Who sings "Addio, o miei sospiri (Amour, viens rendre à mon âme)" best?

[@whitelup]

Franco Fagioli... Espléndido!!

[@megenberg8]

von Otter places her fine voice on magnificent display here, can't deny her 1st in the female division. Franco is irresistibly strong and fresh, jumping fantastic! A 10.10 for the guys! yes, they both win! 😄

[@Teona.aka.Maria.Tureschi]

Your music is wonderful.

[@ohmy5650]

Isn't this aria "also" in Gluck's Orfeo & Eurydice? Because I thought I knew it by Marilyn Horne in that opera's recording with Solti conducting. Found Fagioli super, but Crebassa astonishingly beautiful. Impressive all singers, very. Specially adore Cencic's voice (though).

[@baroqueandbeyond]

Yes, it is

[@AllenFigueredo5]

Max Emanuel Cenčić is the best among them. I think followed by Franco Fagioli, although his chest voice was throaty here. Anne Sofie Von Otter sounded weak in here, but still I did enjoy it. I didn't like Didonato and the other lady, they couldn't sing it flawlessly 😢

[@christiaandhooghe]

Anne Sofie Von Otter. 🌹😇🙏

[@mmoss6961]

I agree, absolutely!

[@freiermensch6569]

Marilyn Horne + Orchestra of the Royal Opera House, Covent Garden + Sir Georg Solti

[@marianamirescu9570]

All the singers are good, but I like Joyce!❤

[@djperry211]

It was indeed the case that some 18th century composers shared and recycled their works. These two certainly did. The Cencic Bertoni version for me is the best. Conducted I believe by George Petrou?

[@gfhit7520]

this comparison is fascinating because we basically hear three different versions of the same aria: the Italian one from Bertoni (not sure if Gluck adapted it in some way when he transposed it in his Orfeo); the Gluckian from his French Orfeo; and the revisitation done many decades later by Berlioz. This is just to say that the comparison can be a bit skewed. Ad face value, my least favourite is Crebassa, she doesn't seem to have the required extension especially towards the low range and I don't really like her colour. Fagioli is a bit muddled. Von Otter is a class in herself, but she's a bit cold. I don't really feel the thump-thump of the orchestra and the cembalo in Cencic's version, it's a bit "Turkish march" cheap effect, and he also has a bit of trouble in the lower notes, but he sings very well and with aplomb. DiDonato's version set itself apart from being extrafast and the orchestra bubbles in background instead of proposing neat phrasings, but after the first moment of shock, it kinda fits, and she is great. My order is Cencic/DiDonato-Otter--Fagioli---Crebassa.