of this recording is Joan Sutherland, demonstrating the huge voice and stunning technique that helped launch her into the soprano stratosphere. It has all her hallmark features -- amazing precision as well as beauty and an almost total absense of consonants. (It is no wonder that even in somewhat reformed times Sutherland was one of the earliest champions of surtitles!) Sometimes in that period she is criticised for being rather "moony", but I don't see it here. Glorious singing, even though without intelligible words. (But how many times can you really make out the words in opera?)The second feature of this recording is that it is straight-forward, unashamed mid-20th century performance, confident in its way of approaching the work, untainted by period-performance considerations let alone having original instruments. As such, it is an interesting and valid interpretation, quite different from what one now gets.The work has been severely cut -- one whole character disappears and it all fits comfortably on two disks, even with the provision of an "encore" from Samson.The rest of the cast is quite good with the exception of the overly loud and strident bass Plinio Calabassi. Monica Sinclair handles the trouser role of Ruggiero well. Her voice is not as contrasted with Sutherland's as one might expect, and her technique is in a different, but still pleasing, league. The tenor, Nicola Monti also sings delightfully. Since there is little ensemble work, the contrast in ability between Sutherland and the others is not as jarring as one might expect. Nicola Rescigno has things well under control, and moving along effectively, as conductor.There are two disadvantages to this set, in addition to the cuts. First, the sound is often problematic. This is a one-shot live recording from 40 years ago from La Fenice. It is not what we would now expect, but the poor quality only marginally reduces the enjoyment of listening. Second, there is no libretto. There is, however, a useful booklet, concentrating on the occasion of this production and telling about the singers. There is a track index as well, giving the leading few words in Italian and English, mainly useful for listing who is singing.Overall, this is an enjoyable recording, serving as a nice contrast to the recent Christie recording."
Oh, my a 12 yo basher? That's ridiculous.
angel | Chicago, ill | 07/30/2003
(5 out of 5 stars)
"Alcina sung in Venice earn sutheland the title "La Stupenda" Never, ever does Italian audiences ever do that for a foreign prima donna. But the singing is sublime. Sutherland with a voice of a trumpet and the agility of a flute. The Venetians have never heard anything like it. And they blocked La Stupenda from leaving the theater for 10 hours. And when she showed up at an restaurent, the entire place stood up for a prolonged ovation. That is the state of voice Sutherland was here, 1960. At that stage of her life, her voice is not only gorgeous, but superhuman in its agility. You can't let this one slip by you."
Track Listings (28) - Disc #1
