{"product_id":"un-ballo-in-maschera","title":"Un ballo in maschera, Audio-CD","description":"\u003cp\u003e\u003cb\u003eMarke:\u003c\/b\u003e Freddie De Tommaso\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVariante:\u003c\/b\u003e Audio-CD\u003c\/p\u003e\u003cp\u003e\u003cb\u003eEigenschaften:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePRODUKTBESCHREIBUNGEN   KURZBESCHREIBUNG   Marek Janowski, das Orchestre Philharmonique de Monte-Carlo und der Transylvania State Philharmonic Choir präsentieren Giuseppe Verdis „Un ballo in maschera“ gemeinsam mit einer hochkarätigen Besetzung, angeführt von Freddie De Tommaso (Riccardo), Lester Lynch (Renato) und Saioa Hernández (Amelia). Der Maskenball ist Verdis tragikomisches Meisterwerk, in dem er gekonnt zwischen dem Leichten und dem Tragischen sowie zwischen seinem früheren und seinem reiferen Stil wechselt. Als solches ist es sowohl ein unterhaltsames als auch ein sehr anspruchsvolles Werk. Die drei Solisten sind allesamt erfahrene Verdi-Interpreten, während Janowski diese raffinierte Partitur mit seinem Auge für sinfonische Architektur angeht, was zu einer lebendigen und ausgewogenen Aufführung führt: eine würdige Neudeutung eines Opern-Klassikers.    REZENSION   It’s easy to get bowled over by the Caruso of Tunbridge Wells. For the British-Italian tenor Freddie De Tommaso sings with such passion, warmth and force. He can certainly soar through anything Verdi throws at him, including the role of Riccardo, Count of Warwick and Governor of Boston, in that troubled opera of 1859, “Un ballo in maschera” (“A Masked Ball”).   The results are sonically wonderful, though tinged with more than a touch of the ridiculous. Partly it’s the opera’s fault. For all the dramatic vigour imparted by Verdi, De Tommaso, Saioa Hernandez, Lester Lynch, the Monte Carlo Philharmonic and conductor Marek Janowski, it’s impossible to take the 17th century colonial American setting seriously – a setting only arrived at after censorship demands forced changes in a libretto inspired by Swedish king Gustav III’s assassination in 1792.  The opera’s heavy artifice is further underlined by the antiseptic clarity of Monte Carlo’s Auditorium Rainier III, not the most atmospheric spot for the opera’s cast of lovers and political conspirators. Freed from stage noises or any activity other than singing, everyone hits the microphones head on, apart from the Transylvania State Philharmonic Choir, whose contributions were fed through at a later date from a Romanian radio station. Even when Riccardo lies stabbed and dying, De Tommaso’s decibels remain pretty hefty; while Lynch and Hernandez, cast as the love triangle’s other corners, are permanently at boiling point. De Tommaso’s vocal beauties are undeniable and Verdi’s music can be thrilling, but I wouldn’t pick this recording to demonstrate the opera genre at its most mature. --The Times - 3*\u003c\/p\u003e","brand":"Freddie De Tommaso","offers":[{"title":"Default Title","offer_id":42767954051260,"sku":"B0C3PQLS1L","price":73.0,"currency_code":"CHF","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0311\/4699\/9943\/files\/5a0030f42517c0b40014c832847c0f383ae0760b_BD5899776B.jpg?v=1768314878","url":"https:\/\/techstudio.ch\/products\/un-ballo-in-maschera","provider":"techstudio.ch","version":"1.0","type":"link"}