Ho Bisogno Di Parlare [Import]

1. Ho Bisogno Di Parlare

2. Stanotte Tienimi con Te

3. Vattene Adesso

4. Serenade

5. Posto Libero Nel Mondo

6. Grazie Baby, Goodbye

7. Siamo Nervosi

8. Com'è Stato Facile

9. Ancora Noi Malgrado Noi

10. Neve Sul Deserto

11. Per un Altro Domani

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Glad To Be The First Review- Beverly Sills Treasury Of Arias.......2005-04-29

At last EMI's "The Very Best Of" series has issued some of the finer recorded documented arias of the incomparable soprano Beverly Sills. Fans of this down-to-earth, warm patron of music and the most unique lyric-coloratura-dramatic soprano, will be in Heaven. Sure, this is only some of the arias in only a small number of the many operas Sills performed. To be truthful, this is not what I'd personally regard as the best of Beverly Sills. Other albums of hers do use greater vocal masterpieces she sang- the best being "The Singers" Series, and another EMI edition called The Art of Beverly Sills Volume 2 and then there's the rare and brilliant "Sillsiana". Nevertheless, this album has its charm and appeal. Beverly Sills sings arias from Rossini's Barber of Seville, Verdi's Rigoletto and Traviata. This recording seems to highlight mostly her mastership of the bel canto repertoire and Verdi. Gilda and Violetta were roles she sang with supreme dramatic integrity and sweetness and purity of vocal line. Yet, it is hardly "the best of". Where are scenes from the masterful interpretations of Donizetti, truly Sills strongest suit- Lucia Di Lammermoor, Anna Bolena, Maria Stuarda and Roberto Devereaux, where is Sills' Manon, which even she hails as her best ? And when will her recorded Norma ever see the light of day ? Sills also excelled in the French repertoire- Faust, Thais, La Fille Du Regiment, The Tales of Hoffman and she was an incredible Queen Shemakha in Korsakov's Coq D'Or. True, Sills had a light, girlish, delicate voice, bright and small, but this worked in her favor in tragic roles. Dramatically, she could get into character as passionately and convincingly as Maria Callas. When she could darken her voice and use her chest voice for dramatic effect it was often thrilling. This is the latest recording in a number of recordings that are coming out, further promoting a great singer of the past. Beverly Sills. She was the working man's soprano. She worked hard to get to the top. She was the reigning singer of the NYC Opera where she starred in such great operas as Handel's Giulio Ceare Sills as Cleopatra (also not on this recording) and Tales of Hoffman singing opposite the great but underrated bass Norman Treigle. Sills is a wonderful human being and she has a beautiful voice that I cannot get out of my mind. She will always be the greatest to me. She got me hooked into opera.

Average customer rating:

Not Thrilling
Good CD
Re-release of Il Solazzo
A good, simple bargain, with a sweet reward

Music for a Medieval Banquet

Manufacturer: Hmf Classical Exp.
ProductGroup: Music
Binding: Audio CD

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Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection
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Courts, Kings, & Troubadours: Medieval & Renaissance Music
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ASIN: B00005A3WX
Release Date: 2001-05-08

Customer Reviews:

Not Thrilling.......2007-01-05

I have been online for 3 hours tonight reading Amazon's reviews of various medieval CD's. I really wanted to find a Waverly Consort CD comparable to their marvelous, magical, exuberant "A Waverly Consort Christmas," but nothing seems to match that one. I have a dial-up modem and for some reason none of Amazon's musical selections will play even though I have no problems with video games and music uploads from other sources. Thus, I have to rely upon written reviews.

Among the many albums for which I read reviews tonight was one for "A Medieval Banquet" by the Newberry Consort. The title & group rang a bell so I checked my collection and found that it was originally called *Il Solazzo" (as others have already noted among these reviews). I bought it in early 1995 but never wrote any comments in the attached booklet, which is unusual for me.

I have now played the CD twice and understand why I made no comments: it was simply not thrilling. I am no musicologist -- just someone who loves early music because it makes my soul sing. This CD is "nice," but my soul goes ho-hum when I hear it. (The one exception is the #9 selection with rebec, vielle & lute -- and no voices.)

The instrumentals have a certain charm but they generally feel more Renaissance than medieval to me. The vocals leave me completely cold. In some of the reviews I read tonight I came across the concept of "operatic" applied to some of this early music. I had no idea what the authors meant since there was no opera at such an early period. But in playing this CD, I understood -- there is indeed a bloated, elaborate vocal quality that really does feel "operatic." It seems entirely unsuited to "Music for a Medieval Banquet."

If your soul wants to sing, this proably isn't the CD for you. Try the Waverly Consort's "Christmas" along with a glass of fine wine

Good CD.......2004-04-30

One of the reasons why I bought this recording is the interesting choice of pieces, which range from the often-recorded instrumental dances to the less-known sung tracks.

