đ Up to 70% Off Selected ItemsShop Sale
No images
Ferrucio Furlanetto Sings Mozart / Marin, Vienna So
Here is a private portrait gallery for Ferruccio Furlanetto: all his Mozart roles rising up and meeting him in person and showing, in close focus, the quick intelligence and versatility of this bass-baritone. Here are Sarastro's "heil'gen Hallen" and Bartolo's "vendetta": here is Papageno's "Vögelffinger"and Leporello's catalogue. Here, too, is a rare outing for Guglielmo's "Rivolgete a lui lo sguardo", as well as the more predictable "Donne mie, la fate a tanti" with opportunity aplenty for Figaro to voice not dissimilar sentiments.
To Figaro first, then. "Se vuol ballare" introduces both the full-bodied headiness of Furlanetto's voice, here turned to heavy irony, and his verbal acuity in the stinging rhyming gerundives of his anger against the Count. Such rage is sharpened by anguish in the energy of his "Tutto e disposto", mollified by mischief in his lightlyhandled "Non più', andrai".
With the Count's wig on, Furlanetto presents, by softening and darkening the voice, a contrasting tint of realization and affront. His voice is perhaps a little heavy for this role, but he finds its hauteur as convincingly as the rude spitting rage of a Masetto. Furlanetto has the range and true depth of Sarastro's "heil'gen Hallen", and by skilfully lightening the line within its ponderous tread, makes each stanza truly melodic. He is a broadly smiling Natural Man, too, for Papageno. His feet are rhythmically firm on the ground when introducing himself, yet his imagination can make him a passionate enough lover in "Ein Mddchen oder Weibchen". There is a nice moment of hushed anticipation hanging over the word "Elysium", and more than one sob in the voice.
As Leporello, too, he enjoys anticipated love, if only vicariously, in a catalogue song which moves mercurially from the snapping rhythm of its short lines to the elision of imagined seduction. The accompaniment of the Vienna Symphony Orchestra under Ion Mann is lively, serviceable and unremarkable throughout.
-- Gramophone [3/1992]
To Figaro first, then. "Se vuol ballare" introduces both the full-bodied headiness of Furlanetto's voice, here turned to heavy irony, and his verbal acuity in the stinging rhyming gerundives of his anger against the Count. Such rage is sharpened by anguish in the energy of his "Tutto e disposto", mollified by mischief in his lightlyhandled "Non più', andrai".
With the Count's wig on, Furlanetto presents, by softening and darkening the voice, a contrasting tint of realization and affront. His voice is perhaps a little heavy for this role, but he finds its hauteur as convincingly as the rude spitting rage of a Masetto. Furlanetto has the range and true depth of Sarastro's "heil'gen Hallen", and by skilfully lightening the line within its ponderous tread, makes each stanza truly melodic. He is a broadly smiling Natural Man, too, for Papageno. His feet are rhythmically firm on the ground when introducing himself, yet his imagination can make him a passionate enough lover in "Ein Mddchen oder Weibchen". There is a nice moment of hushed anticipation hanging over the word "Elysium", and more than one sob in the voice.
As Leporello, too, he enjoys anticipated love, if only vicariously, in a catalogue song which moves mercurially from the snapping rhythm of its short lines to the elision of imagined seduction. The accompaniment of the Vienna Symphony Orchestra under Ion Mann is lively, serviceable and unremarkable throughout.
-- Gramophone [3/1992]
Here is a private portrait gallery for Ferruccio Furlanetto: all his Mozart roles rising up and meeting him in person and showing, in close focus, the quick intelligence and versatility of this bass-baritone. Here are Sarastro's "heil'gen Hallen" and Bartolo's "vendetta": here is Papageno's "Vögelffinger"and Leporello's catalogue. Here, too, is a rare outing for Guglielmo's "Rivolgete a lui lo sguardo", as well as the more predictable "Donne mie, la fate a tanti" with opportunity aplenty for Figaro to voice not dissimilar sentiments.
To Figaro first, then. "Se vuol ballare" introduces both the full-bodied headiness of Furlanetto's voice, here turned to heavy irony, and his verbal acuity in the stinging rhyming gerundives of his anger against the Count. Such rage is sharpened by anguish in the energy of his "Tutto e disposto", mollified by mischief in his lightlyhandled "Non più', andrai".
With the Count's wig on, Furlanetto presents, by softening and darkening the voice, a contrasting tint of realization and affront. His voice is perhaps a little heavy for this role, but he finds its hauteur as convincingly as the rude spitting rage of a Masetto. Furlanetto has the range and true depth of Sarastro's "heil'gen Hallen", and by skilfully lightening the line within its ponderous tread, makes each stanza truly melodic. He is a broadly smiling Natural Man, too, for Papageno. His feet are rhythmically firm on the ground when introducing himself, yet his imagination can make him a passionate enough lover in "Ein Mddchen oder Weibchen". There is a nice moment of hushed anticipation hanging over the word "Elysium", and more than one sob in the voice.
