On Tribute To Rome (Omaggio A Roma) from Fone, the Orchestra of the Accademia Nazionale di Santa Cecilia conducted by Myung-Whun Chung performs Gioacchino Rossini’s The Italian Girl in Algiers Symphony and Felix Mendelssohn’s Symphony No. 4 in A major op.90 plus Andante con moto and Salterello.
Audiophile says “Mendelssohn’s Fourth symphony and Rossini’s overture to L’Italiana in Alegri are two warhorses of the first water and maybe you’ve already got a few in your stable. But these works are warhorses precisely because they’re both so musically rewarding, charming, and accessible, and Chung conducts them with verve and style. Giulio Cesare Ricci’s recording is stunningly lifelike, which is fitting, as it was taken from a March 1997 live concert in Rome.”
Orchestra dell’ Accademia Nazionale di Santa Cecilia
Myung-Whun Chung, Conductor
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:03:10
Additional information
| Label | |
|---|---|
| SKU | SACD052 |
| Qualities | |
| Channels | |
| Artists | Myung-Whun Chung, Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia |
| Composers | |
| Genres | |
| Conductors | |
| Original Recording Format | |
| Producer | Giulio Cesare Ricci |
| Recording Engineer | Giulio Cesare Ricci |
| Mastering Engineer | Giulio Cesare Ricci – Analog Tape to DSD Transfer |
| Music Assistant | Edoardo Ogando |
| Production Assistant | Paola Maria Ricci |
| Microphone Preamps | Nagra Audio |
| Cables | Signoricci |
| Analog Tape Recorders | Studer C37 and J37, Nagra 4S and Ampex ATR 102 |
| Microphones | Neumann U47, U48 and M49 Tube Microphones |
| Instruments | |
| Release Date | November 18, 2021 |
Press reviews
Audiophile
Mendelssohn’s fourth symphony and Rossini’s overture to L’Italiana in Alegri are two warhorses of the first water and maybe you’ve already got a few in your stable. But these works are warhorses precisely because they’re both so musically rewarding, charming, and accessible.
Chung conducts them with verve and style. Giulio Cesare Ricci’s recording is stunningly lifelike, which is fitting, as it was taken from a March 1997 live concert in Rome.
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