When I played it, the first thing that struck me of this CD is the thinness of the sound in the dances. Although the performance is spotless, it lacks the body that other medieval-dance groups add to their sound - notably the older but still great Studio der Fruehen Musik. Is this an unfair statement? Perhaps - but these dances have been recorded so many times that it is only natural to compare versions.

Also, the use of percussion instruments would have been a nice touch, besides being perfectly historical. Then, a more varied instrumental arrangement may have been a good addition, especially in the longer numbers such as Chominciamento di gioia.

The other point that puzzled me is that in the first track (La Badessa), the singer sounds as if she is playing a losing game of catch-up with the instruments, which results in a mediocre performance of that particular piece. It is a pity, because the song is very catchy and the singer's voice is stylistically spot on.

Having said all this, the selections of songs and dances is first-choice, the performance is good and well researched and the CD remains one of the most played in my household.

Re-release of Il Solazzo.......2002-10-10

Just a quick note on this CD: It's a re-release of the Newberry Consort's "Il Solazzo" disc without the texts and with less nice packaging. Since that disc can be hard to find, this CD is welcome, but if you can find the other release cheaper it's a better deal.

A good, simple bargain, with a sweet reward.......2002-06-11

This simple little album reminds me of what it is that I love most about the Italian Renaissance - its barefaced passion and gut level power. So playful and raucous at times that I felt as if I were in a scene from Pasolini's irreverent "Decameron" and at other moments, so serene that I was in a chapter from Chaucer. The music is simple and unpretentious. Not resorting to gimmicks, they allow the music to be expressed in a way that it very probably was in the age when it reigned: unashamed, expressive, brazenly colorful and just a bit flamboyant.

So much for the performers. As for the producers...

On the downside, it is painfully obvious that they made this album on a shoe-string budget. That can be a good thing in forcing the artists to stick to the music's purity instead of hiring a team of sound engineers to make it "sound" better, but there is absolutely no documentation about the songs, other than their titles and playing times. A sickly-thin album insert has a blurb in English and Italian about polyphony, told in allegorical style, with each paragraph in an alternating language instead of one section in each language. Go figure! Maybe the AltaVista translator they used for free had a one-paragraph limit.

Tracks:

Aida: Se quel guerriero io fossi; Celete Aida
Manon Lescaut - Donna non vida mai
Rigoletto - La Donna ? mobile
Rigoletto - Ella mi fu rapita; Parmi veder le lagrime
Cavalleria Rusticana - Siciliana: O Lola - Frederick Schauwecker
Faust - Salut, demeure chaste et pure - Robert Merrill
Pagliacci - Vesti la guibba
La Boh?me - Che gelida manini - Licia Albanese
Prince Igor - Vladimir's Recitative and Cavatina
Andrea Cher - Come un bel di di maggio
Martha - M'apparutt'amor
L'elisir d'amore - Una furtiva lagrima
Eugene Onegin - F, f (Lensky's aria)
Turandot - Nessun Dorma
Tosca - Recondita armonia
Tosca - E lucevan le stelle
Tosca - O dolci mani
The Trout (Die Forelle)
An Silvia: Was ist Silvia?
Stchen D. 957/4

Tracks:

The Pearl Fishers - Au fond du temple saint
Tosca - Mario, Mario, Mario!
Don Carlo - lo l'ho perduta!; Dio, che nell'alma infondere
Manon Lescaut - Oh, sar pila!; Tu, tu, amore? Tu?
La Boh - In un coup Mimtu pitorni
La Forza Del Destina - Solenne in quest'ora
Aida - La fatal pietra; O terra addio
Turandot - Signore, escaolta!; Non piangere, Li
Otello - Oh! monstruosa colpa!; Si, pel ciel marmorea giuro!
A Dream
Turandot - Nessun Dorma
Zeignung, Op 10, No. 1/Dedica

Amazon.com

Surely Björling was one of the greatest tenors of his or any other time, not only for the clarion ring, the purity, and the melting lyricism of his voice, but for his effortless lightness, impeccable intonation, endless breath control, and natural phrasing and line, enhanced by old-fashioned but wonderfully expressive scoops and slides. On this generous two-disc set, he is heard in a huge selection of arias and some duets with distinguished colleagues; most of them were recorded separately, and a few are excerpted from complete opera recordings--unfortunately not very skillfully, stopping abruptly in mid-phrase if not mid-note. No matter; the miraculous thing is that Björling, whether singing an entire role or a single aria, can instantly create a character and bring him to vibrant life. He sings everything in the original keys--his high B-flats, B's, and C's are thrilling--and almost everything in the original language, including a few songs by Schubert, Strauss, and Grieg. Recorded live in recital, they are delightful--only one is too operatic. Among his partners, soprano Zinka Milanov and baritone Robert Merrill stand out. This recording presents an incomparable artist at his incomparable best. --Edith Eisler

Customer Reviews:

Excellent older music.......2007-04-05

He is obviously one of the best of his time and puts to shame some of the newer singers. You get alot for your money on this CD too. I highly recommend it for a Sunday morning to enjoy your coffee, newspaper, and scones :}

