Giuseppe Nicolini – Ariette
Ida Fratta e Francesca Schirinzi, soprano – Guido Scano, piano
The goal of this CD is probably to let people know these arias by Nicolini; a work that has a certain value, a value that can’t be understood through this CD.
When the two sopranos sing the words cannot be understood - exception made for a few words. It shouldn’t be so! Many of you may remember the great Jessie Norman. She had a wonderful pronunciation, no matter which was the language of the lyrics because she used to have elocution lessons with teachers that followed her in her training all the time. After all, Ida Fratta has a nice timbre and a good technique - although the high notes are often kept in her throat - but Francesca Schirinzi has a fragile, childish and quivering voice that should be controlled, and in addition her pronunciation is unintelligible.
If the idea was to promote Nicolini’s arias and the two sopranos, well, the mission is unaccomplished.
Guido Scano at the piano is very accurate.
Technically, the CD is remarkable and also very genuine.
Ida Fratta e Francesca Schirinzi, soprano – Guido Scano, piano
The goal of this CD is probably to let people know these arias by Nicolini; a work that has a certain value, a value that can’t be understood through this CD.
When the two sopranos sing the words cannot be understood - exception made for a few words. It shouldn’t be so! Many of you may remember the great Jessie Norman. She had a wonderful pronunciation, no matter which was the language of the lyrics because she used to have elocution lessons with teachers that followed her in her training all the time. After all, Ida Fratta has a nice timbre and a good technique - although the high notes are often kept in her throat - but Francesca Schirinzi has a fragile, childish and quivering voice that should be controlled, and in addition her pronunciation is unintelligible.
If the idea was to promote Nicolini’s arias and the two sopranos, well, the mission is unaccomplished.
Guido Scano at the piano is very accurate.
Technically, the CD is remarkable and also very genuine.
Franz SCHUBERT – Improptus
Chiara Bertoglio, piano
In this CD, we find a collection of the Impromptus Op 90, the posthumous opera 142 and the S565b in E- flat major and in G major revisited by Franz Listz.
Chiara Bertoglio has an impressive track-record, her name may be not as famous as Pogorelic, Pollini or others, but she is only 30 y.o. and the list of orchestras and directors she has worked with, is really impressive.
Despite her young age her recording is mature and there is a certain humanity that is not common at all.
Schubert, here, is very well played. The sound is mellow, meditative; there is virtuosity, dynamics and poetic sensitivity.
M° Bertoglio surely has the technique: her fingering is clear and she uses the pedal in the right way, so that it does not blemish the auditory message.
There are also two Impromptus that have been revised and checked by Listz. Here the virtuosity is more stressed and once again M° Bertoglio performs very well.
Frankly, if I had not seen the CD, I might have mistaken her with a young Pollini performing.
Very interesting the sound of the Impromptus Op.90 played by Chiara, the timing is strict, nervous and she uses the pedal in a peculiar way, different from that used during a concert. Throughout all the record the sensation is that the piano player is having real fun. She is not saying :”listen to me I am so good at it!” but she’s saying: “I am having a great time!”. And when the music stops one wants to say: “ oh, no! Already?”.
The sound of the piano recorded by Mario Lincetto is perfect: rich, big, powerful but natural. I think that they have played the Steinway that Marco has in his recording studio in Preganziol. It is an old Steinway of the 20’s that has a darker sound compared to the sound of other Steinways.
Last but not least, the libretto is very accurate and interesting.
Domenico Pizzamiglio
Translation: Francesca Rubino
Chiara Bertoglio, piano
In this CD, we find a collection of the Impromptus Op 90, the posthumous opera 142 and the S565b in E- flat major and in G major revisited by Franz Listz.
Chiara Bertoglio has an impressive track-record, her name may be not as famous as Pogorelic, Pollini or others, but she is only 30 y.o. and the list of orchestras and directors she has worked with, is really impressive.
Despite her young age her recording is mature and there is a certain humanity that is not common at all.
Schubert, here, is very well played. The sound is mellow, meditative; there is virtuosity, dynamics and poetic sensitivity.
M° Bertoglio surely has the technique: her fingering is clear and she uses the pedal in the right way, so that it does not blemish the auditory message.
There are also two Impromptus that have been revised and checked by Listz. Here the virtuosity is more stressed and once again M° Bertoglio performs very well.
Frankly, if I had not seen the CD, I might have mistaken her with a young Pollini performing.
Very interesting the sound of the Impromptus Op.90 played by Chiara, the timing is strict, nervous and she uses the pedal in a peculiar way, different from that used during a concert. Throughout all the record the sensation is that the piano player is having real fun. She is not saying :”listen to me I am so good at it!” but she’s saying: “I am having a great time!”. And when the music stops one wants to say: “ oh, no! Already?”.
The sound of the piano recorded by Mario Lincetto is perfect: rich, big, powerful but natural. I think that they have played the Steinway that Marco has in his recording studio in Preganziol. It is an old Steinway of the 20’s that has a darker sound compared to the sound of other Steinways.
Last but not least, the libretto is very accurate and interesting.
Domenico Pizzamiglio
Translation: Francesca Rubino