• ELQ4825836 Katalognummer
  • 028948258369 EAN
  • 2CD Format

Berganza, Teresa – mezzo-soprano

Pritchard, John | Fischer, György | Gibson, Alexander

Lavilla, Felix – piano

Mozart, Wolfgang Amadeus | Gluck, Christoph Willibald | Pergolesi, Giovanni Battista | Handel, George Frideric | Paisiello, Giovanni | Cherubini, Luigi | Haydn, Franz Joseph

London Symphony Orchestra | Wiener Kammerorchester | Orchestra of the Royal Opera House, Covent Garden



Mozart, Wolfgang Amadeus:
Le nozze di Figaro, KV 492: Non so più cosa son, cosa faccio - Voi che sapete; La clemenza di Tito, KV 621: Parto, ma tu ben mio; Così fan tutte, KV 588: Temerari! Sortite! … Come scoglio! - E amore un ladroncello - Ei parte … Per pietà; Ch’io mi scordi di te, KV 505; Ombra felice … Io te lascio, KV 255; Misero me … Misero pargoletto, KV 77; Giunse alfin il momento … Al desio, di chi t’adora, KV 577; Se ardire, e speranza, KV 82; Conservatevi fedele, KV 23;

Gluck, Christoph Willibald: Orfeo ed Euridice: Che farò senza Euridice? - Che puro ciel, che chiaro sol; Alceste: Divinités du Styx; Paride ed Elena: O del mio dolce ardor;
Pergolesi, Giovanni Battista: La Serva Padrona: Stizzoso, mio Stizzoso;
Handel, George Frideric: Giulio Cesare: Piangerò la sorte mia;
Paisiello, Giovanni: Nina, o sia la Pazza per Amore: Il mio ben quando verrà;
Cherubini, Luigi: Medea: Medea! O Medea! … Solo un pianto;
Haydn, Franz Joseph: Arianna a Naxos – Cantata, Hob.XXVIb:2;


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To complement a 2CD set of Rossini and Spanish song entitled ‘Brava Berganza’ (4826397), Eloquence has also reissued more buried treasure from the Decca discography of Teresa Berganza. The compilation takes its title from a 1961 album made, like the Rossini arias on ‘Brava Berganza’, with Sir Alexander Gibson conducting the orchestra of the Royal Opera House, Covent Garden, where the mezzo-soprano had made a sensational debut the previous year as Rosina in Il barbiere di Siviglia.

These portraits are of both heroines and trouser-role heroes, including Gluck’s Orfeo and Cherubini’s Medea, as well as arias from an earlier generation by Pergolesi and Handel. In all of them may be appreciated her captivating stage presence and a wide-eyed, coltish eagerness of characterisation. Back in London’s Kingsway Hall in 1962, she set down seven Mozart arias with the supple accompaniment of John Pritchard, and graced with sensitive obbligato contributions from Gervase de Peyer (in ‘Parto, parto’ from La clemenza di Tito) and Geoffrey Parsons in the concert-aria Ch’io mi scordi di te. She encompasses with equal success the impetuous ardour of the priapic page in Figaro and the contrasting sisters in Così fan tutte.

Almost twenty years later Berganza recorded more concert arias with undimmed eloquence, intensity and impeccable Mozartian style. The collection is completed by Haydn’s tragic cantata Arianna a Naxos, partnered at the piano in 1977 by her husband and long-standing accompanist Félix Lavilla. Though the interpretation had to wait until 1986 for a first issue, it is distinguished by a classical nobility of style, as well as the dramatically lived feeling for text and for the heroine’s predicament that made Berganza ‘the Carmen of the century’ according to no less than Herbert von Karajan.


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Teresa Berganza – Eighteenth-Century Portraits <span>-</span> Berganza, Teresa – mezzo-soprano Teresa Berganza – Eighteenth-Century Portraits Berganza, Teresa – mezzo-soprano

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