A Golden Voice!.......2006-07-31

In opera circles everyone knows about Jussi Bjorling. But, I am writing this for the many people who never heard of him. He died in 1960 at the age of 49 so he hasn't been around for 46 years. Thus, the younger generation have only heard of Pavarotti, Domingo, Correras and some newer fellows. Believe me, the sweet, honeyed, golden voice of Bjorling will impress you. His voice..his "instrument".....is...is....what can I say, it's "beautiful". If you haven't heard him before you have an enormous treat ahead of you! If you love the beautiful sound of a "trained" voice, you'll love this guy! Enjoy!
(Some guy below is comparing Bjorling to DeStefano and Corelli and some others and was critical of Bjorling. The guy who wrote that must be suffering from hearing loss! ALL the tenors he mentioned are/were great artists. DON'T BELIEVE HIM...BELIEVE ME! :o) Email:boland7214@aol.

Heaven.......2004-12-13

I used to buy two separate CDs for people I was introducing to Bjoerling - the Pearl Fishers one, and the one with the Nessun dorma on it... So I was delighted when this 2 CD set came out.

To me, NO other tenor I've ever heard matches Bjoerling. His voice is one of the few that reduce me to tears just trying to EXPLAIN it to people. I've loved classical music since childhood but was never able to get into opera until I heard Jussi ... all the tenors alive today - feh, sorry, but to me they just sound like guys taking deep breaths and singing loud, not like "the voice of God" ...

The Ultimate Tenor Anthology.......2003-10-26

For anyone who has for some reason fallen in love with some other tenor voice, the discovery of Jussi Bjoerlings voice may be heartbreaking. This is not a tenor who can only sing superbly in lyric opera or only in dramatic opera, or only in song and lieder. This singer can sing whatever he wants and more; he does it equally brilliant whatever to the vocal demands may be. That, more than anything makes him absolutely unique in the record history.
In the opening selection of this compilation; "Celeste Aida", this essentially lyric voice demonstrates for every heroic and dramatic tenor how to sing dramatic opera. It is a sheer singing lesson. In the strenuous recitative, he does not shout or use other non-musical effects, but shows that true dramatic expression is characterized by tonal intensiy and not by volume, although he had plenty enough of that. The beautiful and incredibly free flow of lyric tones in the Pearlfishers duet, the Faust cavatina and in the gorgeous "Che gelida manina" is absolutely exemplary. Yet, who could replicate the beauty of those effortless high C`s? I cannot think of anyone.
The only thing that could better this and give the set 5 stars in the book, is a compilation of the same selections, transferred from the original tapes and not excessively remastered as on this occasion. The sound is at times overly bright and the voice sounds thin and even sharp. But the singing is so far unmatched.

The biggest hype I've ever seen or heard.......2003-07-27

This tenor is a tiny patch if compare to Corelli or Del Monaco, not to even mention Pavarotti. His high notes are strain to the max and he sounds like he's singing in half falsetto.
A total disappointment. I recommend Gigli and Del Monaco instead.

Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico

Average customer rating:

Cecilia Bartoli brings Baroque music to life
A Revelation
The best work of Cecilia Bartoli
The art of singing, still with us
Great music, but disappointment

Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico
Antonio Vivaldi , Giovanni Antonini , Cecilia Bartoli , and Il Giardino Armonico
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)
Cecilia Bartoli - The Salieri Album

ASIN: B00002CF52
Release Date: 1999-10-26

Tracks:

Dell'aura al sussurrar
Dopo un'orrida procella
Di due rai languire costante
L'Orlando finto pazzo: Qual favellar? ... Andero, volero, gridero
Zeffiretti, che sussurrate
La fida ninfa: Alma oppressa
La fida ninfa: Dite, oime
Giustino: Sventurata navicella
Giustino: Sorte, che m'invitasti ... Ho nel petto un cor si forte
L'Olimpiade: Tra le follie ... Siam navi all'onde algenti
Farnace: Gelido in ogni vena
Anch'il mar par che sommerga
Teuzzone: Di trombe guerriere

Amazon.com

Mezzo Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, characterful singers for her lively portrayals of Mozart and Rossini heroines. But it's been particularly exciting to observe her growth as an artist in exploring the exuberant world of baroque opera, with its range of pyrotechnic demands--both vocal and emotional. Bartoli's show-stopping virtuosity in a Vivaldi aria from her Live in Italy recital gave a tantalizing sample of her finesse in that style. For The Vivaldi Album, Bartoli conducted extensive research into the composer's manuscripts, (a documentary tracing her quest is planned for subsequent international screening). Although he's best known for his concertos--in typically baroque fashion, two of the arias in fact recycle material from The Four Seasons--Vivaldi was a ferociously prolific composer of operas for the cutting-edge theaters of his time, and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of dueting flageolets in "Di due rai languire costante" to the storm-tossed passions of "Anch'il mar par che sommerga," where Bartoli spins out ripples of rapid-fire coloratura with a gravity-defying accuracy that will leave your head spinning. In addition to many such examples of vocal acrobatics, Bartoli brings exquisite nuance and limpid tone to the delicate echo effects of "Zeffiretti, che sussurrate," and there's no better test for the remarkable flexibility of her range--full and dusky at the bottom and thrilling at the top--than the huge intervallic leaps of "Dopo un'orrida procella." With her naturally large voice, Bartoli can at times tend to histrionic excess (in the recitative to the short aria from "L'Orlando finto pazzo"), but the expressive color of her phrasing is wonderfully matched throughout by the Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. --Thomas May