As Leporello, too, he enjoys anticipated love, if only vicariously, in a catalogue song which moves mercurially from the snapping rhythm of its short lines to the elision of imagined seduction. The accompaniment of the Vienna Symphony Orchestra under Ion Mann is lively, serviceable and unremarkable throughout.
-- Gramophone [3/1992]
To Figaro first, then. "Se vuol ballare" introduces both the full-bodied headiness of Furlanetto's voice, here turned to heavy irony, and his verbal acuity in the stinging rhyming gerundives of his anger against the Count. Such rage is sharpened by anguish in the energy of his "Tutto e disposto", mollified by mischief in his lightlyhandled "Non più', andrai".
With the Count's wig on, Furlanetto presents, by softening and darkening the voice, a contrasting tint of realization and affront. His voice is perhaps a little heavy for this role, but he finds its hauteur as convincingly as the rude spitting rage of a Masetto. Furlanetto has the range and true depth of Sarastro's "heil'gen Hallen", and by skilfully lightening the line within its ponderous tread, makes each stanza truly melodic. He is a broadly smiling Natural Man, too, for Papageno. His feet are rhythmically firm on the ground when introducing himself, yet his imagination can make him a passionate enough lover in "Ein Mddchen oder Weibchen". There is a nice moment of hushed anticipation hanging over the word "Elysium", and more than one sob in the voice.
As Leporello, too, he enjoys anticipated love, if only vicariously, in a catalogue song which moves mercurially from the snapping rhythm of its short lines to the elision of imagined seduction. The accompaniment of the Vienna Symphony Orchestra under Ion Mann is lively, serviceable and unremarkable throughout.
-- Gramophone [3/1992]
$4.90
Original: $13.99
-65%Ferrucio Furlanetto Sings Mozart / Marin, Vienna Soâ
$13.99
$4.90Description
Here is a private portrait gallery for Ferruccio Furlanetto: all his Mozart roles rising up and meeting him in person and showing, in close focus, the quick intelligence and versatility of this bass-baritone. Here are Sarastro's "heil'gen Hallen" and Bartolo's "vendetta": here is Papageno's "Vögelffinger"and Leporello's catalogue. Here, too, is a rare outing for Guglielmo's "Rivolgete a lui lo sguardo", as well as the more predictable "Donne mie, la fate a tanti" with opportunity aplenty for Figaro to voice not dissimilar sentiments.
To Figaro first, then. "Se vuol ballare" introduces both the full-bodied headiness of Furlanetto's voice, here turned to heavy irony, and his verbal acuity in the stinging rhyming gerundives of his anger against the Count. Such rage is sharpened by anguish in the energy of his "Tutto e disposto", mollified by mischief in his lightlyhandled "Non più', andrai".
With the Count's wig on, Furlanetto presents, by softening and darkening the voice, a contrasting tint of realization and affront. His voice is perhaps a little heavy for this role, but he finds its hauteur as convincingly as the rude spitting rage of a Masetto. Furlanetto has the range and true depth of Sarastro's "heil'gen Hallen", and by skilfully lightening the line within its ponderous tread, makes each stanza truly melodic. He is a broadly smiling Natural Man, too, for Papageno. His feet are rhythmically firm on the ground when introducing himself, yet his imagination can make him a passionate enough lover in "Ein Mddchen oder Weibchen". There is a nice moment of hushed anticipation hanging over the word "Elysium", and more than one sob in the voice.
As Leporello, too, he enjoys anticipated love, if only vicariously, in a catalogue song which moves mercurially from the snapping rhythm of its short lines to the elision of imagined seduction. The accompaniment of the Vienna Symphony Orchestra under Ion Mann is lively, serviceable and unremarkable throughout.
-- Gramophone [3/1992]
To Figaro first, then. "Se vuol ballare" introduces both the full-bodied headiness of Furlanetto's voice, here turned to heavy irony, and his verbal acuity in the stinging rhyming gerundives of his anger against the Count. Such rage is sharpened by anguish in the energy of his "Tutto e disposto", mollified by mischief in his lightlyhandled "Non più', andrai".
With the Count's wig on, Furlanetto presents, by softening and darkening the voice, a contrasting tint of realization and affront. His voice is perhaps a little heavy for this role, but he finds its hauteur as convincingly as the rude spitting rage of a Masetto. Furlanetto has the range and true depth of Sarastro's "heil'gen Hallen", and by skilfully lightening the line within its ponderous tread, makes each stanza truly melodic. He is a broadly smiling Natural Man, too, for Papageno. His feet are rhythmically firm on the ground when introducing himself, yet his imagination can make him a passionate enough lover in "Ein Mddchen oder Weibchen". There is a nice moment of hushed anticipation hanging over the word "Elysium", and more than one sob in the voice.
As Leporello, too, he enjoys anticipated love, if only vicariously, in a catalogue song which moves mercurially from the snapping rhythm of its short lines to the elision of imagined seduction. The accompaniment of the Vienna Symphony Orchestra under Ion Mann is lively, serviceable and unremarkable throughout.
-- Gramophone [3/1992]
