Despite its title, which means "The Joyful One," La Gioconda is no barrel of laughs; true to the old-fashioned grand operatic tradition in which it was conceived, it feeds on a steady diet of tragedy and disappointment. Fortunately, Ponchielli's score provides many reasons to smile in the form of great arias, duets, ensembles and choruses, and, of course, the "Dance of the Hours," and EMI's 2002 recording, led by Marcello Viotti, captures all of them nicely. Violeta Urmana delivers a beautifully sung, and at times moving ...
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Despite its title, which means "The Joyful One," La Gioconda is no barrel of laughs; true to the old-fashioned grand operatic tradition in which it was conceived, it feeds on a steady diet of tragedy and disappointment. Fortunately, Ponchielli's score provides many reasons to smile in the form of great arias, duets, ensembles and choruses, and, of course, the "Dance of the Hours," and EMI's 2002 recording, led by Marcello Viotti, captures all of them nicely. Violeta Urmana delivers a beautifully sung, and at times moving performance as the title character; her fourth-act "Suicidio!..." is more restrained than some, but this lends honesty to the moment. Plácido Domingo is superb as Prince Enzo, bringing intensity and vocal coloration to the role and rarely betraying his 60-plus years of age at the time of recording. Lado Ataneli's Barnaba is perfectly characterized, and Luciana D'Intino brings a ravishing mezzo soprano to bear on the role of Laura; her voice is the most innately striking on the...
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