Customer Reviews:

Cecilia Bartoli brings Baroque music to life.......2005-08-24

This album is so good that it has converted me to liking Vivaldi! I'm a fan of other Baroque composers such as Bach, Telemann, Couperin and Handel but had never really appreciated Vivaldi until I heard this album. Cecilia's technical experise and her intense interpretation makes this album a delight to listen to. She brings Vivaldi's arias to life as I've heard no other performer manage to do so. A brilliant album that I listen to again and again.

A Revelation.......2003-11-05

I was amazed with this album of super fine music. I had known all my life that Vivaldi wrote tons of operas, but finding them, or the scores of them, was nearly impossible. In time I found a few, and was I ever amazed and disappointed. The published scores that were available were what was common practice of that time: there were the vocal lines and a figured bass and nothing more. There were no indications of orchestration. Even with that little bit, I was shocked with the intensity and complexity of this vocal writing. This man knew how to write for the voice. Until singers are willing to research his works, we, the public, will know him for a very orchestra suites and nothing more. The result will be a very stilted view of what the man had to offer.

Now getting to the performance by Bartoli. She really loves this music, as you can tell. Yes, she is mannered in some of the things she does, but that is her way of seeing the music. Her technical skills are amazing, and her interpretations (the "drama" behind the music) is just as intense. Some think Bartoli has a strong voice. Actually, her voice is very small, if you have heard her in performance (they weren't even sure she would be heard when she sang at the Met), and it has a very delicate quality, even when being "brash." Recordings give you the impression she has a much larger sound than she does, but that is because small voices record truer and better than large ones (the industry still can't capture large voices at all). However, even with a small voice, in performance she is breathtaking. She makes the music live. She has weird mannerisms one sees that to American trained singers are completely unacceptable (weird facial expressions, strange things done with he mouth and teeth, head bobbing, etc), but that has never distracted from her overall intensity. Yes, she is intense. You are literally taken away with her interpretation, and her skills. Interestingly, she is more famous in music circles for her cancelations (she cancels more performances in a year than she actually sings). I love this recording, not only because of the music, but because I have seen her sing some of this music live. She really LIVES what she sings, and that comes across in this recording.

A special note: in the little booklet that comes with the recording, Bartoli herself writes her impressions of this music. It is extremely insightful. Whether you like her or not, you have to admire the work she has done to make this music live and be as authentic in interpretation as she can. It is her love of this music that has caused her to record this album. I am thankful she did, for now, I can take those old scores I have and get a better understanding of what the composer was doing. Would that more singers would explore new/old works, and I think it would be far more interesting to have them write their impressions of the music they are singing than the standard academic essays we must read. Reading about how she came to this music, in her own words, gave a different dimension to listening. Now I was listening to see if she was successful in communicating what she felt this music had to offer. SHE WAS.

The best work of Cecilia Bartoli.......2003-08-15

This is simply the best work of Cecilia Bartoli. Her voice is a delicatessen and Il Giardino Armonico sounds very very well. I think that I don't need to say anymore. Simply: BUY IT!!

The art of singing, still with us.......2003-02-09

Even if you disdain Vivaldi in the Stravinsky way, do yourself
a favor, and get this record. Music hidden in some obscure
library for centuries, brought to pulsating life by a minor
voice, here used with passion and artistry reminding one of
vocal artists of the past. An enriching experience for anyone
enjoying the art of singing.

Great music, but disappointment.......2002-10-01

I thoroughly enjoy classical music but found this cd to be a disappointment by a heavy vocal performance. It was shocking to hear the heaviness and darkness in Cecilia's voice, whom I had remembered to be lighter and more playful. My only good thought about this cd is "At least it was a gift" because if I had actually purchased it I would be thoroughly disgusted.

