Rate Points :5.0
Binding :Audio CD
Label :EMI Classics
Manufacturer :EMI Classics
ProductGroup :Music
Studio :EMI Classics
Publisher :EMI Classics
UPC :724357590921
EAN :0724357590921
Price :$16.98USD
Lowest Price :$10.59USD
Rating Point :5 Helpful Point :5
Im a casual opera fan and I admit that until a few days ago I didnt even know who Mirella Freni was. Then a friend, whose taste I respect mentioned that an Italian lady named Freni was the second greatest Violetta hed ever heard. He went into raptures and I decided that I had to hear this woman. This morning I bought the CD, put it in my player and was astounded and delighted to hear one of the sweetest voices I have ever heard in my life. Mirella Frenis singing is simply beautiful.
A great voice and a great lady!
Rating Point :5 Helpful Point :3
Mirella Frenis singing even today when shes over sixty still teaches all the young sopranos a lesson how a voice can be preserved. Her singing is lovely, creamy and colourful. Shes by far my favourite Liu and part of the Mimi-Triumvirate: Victoria de los Angeles, Maria Callas and Mirella Freni. Her first Mimi with Nicolai Gedda was a revelation, the complete set is a must for ever Puccini-Lover. And despite its not being idiomatic and her poor French her Juliette is riveting and lovely. But my favourite Freni-role will always be Elisabetta in Verdis "Don Carlo" which she sang to perfection on a live-recording from La Scala (Abbado) featuring Carreras, Ghiaurov, Obraszowa etc. etc. An amazing set for those who want to know why Mirella is still adored today!
What a wonderful voice!
Rating Point :5 Helpful Point :1
I first heard Mirella Freni singing at a movie theater in downtown Peoria, Illinois in the mid-1960s it was a theatrical version of "La Boheme," with Nicolai Gedda singing the tenor role on screen. I was enchanted! Ms. Freni was born in 1935 and made her debut in her home town in 1955 (according to the notes accompanying the two CD set). Her singing cuts across a number of styles--from Mozart to Gounod to Puccini and Verdi, with a stopover with Bellini and Donizetti. She chose her roles carefully, to preserve her voice. Results are most satisfying!
Some cuts well depict her singing.
"Si mi chiamano Mimi": This hallmark aria from "La Boheme" captures her vocal skills well. She exhibits a lovely voice and suits Mimi beautifully. She catches the pathos--and hope--of the character. This rendition is smoothly sung, with no problems as she moves from one register to another.
"Addio. . .Dionde lieta usci": This affecting work from Scene III of "La Boheme" is ravishingly and poignantly sung. Her voice is lush and free of affectation.
"Un bel di": From "Madame Butterfly," she essays this famous aria. Well rendered. Her voice suits Puccini nicely. Again, smooth progression from one register to another.
"O rendetemi la speme. . .Qui la voce. . .Vien diletto": I had never thought of Freni as singing the bel canto repertoire, but she does a nice take of this redoubtable coloratura piece. The early aria is well sung. Just so, "Qui la voce." Her effort at "Vien diletto," the wonderful cabaletta, is wonderfully musical. There is some ornamentation, but no trills or other tools of the standard coloratura repertoire. If ytou want the "real deal" coloratura version, listen to Joan Sutherland or Sumi Jo. Nonetheless, a touching version.
"E strano. . .Ah! fors e lui. . .Sempre libera": A well sung version from Verdis "La Traviata." There are many approaches to this piece--from Sutherlands heavily coloratura version to Scottos and Moffos more musical, more character-rich versions. Freni tends more to the latter than the former and compares well with both.
In fine, a nice 2 CD set that well shows off Mirella Frenis work. Anyone interested in this fine sopranos corpus would be well advised to take a listen!
A Superstar To Remember
Rating Point :5 Helpful Point :5
I fell in love with opera because of Mirella Freni. I heard her sing Mimi to Pavarottis Rodolfo in La Boheme about 30 years ago. Hearing this CD was like seeing a long-lost love, and appreciating them even more this time around.
Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...DOnde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.
But wait, theres more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne mepouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.
There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didnt sing the Countess role in Figaro, she sang Susanna! OK, so lets just say her voice was on the light end of the lyric fach. If thats the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesnt it?
In the end, it doesnt matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.
Highly recommended.
My growing affection
Rating Point :5 Helpful Point :7
Freni is a soprano I didnt much care for in the past. For some reason I took her for granted and didnt listen to her records a lot. However, in search for an lyric soprano with ample coloratura to tackle bel canto roles as well, Freni was one of the few I could think of who had the qualities I was looking for unmistakeable Italian phrasing and musicality, a firm middle register with an easy top and a sweet timbre.
This new release is a great introduction to her big recording legacy. She didnt possess the largest instrument but her technique and wise choices allowed her to expand her repertoire in many areas. The lyrical roles such as Zerlina, Mimi, Liu suit her the best but notice how a more florid part like Norina in Don Pasquale or even the more demanding Puritani Elvira benefits from her firm lyric sound. She avoids the highest notes and if needed sings them carefully but everything is so charmingly sung that a single note cannot ruin the whole. Sincere classical singing does not lie in a single note. Even without the large voice these roles need, she handles the heavy Verdi parts impressively. "O patria mia" and especially Desdemonas scene are magnificient.
This collection has increased my admiration for this wonderful artist. If all the sopranos were flowers in a garden, Freni would be a lovely daisy.
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