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Sentimento [2002 album] by Andrea Bocelli

Sentimento [2002 album]

by Andrea Bocelli

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Andrea Bocelli


[1] En Aranjuez con tu amor (Rodrigo: Segura)*
[2] Mattinata (Leoncavallo: Leoncavallo)
[3] Barcarolle (Offenbach: Barbier, Carré)
[4] L’alba separa dalla luce l’ombra (Tosti: D’Annunzio)
[5] Sogno d’amore (Liszt: Bocelli)
[6] La serenata (Tosti: Cesareo)
[7] L’ultima canzone (Tosti: Cimmino)
[8] Malia (Tosti: Pagliara)
[9] La danza (Rossini: Pepoli)
[10] Ideale (Tosti: Errico)
[11] Sogno (Tosti: Stecchetti)
[12] Plaisir d’amour (Martini: Florian)
[13] Musica proibita (Gastaldon: Flick-Flock)
[14] Occhi di fata (Denza: Tremacoldo)
[15] A vucchella (Tosti: D’Annunzio)
[16] Vorrei morire! (Tosti: Cognetti)
[17] Bonus track: Vaghissima sembianza (Donaudi: Donaudi)

London Symphony Orchestra
Lorin Maazel, violin & orchestrator

*(author of the music: author of the text).

Recorded: 30 September – 7 October 2000, BBC Studio 1, Maida Vale, London.

First released: November 5, 2002.

Philips, 2002. [TT 56:42.] Liner notes by Lorin Maazel. Lyrics (It-Spa-Fr+Eng).


Of all classical albums recorded by Andrea Bocelli, this one is the most unusual. It is a tribute to the popular Italian songs from the late nineteenth century, mostly those by Paolo Tosti (1846–1916), the Italian who became the toast of England [4, 6-8, 10-11, 15-16], but it goes back to Rossini from the 1830s [9] and even to one French song from the late eighteenth century [12]. It also includes one excerpt from French opera, Offenbach’s “Barcarolle” [3], and even one “piano piece”, Liszt’s third “Liebesträume” (not “Liebestraum”!) [5], both of them much more famous as instrumental compositions. The opening track, the only one in Spanish, is an ingenious arrangement of another immortal classical melody, the theme from the second movement of Concierto de Aranjuez by the Spanish composer Joaquin Rodrigo (1901–1999).

As you can guess by the title, this is sentimental music with sentimental lyrics. But in this case “sentimental” means simply connected with sentiments (i.e. feelings), noting more, nothing less. You can skip, or at most skim, the lyrics, but do pay attention to the music. Andrea can always be trusted to express sentiments rather than wallow in sentimentality. It certainly helps that he is still very much in his prime. The voice is spectacular and so is the technique. For the breathless building of a passionate climax, listen to “Sogno d’amore” for which Andrea wrote his own Italian lyrics rather than using the German original (Liszt’s Liebesträume, it is often forgotten, began as songs and only later were transcribed as the much better-known piano pieces.) For amazing agility and perfect breath control, listen to the horrendously difficult “La danza” or the bouncy rhythms of “Mattinata” and “La serenata”.

But it doesn’t much matter what you’re listening to. You can’t really go wrong with any of these songs. Especially when performed, as they are here, with ability and taste. Each one is a gem, a peculiar combination of simplicity and sophistication.

The late Lorin Maazel (1930–2014) was best-known as a conductor, but as you can hear he is no slouch as a violinist and an orchestrator. The orchestrations are symphonic in breadth and rich in detail, but light and chamber-like in texture. The violin obbligato is stylish and unobtrusive, adding a special tone colour unobtainable otherwise. In some songs, say “En Aranjuez con tu amor” and “L’ultima canzone”, the violin is almost an equal partner to the voice. The sound is, fortunately, excellent.

Mr Maazel wrote a nice essay, too. Duets for tenor and violin, he says, even though they go back to Bach’s cantatas and were quite the rage in the early twentieth century thanks to Kreisler and McCormack, have fallen into unjust neglect. Mr Maazel was determined to rectify this injustice ever since, as a child, he accompanied his father, a tenor, on the violin. He thought he had found in Andrea the perfect voice for that and, so far as I’m concerned, he was right. He amusingly recalls the difficulties of reconciling their tight schedules. He had only a few months to do the orchestrations and, if his words are to be believed, he did most of them in the summer of 2000 at the Salzburg Festival “between rehearsals for and thirteen performances of Don Giovanni and Don Carlo.”*

*According to the official site of Salzburger Festspiele, Lorin Maazel did conduct thirteen performances of Don Giovanni (8) and Don Carlo (5), but that was in the summer of 1999. In 2000, he conducted Tristan und Isolde (5), in 2001 Don Carlo (5) and Falstaff (5). ( )
  Waldstein | Dec 2, 2017 |
Andrea Bocelli one more time captivates his audience with his music!
  jiglesias | May 22, 2010 |
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