Average customer rating:

have been searching for this for years
Been looking for years
An Excellent Introduction to Renaissance Dance
renaissance dance music
Wonderful reissue from early days of early music recordings

Panorama: Dances of the Renaissance

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Sinners & Saints: The Ultimate Medieval and Renaissance Music Collection
English Renaissance Music
Praetorius: Dances from Terpsichore
Music for a Medieval Banquet
Early Music Festival / David Munrow, Early Music Consort

ASIN: B00004YMTN
Release Date: 2001-02-27

Tracks:

Terpsichore: 1. Entree - Courante - Collegium Terpsichore
Terpsichore: 2. Gavotte - Collegium Terpsichore
Terpsichore: 3. Spagnoletta - Collegium Terpsichore
Terpsichore: 4. La Bouree - Collegium Terpsichore
Terpsichore: 5. Ballet - Collegium Terpsichore
Terpsichore: 6. Volte - Collegium Terpsichore
Musikalischer Tugenspiegel: Sophia (no.13) - Anna (no.4) - Collegium Terpsichore
Musikalischer Tugenspiegel: Clara (no.6) - Collegium Terpsichore
Musikalischer Tugenspiegel: Magdalena (no.3) - Collegium Terpsichore
Musikalischer Tugenspiegel: Agatha (no.15) - Collegium Terpsichore
Musikalischer Tugenspiegel: Regina (no.12) - Collegium Terpsichore
Banchetto musicale: Suite No.4 - 1. Pavane - Collegium Terpsichore
Banchetto musicale: Suite No.4 - 2. Gaillarde - Collegium Terpsichore
Banchetto musicale: Suite No.4 - 3. Courante - Collegium Terpsichore
Banchetto musicale: Suite No.4 - 4. Allemande - Tripla - Collegium Terpsichore
Banchetto musicale: Suite No.5 - 1. Pavane - Collegium Terpsichore
Banchetto musicale: Suite No.5 - 2. Gaillarde - Collegium Terpsichore
Banchetto musicale: Suite No.5 - 3. Courante - Collegium Terpsichore
Banchetto musicale: Suite No.5 - 4. Allemande - Tripla - Collegium Terpsichore
Banchetto musicale: Suite No.3 - 1. Pavane - Collegium Terpsichore
Banchetto musicale: Suite No.3 - 2. Gaillarde - Collegium Terpsichore
Banchetto musicale: Suite No.3 - 3. Courante - Collegium Terpsichore
Banchetto musicale: Suite No.3 - 4. Allemande - Tripla - Collegium Terpsichore
Lamento di Tristano - Rotta - Ulsamer Collegium
Trotto - Ulsamer Collegium
Istampita Ghaetta - Ulsamer Collegium
Istampita Cominciamento di gioia - Ulsamer Collegium
Saltarello - Ulsamer Collegium
Bassa danza a 2 - Ulsamer Collegium
Alta danza a 3 - Ulsamer Collegium
Bassa danza a 2 - Ulsamer Collegium
Bassa danza a 3 - Ulsamer Collegium
Basse danse La brosse - Tripla - Tourdion - Ulsamer Collegium
Bassa danse La gratta - Ulsamer Collegium
Basse danse La Magdalena - Ulsamer Collegium

Tracks:

Calata ala Spagnola
Der Judentanz
Welscher Tanz - Wascha mesa - Hupfauff
Pavana I - II
Romanesca Guarda me las vacas
Passamezzo - Saltarello
Branle de Bourgogne
Englischer Tanz
Tanz Du hast mich wollen nemmem
Schiarazula
Ungaresca - Saltarello
Ronde
Branle de Bourgogne
Branle de Champagne
Passamezzo d'Italye - Reprise - Gaillarde
Schiarazula Marazula
Tedesca - Saltarello
Ungaresca - Saltarello
Branle - Branle gau
Mascherade
Saltarello
Ballo detto 'Il Conte Orlando' - Saltarello
Gagliarda del Principle di Venosa
Barriera
Celeste Giglio
Pavana de Spaigne
Courante
Courante
Volte
Volte
Pavan: The Funerals
Noel's Galliard
Coranto: High Ho Holiday
Kemp's Jig
Queen Elizabeth her Galliard
Mrs. Winter's Jump
Alman
Galliard
Galliarde de Monsieur Wustron
Galliarde de la guerre
Reprinse
Tantz
Paduan
Galliard
Catkanei

Customer Reviews:

have been searching for this for years.......2007-06-11

Happy to see the Collegium Terpsichore CD out again (disc 1), though hiding in this bargain set, wasn't immediately obvious. But one listen to the Praetorius samples and knew I found it. This album was played continuously on the air on KKHI when I was in college (circa late-hippie_, and I never tired of it. I wore out my LPs. Now I've misplaced that single CD so might have to buy it again if I can't locate it soon. Phooey. At least it's available. It's the most refreshing CD you'll ever put on your player.

Been looking for years.......2007-02-13

I have been looking for the Deutsche Grammophon "Dances from Terpsicore" from the 60's but to no avail till now. The entire album is included in this two disc set...

