• ELQ4829637 Katalognummer
  • 028948296378 EAN
  • CD Format
  • 2019 Utgivelsesår

Sciutti, Graziella

Bonynge, Richard | Maazel, Lorin | Quadri, Argeo

Handel, Georg Frideric | Beethoven Ludwig van | Rossini, Gioachino | Donizetti, Gaetano | Bellini, Vincenzo | Mozart, Wolfgang Amadeus

London Symphony Orchestra | Wiener Philharmoniker



Handel, Georg Frideric
1 O s’apre al riso (Act I)
2 Ama, sospira, ma non t’offende
3 Credete al mio dolore

Beethoven Ludwig van
4 Fidelio: O wär’ ich schon mit dir vereint

Rossini, Gioachino
5 Il barbiere di Siviglia: Una voce poco fa

Donizetti, Gaetano
6 La Fille du regiment: Convien parti
7 Don Pasquale: Quel guardo di cavaliere … So anch’io la virtù magica

Bellini, Vincenzo
8 I Capuleti e i Montecchi: Eccomi … Oh! quante volte

Mozart, Wolfgang Amadeus
Così fan tutte, KV 588:
9 In uomini, in soldati
10 Una donna a quindici anni
11 Le nozze di Figaro, KV 492: Giunse alfin il momento … Deh vieni non tardar
12 Chi sà, chi sà qual sia, KV 582
13 Nehmt meinen Dank, KV 383


A cherishable Mozart soprano of the 1950s and 60s, celebrated with the complete reissue of a Decca recital album, newly remastered.

The quality that defined Graziella Sciutti as a singer was lightness – of voice, of bearing and presence on stage. Her vivacious intelligence was no less suited to the Rossini, Bellini and Donizetti roles which began what was remarkably her only operatic recital album, recorded by Decca in Vienna in 1961. There is Rosina (Il barbiere di Siviglia), which marked her debut at Glyndebourne in 1953 and Norina (Don Pasquale), which in Milan saw her unofficially crowned as the ‘Queen of the Piccola Scala’.

As Maria in La figlia del reggimento, she had made her Wexford Festival debut in 1957, at a time when Donizetti’s opera was virtually unknown; the critic of the Musical Times was entirely won over by ‘both the personality and singing of Graziella Sciutti. Her voice and her use of it were a sheer delight. Her acting combined the tomboyishness of Maria’s regimental upbringing with a sprightly, vivacious femininity’.

Nonetheless, it is for Mozart that Sciutti is most affectionately remembered: the director John Copley recalled her as ‘the best Susanna I ever saw’. Her winning and deliciously witty portrayals of both Susanna and Despina were sampled on side B of the Decca recital which concluded with Chi sà, chi sà qual sia, an ‘insertion’ aria written by Mozart for a Figaro revival in Vienna, and the concert aria Nehmt meinen Dank.

Filling out this Eloquence reissue are Marzelline’s aria from the complete Fidelio conducted by Lorin Maazel, and three excerpts from the Alcina, led by Dame Joan Sutherland, in which Sciutti sang the role of the sorceress’s sister, Morgana, with a complete sense of Handelian style as if by second nature.


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