Utwory na płycie:

• Atto I: Preludio
• Atto I, Scena 1: “Siora mare?” (Lucieta, Margarita)
• Atto I, Scena 2: “Velo qua, eh!” (Margarita, Lucieta, Lunardo)
• Atto I, Scena 3: “E cussì, come va sto maridozzo?” (Margarita, Lunardo)
• Atto I, Scena 4: “L’è andada finalmente” (Lunardo, Maurizio)
• Atto I, Scena 5: “El specio me ga dito che son bela” (Marina, una serva, Filipeto)
• Atto I, Scena 6: “Xe sior barba!” (Filipeto, Marina, Simone)
• Atto I, Scena 7: “Caro da Dio!” (Marina, Simone)
• Atto I, Scena 8: “Ghe la fazzo, cospetina!” (Marina, una serva, Felice, Cancian, Riccardo)
• Atto I, Scena 9: “Marina? – Sior?” (Simone, Marina, Felice, Riccardo, Cancian)
• Intermezzo
• Atto II, Scena 1: “I me vol zirar ma mi li go magnai!” Lucieta, Margarita
• Atto II, Scena 2: “Coss’è? Coss’è, parona, che parè una bissona?”(Lunardo, Margarita, Lucieta)
• Atto II, Scena 3: “Patrona, siora Malgari!” (Marina, Margarita, Lucieta, Simone, Lunardo)
• Atto II, Scena 4: “Marideve, che avarè de sti gusti” (Simone, Lunardo)
• Atto II, Scena 5: “Oh, ècome quà lustrissimi” (Felice, Simone, Lunardo, Margarita, Lucieta, Marina)
• Atto II, Scena 6: “A vu, ste mascarete ve domanda” (Margarita, Riccardo, Felice, Marina, Lucieta, Filipeto)
• Atto II, Scena 7: “Cossa feu là?” (Lunardo, Lucieta, Simone, Cancian, Marina, Felice, Margarita)
• Atto II, Scena 8: “O via, seu quà?” (Lunardo, Maurizio, Simone, Cancian, Felice, Riccardo, Marina, Filipeto, Lucieta, Margarita)
• Atto III, Scena 1: “Hm! Ah, femene del diavolo, parchè ve gai creà?” (Lunardo, Simone, Cancian)
• Atto III, Scena 2: “Siori gentilissimi grazie del bon amor” (Felice, Lunardo, Simone, Cancian)
• Atto III, Ultima Scena: “Vele quà pentìe contrìe le domanda perdon” (Felice, Lucieta, Marina, Margarita, Lunardo, Cancian, Simone, Maurizio, Filipeto, Riccardo)

I Quattro Rusteghi
Sung In Italian with English subtitles

Ermanno Wolf-Ferrari’s I Quattro Rusteghi is a wonderful comedy. Very clever and very Italian: colourful, lively and rhythmic. The women are impertinent, cunning and seductive; the men are awful, dirty and mean. The confrontation between them is at the centre of the plot; of course this clash is explosive. This opera is a real feast for the senses and the imagination. The staging is choreographic and follows the plight of the different characters. Each is attracted by and then put down by the others. The subject could be serious, and in a way it is; but Goldoni turns it into a richly humorous comedy about emancipation.

The European Opera Centre chooses its repertoire with care to ensure it is suitable for young singers. This recording with the RLPO and Vasily Petrenko features some of the best young singers from across Europe with an average age below thirty who are joined by one highly experienced singer – Mihnea Lamatic from the Romanian National Opera

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Played in European Opera Centre