Yippee

An Excellent Introduction to Renaissance Dance.......2005-06-23

This is my first disc of Renaissance dance music, for which I have been searching for quite a while. I thought ir was very excellent. I have heard some before when I was in a few Shakespeare plays, and ever since, I have been looking. These selections provide a broad range of the music of the courts during the 15th and 16th centuries. There is music from all over Europe, including what sounds like Southeastern Europe. The interpretations are also very good, and they put me, at least, back into that time period. The only problem I found was the glockenspiel like instrument, which was sometimes a little annoying. Otherwise, wonderful.

renaissance dance music.......2004-10-24

This CD is a compilation of three recordings which are From The Vault: Dance Music of the High Renaissance by Fritz Neumeyer, Dance Music of the Renaissance by Josef Ulsamer, and Early Baroque Music by Konrad Ragossnig.

Wonderful reissue from early days of early music recordings.......2004-01-28

This cd is a reissue of material from several albums in the 60s. The Fritz Neumeyer recordings of Praetorius are from an old Archiv LP that was one of my first introductions to "early music", and it can be charged that it was more enthusiastic than historically informed. A recorder consort will take up one section of a tune, and then a group of viols will swirl in, maybe followed by crumhorns playing another brief phrase, and then a solo harpsichord finishing off the tune. Different instruments provide a variety of textures of sound, keeping things interesting even though most of the tunes are played fairly "straight", without a lot of improvisation. There's been quite a bit of research and rediscovery of Renaissance techniques since this record was first out, and I appreciate those, but these old recordings really get my toe tapping and remind me why I fell in love with early music in the first place.

Average customer rating:

If you love beautiful voices...
If you want to know Corelli's art, this is the right CD
excellent gift
Greatest Tenor of This Century!
Ah... Franco :}

The Very Best of Franco Corelli

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Very Best of

ASIN: B00008V5VV
Release Date: 2003-04-22

Tracks:

A Te, O Cara
Meco All' Altar Di Venere... Me Protegge, Me Difende
Ah Si, Ben mio...De Quella Pira
Se Quel Guerrier Io Fossi!...Celeste Aida
Pur Ti Riveggo, Mia Dolce Aida
Intanto Amici... Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Recitar!... Vesti La Giubba
No, Pagliaccio Non Son
Colpito Qui M'avete...Un Di All'azzuro Spazio
Credo A Una Possanza Arcana
Legray!... Andrea Chenier!...Si, Fui Soldato
Come Un Bel Di Di Maggio
Vicino A Te

Tracks:

Donna Non Vidi Mai
Recondita Armonia
E Lucevan Le Stelle
Non Piangere, Liu... Ah! Per L'ultima Volta!
Nessun Dorma
Favorita Del Re!... Spirto Gentil
Cielo E Mar
L'anima Ho Stanca
Non Lunge Della Torre... Bianca Al Par Di Neve Alpina
Ange Adorable
L'amour, L'amour.. Ah! Leve-Toi, Soleil!
O Nuit Divine!
C'est La! Salut! Tombeau!
Fronde Tenere... Ombra Mai Fu
Ave Maria
Domine Deus
Core 'Ngrato
Torna A Surriento

Customer Reviews:

If you love beautiful voices..........2007-04-30

and passionate singing, you won't be disappointed. While Corelli certainly had his flaws, they are minor in the larger picture of this unique, magnificent force of nature. Then get this set for your friend who thinks Andrea Bocelli is a great tenor.

If you want to know Corelli's art, this is the right CD.......2007-03-10

Franco Corelli had one of the powerful tenor voices of the twentieth century. Think Mario del Monaco with more beauty and grace; think Richard Tucker with a smoother voice. He had annoying touches in his singing, such as those "catches" here and there. But, with Tucker, he is, in my estimation, one of the two most powerful and attention riveting tenors in the past century. Other tenors were more artistic, provided better characterization (think Domingo, Gigli, Pavarotti, Gedda, Caruso, and some others).

But Corelli was a wonder of nature! Some samples: "Ah si, ben mio. . .Di quella pira." If there were an aria made for Corelli, this would be it. His big, rich, powerful voice fits this cut nicely. Not much subtlety here. In "Di quella pira," he hits the high notes in a stentorian manner. There are those mannerisms, but they are so easily forgiven, taking into account that rich, lustrous voice.

"Celeste Aida" is another representative cut. This is a powerful version. Also, note how he goes from forte to piano at the end of this aria. A powerful effect indeed.

Then, there are the twin arias from "Tosca." In "Recondita armonia," his rich voice is well manifest. He exhibits a smooth line in his singing. This is a powerful version of this well known aria. "E lucevan le stele" displays again that rich voice. At one point, he goes from forte to piano in a mesmerizing manner (Who'd have thought it?). His final "la vita" grabs one's attention.

Finally, "Nessun dorma." Well, smoothly, and powerfully sung. The final "vincero" is powerfully rendered, leaving goose bumps on the spine.

This is the very best of Franco Corelli. Those who want to get a sense of the vocal prowess of one of the most powerful tenors of the 20th century should attend to this double CD set.

excellent gift.......2007-02-09

I gave it to my father and he says Its an amazing cd.

