ORFEO International – Catalogue


C 806 102 I

Mirella Freni

Orfeo • 2 CD • 2h 38min

Order No.: C 806 102 I

Excepcional scherzo


G. Puccini: Si, mi chiamano Mimi (from: La Bohème)
G. Puccini: Mimì! (from: La Bohème)
G. Puccini: Marcello. Finalmente! (from: La Bohème)
G. Puccini: D' onde lieta uscì (from: La Bohème)
G. Puccini: Sono andati? Fingevo di dormire (from: La Bohème)
G. Puccini: Sola, perduta, abbandonata (from: Manon Lescaut)
G. Puccini: Fra le tue braccia, amore (from: Manon Lescaut)
G. Verdi: Io vengo a domandar (from: Don Carlo)
G. Verdi: Tu che le vanità ... Francia, nobile suol (from: Don Carlo)
G. Verdi: Dio ti giocondi, o sposo (from: Otello)
G. Verdi: Come in quest'ora bruna (from: Simon Boccanegra)
G. Verdi: Ritorna vincitor (from: Aida)
G. Verdi: La fatal pietra... O terra addio (from: Aida)
P. Tschaikowsky: Und sei's mein Untergang (Act 1: Tatyana, Letter Scene - from: Eugen Onegin op. 024)
P. Tschaikowsky: O! Kak mnye fyazhelo! ... Onegin! Ya togda molozhe (from: Eugen Onegin op. 024)
P. Tschaikowsky: Uzh polnoch blizitsa ... Akh! istomilas ya gorem (Act 3: Lisa - from: Pique Dame)
P. Tschaikowsky: A yesli mne v otvet ... O da, minovali stradanya (from: Pique Dame)
U. Giordano: Loris Ipanoff, oggi lo Czar ... Mia madre, la mia vecchia madre (from: Fedora)
U. Giordano: Vedi, io piango (from: Fedora)


Mirella Freni (Sopran)
Gianni Raimondi (Tenor)
Plácido Domingo (Tenor)
Alberto Rinaldi (Bariton)
Luciano Pavarotti (Tenor)
Orazio Mori (Bariton)
Margarita Guglielmi (Sopran)
Wolfgang Brendel (Bariton)
Peter Dvorsky (Tenor)
Luis Lima (Tenor)
Orchester der Wiener Staatsoper (Orchester)
Herbert von Karajan (Dirigent)
Gárcia Navarro (Dirigent)
Carlos Kleiber (Dirigent)
Giuseppe Sinopoli (Dirigent)
Claudio Abbado (Dirigent)
James Levine (Dirigent)
Hans Graf (Dirigent)
Roberto Abbado (Dirigent)
Seiji Ozawa (Dirigent)
Fabio Luisi (Dirigent)

Mirella Freni

Mirella Freni, Mirella Freni
Mirella Freni
Foto: Foto Fayer
who celebrated her 75th birthday a few weeks ago, is one of the utterly exceptional singers who have emerged from Italy, the home of opera. And unlike those other exceptional talents who crop up every few years (and who, despite their qualities, often disappear again just as quickly), Mirella Freni’s standing is merely heightened by the exceptional length of her career, which was so rich in peaks and free of troughs. That success finds confirmation in the selection of archive recordings on the present CD, chosen from the more than three decades during which Mirella Freni sang at the Vienna State Opera. She began with a sensational debut as Mimì in Puccini’s La Bohème. Within the space of half a year, her Mimì won the public’s heart at both La Scala Milan and in Vienna, each time under Herbert von Karajan. Her Rodolfo at the time was Gianni Raimondi, though the Viennese archives also document her longstanding partnerships with Luciano Pavarotti (under Carlos Kleiber) and Plácido Domingo. It was also with Domingo (under the baton of James Levine) that Mirella Freni repeated at the Vienna State Opera her Salzburg Festival success as Desdemona in Otello. C 806 102 I
C 806 102 I
As with her Mimì, her Elisabetta in Verdi’s Don Carlo under Claudio Abbado in 1989 was astonishing, for her voice had lost none of its freshness in the ten years since singing the role under Karajan. In that same decade, she was thus also able to portray with conviction the youthful roles of Amelia in Verdi’s Simon Boccanegra and of Puccini’s Manon Lescaut. Once again at Pavarotti’s side, this time for a Verdi concert in 1990, her public was inspired by her excerpts from Aïda – an unusual role for her. And at this time she also proved with two Tchaikovsky roles that she was more than just a diva in her mother tongue alone. Neither her Tatyana in Eugene Onegin nor her Lisa in Pique Dame (both under the baton of Seiji Ozawa) can be left out of this “Vienna portrait” of her. Nor can her last role at the Vienna State Opera: in singing the title role of Giordano’s Fedora, she joined the ranks of those singers willing to ensure that operatic rarities may return to grace the stage now and then.

« previous

move to consequent order no.

next »