Label: BONGIOVANNI 2175/6
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IL TUTORE BURLATO, S.F. 1994: PETERS; LIPPI; PALACIO, ETC. ( 2CD )

Label: BONGIOVANNI 2447/8
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Jules Massenet (1842-1912): Marie-Magdelene (1873)

ARTISTS: Denia Mazzola Gavzzeni, soprano – Méryem, la Magdalene; Laura Brioli, mezzo-soprano – Marthe; Giuseppe Veneziano, tenor – Jesus of Nazareth; Corrado Cappitta, baritone; Judas Iscariot
Orchestra Ab Harmoniae; Coro Ab Harmoniae; Danielle Agiman, conductor
(2 CD)

Label: BONGIOVANNI 2523
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LEYLA GENCER - PARIS RECITAL: Arias from Maria Stuarda; Fausta; Medea In Corinto; Alcina; Caterina Cornaro; L'Olimpiade; La Vestale; Saffo; etc.; Leyla Gencer; Vincenzo Scalera, piano. (Live recording, 5 October 1981, Theatre de l'Athens, Paris)

Label: BONGIOVANNI 2528
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NATALIA MARGARIT - RARE OPERATIC ARIAS; Rare Operatic Arias from Ruy Blas; Il Guarany; Edgar; Zaza; Boheme; Zingari; Chatterton; Maruzza. Natalia Margarit, soprano; Orchestra Sinfonica Moldava/ Silvano Frontalini.

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LUIGI DENZA: Occhi di fata; AUGUSTO ROTOLI: Mia sposa sarà la mia bandiera; ERNESTO DE CURTIS: Non ti scordar di me, Ti voglio tanto bene; Tu ca nun chiagne; STANISLAO GASTLADON: Musica proibita; EDUARDO DI CAPUA: I' te vurria vasa'; FRANCESCO PAOLO TOSTI: A’ vucchella, Sogno, Non t'amo più , Ideale, Serenata, L'ultima canzone; SALVATORE CARDILLO: Core 'ngrato; ERNESTO TAGLIAFERRI: Piscatore 'e Pusilleco; ENZO FUSCO: Dicitencello vuje; RICHARD RODGERS: Some enchanted evening; CLAUDE MICHEL SCHOENBERG: Bring him home; HENRY MANCINI: Moon River; JEROME KERN: Old man river; Deep river (negro spiritual)

Carlo Colombara, bass; Richard Barker, piano

Label: BONGIOVANNI 5063
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CONCERTI GROSSI, OP. 7; CAMERATA ANXANUM

Label: BONGIOVANNI 5086
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FIAMMA AMOROSA ET BELLA; Marchetto Cara at the Court of Isabella d'Este; Arias and Motets. Consort Veneto: Bianca Simone, voce; Gianpaolo , flauto dolce, soprano, contralto tenore e basso; Giovanni Toffano, flauto dolce contralto, tenore e basso; Paolo Tognon, dulciana; Cristiano Contadin, viola da gamba; Pierluigi Polato, liuto, liuto grosso, cetra.

Label: BONGIOVANNI 5097
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FRANCO MANNINO – PIANO WORKS
Elaborazione pianistica del Valzer da Il Gattopardo di G. Verdi (1999)
Incantesimo (op. extra, 1999)
Dediche (op. 510 – 548)

Marco Sollini, piano

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CONCERTI GROSSI, OP. 1; KAUNAS CH. ORCH./FRONTALINI ( 2CD )

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ROMANTIC MUSIC FOR FLUTE & GUITAR; G. PETRUCCI, FLUTE; A DE ROSE.

Label: BONGIOVANNI MID 1203
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UMBERTO GIORDANO (1867 – 1948): Andrea Chenier: “Colpito qui m’avete... Un dì all’azzurro spazio”; “Credo a una possanza arcana... Io non ho amato ancora”; “Ora soave”; “Sì, fui soldato”; “Come un bel dì di maggio”; “Vicino a te s’acqueta”
With Anna De Cavalieri; Dir. Tullio Serafin (Napoli, 1954)
GIACOMO PUCCINI (1858 – 1924): La Boheme: “Che gelida manina”; “Questa è Mimì”; “Marcello finalmente... Invan nascondo la mia vera tortura”; “O Mimì tu più non torni”
With Piero Guelfi; Dir. Vittorio Gui (Napoli, 1951)
Tosca: “Recondita armonia”; “Qual occhio al mondo”; “La vita mi costasse”; “Vittoria! Vittoria!”; “E lucevan le stelle”
Dir. Ugo Rapalo (Napoli, 1954)
La Fanciulla del West: “Ch’ella mi creda”
Dir. Gabriele Santini (Napoli, 1951)
RUGGIERO LEONCAVALLO (1857 – 1919): Pagliacci: “Recitar.. Vesti la giubba”; “Si può?”; “No, pagliaccio non son”
Dir. Santiago Guerra, (Rio de Janeiro, 1956)
A record such as this may not set the world on fire, comprising as it does little more than lovingly-guarded fragments to help piece together memories of a career. Neither is it intended to provide defintive recordings of a historically important performer. Its purpose is to enable listeners today to understand the Mario Del Monaco phenomenon. Granted, there were other great, powerful voices singing the same numbers heard on this recording at the same time half a century ago. Mario Del Monaco was by no means a hermit in some desert. Yet when he came on stage and launched into a long, mighty phrase that seemed to be cast in bronze, he alone was capable of making an audience shiver in amazement and a crowd of enthusiastic operagoers react with the force of a hurricane. He alone could whip up that fanaticism which gripped audiences in the nineteenth century, that reaction which is fatal to the magic of opera as performance of a work and which turns it into a vehicle for the magic of a performer – in other words, the musical equivalent of a personality cult. Listening to these fragments in sound, a small piece in the huge mosaic of this artist’s official and live recordings, makes it utterly clear that Mario Del Monaco was not simply a great tenor. He was the tenor. Perhaps the only truly heroic tenor – what the Germans call a Heldentenor – to come out of Italy. And more to the point, he was the last incarnation, or certainly one of the last, of Opera and its audience, of Opera as popular entertainment. The sun has now well and truly set on that era but anyone wishing to recreate the climate of those times need look no further than Mario Del Monaco.