Greatest Tenor of This Century!.......2007-02-03

Franco Corelli is the greatest tenor of this century. Although there are many fine tenors including Carlo Bergonzi - no tenor comes close to singing with the pure heart and animal magnetism of Franco Corelli. Surprisingly, he was also quite comfortable with bel canto, listen to the incredible "A te o'cara". I've heard "Nessun Dorma" sung by many excellent tenors and hands down, none can touch the sublime beauty of Corelli's version. This 2cd set of his greatest arias is a wonderful gift for any opera fan. "Recondita Armonia" is my personal favorite. His thrilling vocal beauty and intensity of performance is truly unforgettable.

Ah... Franco :}.......2007-01-10

Such a pleasing voice. I can't believe the clarity and perfection. He was well before my time and others have become more 'popular' since then, but for some reason his voice seems better than the more current singers. I do not know much about opera so I will have to rely only on my own ears. I happily recommend this double album. I like to have it playing on the 5 CD changer with other opera cds, mixing through them...it is a perfect saturday morning accompaniment. enjoy.

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Minuets | Ballets & Dances | Classical | Styles | Music

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Fantasies | Forms & Genres | Classical | Styles | Music

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Rondos | Forms & Genres | Classical | Styles | Music

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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

I got it for the same reason....
Where's the full-length version?
"Che belle voci!"
Great opera
amazing

Mozart: Le Nozze di Figaro (Highlights)
Gundula Janowitz , Barbara Vogel , Klaus Hirte , Patricia Johnson , Martin Vantin , Erwin Wohlfahrt , and Chor und Orchester der Deutschen Oper Berlin
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Janowitz, Gundula | Divas | Opera & Vocal | Styles | Music

Troyanos, Tatiana | Divas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Mozart: The Magic Flute (Highlights)
Mozart: Don Giovanni [Highlights]
Rossini: The Barber of Seville (Highlights)
Mozart - Così fan tutte / Cuberli, Bartoli, Rodgers, Streit, Furlanetto, Tomlinson, Berlin Phil., Barenboim [highlights]
Verdi: Aida (Highlights)

ASIN: B000001GDO
Release Date: 1990-05-16

Tracks:

Le nozze di Figaro - The Marriage of Figaro: Overture
Le nozze di Figaro - The Marriage of Figaro: Act 1: Duettino: 'Se a caso Madama la notte ti chiama' - Figaro, Susanna
Le nozze di Figaro - The Marriage of Figaro: Act 1: Cavatina: 'Se vuol ballare signor Contino' - Figaro
Le nozze di Figaro - The Marriage of Figaro: Act 1: Aria: 'La vendetta, oh, la vendetta' - Bartolo
Le nozze di Figaro - The Marriage of Figaro: Act 1: Aria: 'Non s piu cosa son, cosa faccio' - Cherubino
Le nozze di Figaro - The Marriage of Figaro: Act 1: Aria: 'Non piu andrai farfallone amoroso' - Figaro
Le nozze di Figaro - The Marriage of Figaro: Act 2: Cavatina: 'Porgi amor' - Contessa
Le nozze di Figaro - The Marriage of Figaro: Act 2: Canazona: 'Voi che sapete' - Cherubino
Le nozze di Figaro - The Marriage of Figaro: Act 2: Aria: 'Venite, inginocchiatevi' - Susanna
Le nozze di Figaro - The Marriage of Figaro: Act 3: Act III: Aria: 'Vedro, mentr'io sospiro' - Conte
Le nozze di Figaro - The Marriage of Figaro: Act 3: Recitativo: 'E Susanna non vien!' - Contessa
Le nozze di Figaro - The Marriage of Figaro: Act 3: Aria: 'Dove sono i bei momenti' - Contessa
Le nozze di Figaro - The Marriage of Figaro: Act 3: Duettino: 'Che soave zeffietto' - Susanna, Contessa
Le nozze di Figaro - The Marriage of Figaro: Act 4: Aria: 'L'ho perduta' - Barbarina
Le nozze di Figaro - The Marriage of Figaro: Act 4: Aria: 'Aprite un po' quegli occhi' - Figaro
Le nozze di Figaro - The Marriage of Figaro: Act 4: Recitativo: 'Giunse alfin il momento' - Susanna
Le nozze di Figaro - The Marriage of Figaro: Act 4: Aria 'Deh vieni, non tardar' - Susanna
Le nozze di Figaro - The Marriage of Figaro: Finale: 'Gente, Gente, all'armi, all'armi' - Conte,Tutti

Customer Reviews:

I got it for the same reason...........2006-03-07

as many of the others...because that one song that echoed over the courtyard of Shawshank Prison grabbed me. So, I looked in the credits and discovered this. OK, so it's just the highlights, but it's an AMAZING album from start to finish. Presented with passion, humanity, and sometimes even humor. Sometimes opera will drive me up the wall when I don't like one of the singer's voices, but this one has a wonderful collection of talent, and is very easy to listen to.

