The best Pavarotti recording ever !
If you want to enjoy in Pavarotti’s great talent, don’t look any further. In this great opera Pavarotti shows why he became one of the greatest singers of the 20th century. But to put it this way would be unjust towards all the other musicians that contributed to this fabolous recording. All, without exception, are inspired. Probably thanks to the electrifying presence of Gavazzeni, the gifted although not so famous director. It must be him, I don’t see any other way that every single musician could bring out the best in him or her for this recording. This recording truly deserves EMIs title of “Greatest Recordings of the Century”.
# Composer: Pietro Mascagni
# Performer: Mirella Freni, Luciano Pavarotti, Vincenzo Sardinero
# Orchestra: Royal Opera House Orchestra Covent Garden
# Conductor: Gianandrea Gavazzeni
# Vinyl (1969)
# Number of discs: 2
# Format: Flac
# Label: Angel (EMI)
# DR-Analysis: DR 13
# ASIN: B00004VVZL
# Size: 1.93 GB
# Scan: yes
# Server: FileFactory
O-M-G !!! if you dont’t melt aways and don’t are moved to tears on hearing these beautiful and very young voices of Mirella and Luciano…then you nust be dead. Oh my friends…what a lovely, great and beautiful performance. Since I love Pavarotti, my motto is: BUY EVERYTHING YOU CAN FIND OF PAVAROTTI, from the time of 1968 to 1980
This recording is absolutely perfect. A young Pavarotti & Freni just breathe the blossoms of spring into a very happy opera (no one dies!!) The music is youthful romance captured. There is some heartache and the aria “Non mi resta” is really heart-wrenching. There is so much good music here too. From the first act aria “Son pochi fiori” to the “Cherry Duet” and the scene “Facea si Vecchio Abramo” and the final love duet. Which I feel is as passionate & fulfilling as the Verdi love duet from “Un Ballo” because of the feeling that despite obstacles, once love has finally come, it is a feeling of unsurpassed joy. Don’t pass on this opera. One day this will be out of print & you’ll wish you’d gotten the best possible recording of it.
Apart from Cavalleria, L’amico Fritz is Mascagni’s most well-known works, even though the distance between them in terms of popularity is immense. One striking thing about Mascagni is how he renewed himself from opera to opera – there is nothing in his career of writing the same work multiple times over (maybe that contributed to making his other works less well known; that audiences really wanted another Cavalleria rather than something else) – and many of his later works are musically on par with his most famous work. Sometimes they are undermined by libretti of questionable quality, however, and this is certainly the case for L’amico Fritz. I have seen worse libretti than this one, true, but the story is very, very slender; Fritz is put out by the idea of the girl Suzel marrying someone else, although the supposed marriage is a ploy devised by Fritz’s friends (well-intended). The whole thing ends happily. And that’s it. Interestingly, there are no antagonists in the story. Everyone is good-natured, benevolent and happy. Nice enough, but a difficult premise to bring off for an opera written (generally) in the verismo style.
But the music is often gorgeous, and there is a multitude of memorable, strong themes, excellently put together and magnificently orchestrated. The vocal lines are as masterly as you could wish for, and Mascagni’s has an uncanny ability to develop stirring climaxes and writing heartachingly poignant melodies that effortlessly and seamlessly flows into the next beautiful scene. The principal singers are glorious – Mirella Freni is pure and fresh and warm, always touching but never overdoing the sentimentality, strong, but beautiful; and Pavarotti is at his substantial best; a truly magnificent couple.
Freni and Pavarotti steal this work, and the singing here is overall `superb’. So is the Chorus and Orchestra of the Royal Opera House, Covent Garden, directed with a sure hand by Gianandrea Gavazzeni – and how wonderfully they realize Mascagni’s almost breath-taking textures and the work’s almost spring-like, blooming spirit and colors. The sound quality is excellent, and overall this set is very strongly recommended.
Analyzed folder: /96kMas_AmFr/96k Mascagni – L’Amico Fritz
DR Peak RMS Filename
DR13 -0.80 dB -19.10 dB sideA.wav
DR13 -0.55 dB -19.41 dB sideB.wav
DR13 -0.42 dB -18.60 dB sideC.wav
DR13 -0.76 dB -19.03 dB sideD.wav
Number of files: 4
Official DR value: DR13
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
TT: Clearaudio Champion Level II
- Cartridge: Sumiko Black Bird
Cartridge: Ortofon Virtus Cartridge: Audio Technica AT 33 E MC
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Vintage (1979) Luxman L-55A
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 0.7 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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