Dolce Vita

Record and Artist Details

Composer or Director: Domenico Modugno, Ferilli, Giancarlo Chiaramello, Francesco Sartori, Stanislaus Gastaldon, Stephin Merritt, Cesare Andrea Bixio, Ernesto De Curtis, Nicola Valente, Romano Musumarra, Salvatore Cardillo, Ruggiero Leoncavallo, Vincenzo di Crescenzo, Giovanni d' Anzi, Nino Rota

Genre:

Vocal

Label: Sony Classical

Media Format: CD or Download

Media Runtime: 67

Mastering:

DDD

Catalogue Number: 88875 18364-2

88875 18364-2. Dolce Vita

Tracks:

Composition Artist Credit
Voglio vivere cosi Giovanni d' Anzi, Composer
Asher Fisch, Conductor
Giovanni d' Anzi, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Parlami d'amore, Mariù Cesare Andrea Bixio, Composer
Asher Fisch, Conductor
Cesare Andrea Bixio, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Core 'ngrato Salvatore Cardillo, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Salvatore Cardillo, Composer
Fenesta ca lucive Giancarlo Chiaramello, Composer
Asher Fisch, Conductor
Giancarlo Chiaramello, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Rondine al nido Vincenzo di Crescenzo, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Vincenzo di Crescenzo, Composer
Non ti scordar di me Ernesto De Curtis, Composer
Asher Fisch, Conductor
Ernesto De Curtis, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Ti voglio tanto bene Ernesto De Curtis, Composer
Asher Fisch, Conductor
Ernesto De Curtis, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Torna a Surriento Ernesto De Curtis, Composer
Asher Fisch, Conductor
Ernesto De Curtis, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
(Un) amore così grande Ferilli, Composer
Ferilli, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Musica proibita Stanislaus Gastaldon, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Stanislaus Gastaldon, Composer
Mattinata, '(L')aurora di bianco vestita' Ruggiero Leoncavallo, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Ruggiero Leoncavallo, Composer
Il libro dell’amore Stephin Merritt, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Stephin Merritt, Composer
Volare Domenico Modugno, Composer
Asher Fisch, Conductor
Domenico Modugno, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
(Il) Canto Romano Musumarra, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Romano Musumarra, Composer
(The) Godfather, Movement: Parla più piano (ballad based on main theme) Nino Rota, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Nino Rota, Composer
Palermo Teatro Massimo Orchestra
Time to Say Goodbye (con te partiro) Francesco Sartori, Composer
Asher Fisch, Conductor
Francesco Sartori, Composer
Jonas Kaufmann, Tenor
Palermo Teatro Massimo Orchestra
Passione Nicola Valente, Composer
Asher Fisch, Conductor
Jonas Kaufmann, Tenor
Nicola Valente, Composer
Palermo Teatro Massimo Orchestra
With this new disc, Jonas Kaufmann offers something like a transalpine equivalent to his disc of the German repertoire popularised by Richard Tauber (Sony Classical, 12/14). Here it’s Neapolitan songs made famous by Caruso and his successors, as well as additional later songs in the style.

Fans of the tenor will jump at the opportunity to hear him letting his hair down, and they won’t be disappointed. But, for all the fawning booklet-note’s claims for Kaufmann being an Italian manqué, his version of relaxed and easy-going is still pretty tense and Teutonic compared with, say, Juan Diego Flórez, audibly having a ball on his recent ‘Italia’ disc (Decca, 10/15). Kaufmann’s new disc is glossier and more heavily produced, too, with the tenor placed far forward (with dabs of reverb) in the balance. The orchestrations, dutifully performed, are awash with fluty twiddles and swoony string counterpoints, occasionally bolstered by plangent mandolin and furrowed-brow brass.

Kaufmann does everything with the care and intelligence one expects, and no shortage of open-throated ardour. But neither the engineering nor the repertoire shows the tenor to best advantage, highlighting a lack of juice and honey in his voice and delicacy in his manner. There’s too little lightness of touch in the skipping lines of ‘Voglio vivere così’, for example, and he can’t quite vary his tone enough in the more repetitive songs – here you suddenly notice a few reprises too many of the big tune of ‘Caruso’.

It’s good harmless fun, even if it ultimately feels like a match made less in heaven than in the boardroom.

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