Where's the full-length version?.......2003-05-03

I have both the highlights and the full recording of this version of Figaro. For some reason, though, Amazon doesn't seem to carry the full version, which is too bad. This is one of the few operas I actually think needs the recitiatives.
Anyway, so since the acting doesn't matter too much on a highlights version I won't get into that. The singing is very good, in fact I think it's probably the best version of Figaro out there. The only exception is in regards to Gundula Janowitz's performance of Dove Sono, which seems to be very ill-suited to her voice. The rest of her part is done beautifully. I also think it's sad that Marcellina's aria was left off, since that is always one of my favorite songs and I will never intentionally buy a recording where it has not been included, but due to how frequently it gets cut, I am not surprised.
Anyway, I recommend the highlights version if you are after something you can listen to in the car and don't want to bother with a full three disc set. For all other purposes I would advise you to track down the full-length recording, which is definitely worth it.

"Che belle voci!".......2002-06-26

This recording is fantastic. Bohm is a lively, exciting conductor who can also make one wet-eyed in the final scene. Prey has the perfect blend of mischievousness and richness of sound for Figaro's character, and he is well-matched by Edith Mathis as Susanna who is delightful and full-voiced. Gundola Janowitz as the Countess is also amazing, and her "Dove sono" is really moving. Fischer-Dieskau is a powerful Count, too. Troyanos (Cherubino) is beyond praise and her "Voi che sapete" ranks with Frederica von Stade. The sound quality is crisp and clear, and the selections are good, though I wish the sextet "Riconosci in questo amplesso" was included. In all, great!!!

Great opera.......2001-08-18

The Marriage of Figaro is arguably one of the best operas ever developed, and it's great to know that this cd contains the best songs from the fabulous opera. The orchestra, along with the singers, give a grand performance of high caliber. If you enjoy classical music, then this will make a magnificent addition to your musical collection.

amazing.......2000-12-30

After watching Shawshank Redemption I looked everwhere for this recording. This is some of the most emotionaly moving pieces of music I have ever heard. Im a 17 year old guy in a punk rock band, and I cried probably the hardest Ive ever cried in my life when listening to the duettino sull aria. Its one of the most beautiful things I have ever heard in my entire life. I cant imagine not having it.

Average customer rating:

Not as good as Amore
a voice teacher and early music fan
Verdi
The triumph of mediocrity
no expert

Andrea Bocelli: Verdi
Zubin Mehta , Israel Philharmonic Orchestra , and Zubin Mehta
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Adult Contemporary | Pop | Styles | Music
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Andrea Bocelli - The Opera Album ~ Aria
Cieli di Toscana
Andrea
Sentimento: Andrea Bocelli with Lorin Maazel and the London Symphony Orchestra [Limited Edition w/ Bonus Track]
Romanza

ASIN: B00004X16D
Release Date: 2000-09-12

Tracks:

Il Trovatore: Di quella pira (Il Trovatore)
Il Trovatore: Ah si, ben mio (Il trovatore)
Rigoletto: La donna e mobile (Rigoletto)
Un Ballo in Maschera: Di'tu se fedele (Un ballo in maschera)
Un Ballo in Maschera: Ma se m'e forza perditi (Un ballo in maschera)
Rigoletto: Ella mi fu rapita (Rigoletto)
Rigoletto: Possente amor mi chiama (Rigoletto)
Aida: Celeste Aida (Aida)
La Traviata: De' miei bollenti spiriti (La traviata)
La Traviata: oh mio rimorso (La traviata)
I lombardi: La mia letizia infondere vorrei (I lombardi)
Ernani: Merce, diletti amici (Ernani)
Don Carlo: Io la vidi e il suo sorriso (Don Carlo)
Luisa Miller: Quando le sere al placido (Luisa Miller)
La forza del destino: La vita e inferno all'infelice (La forza del destino)

Amazon.com Classical Music Reviews

With this CD devoted solely to operatic arias--by none less than Giuseppe Verdi, the greatest Italian opera composer of all time--pop crossover phenomenon Andrea Bocelli throws his hat into the operatic ring with the big boys. The hat occasionally fits, and occasionally it doesn't. The beauty of the voice is undeniable, as is the relative ease in all registers. But, regardless of what the engineers do, it is clearly a small voice. For "Celeste Aïda"--Radames's great aria from Aïda--Bocelli opens with fine, as-big-as-possible exclamation and sounds confident; the long diminuendo on the aria's final high B-flat is stunning (whether or not the engineers were twiddling with the knobs, we'll never know). The tenor is more at home with Alfredo's Act Two music from La Traviata; he sings with grace and charm, ending the rarely performed cabaletta (a brief and showy piece that usually follows an aria) with one of the longest, most solid high Cs ever recorded. Elsewhere, there are mixed results: "Di' tu se fedele" from Un ballo in maschera is so free of feeling that it seems digitally produced. A big, unnecessary high D at the close of the Duke's cabaletta "Possente amor" from Rigoletto is screamed, and Bocelli sounds at times as if he's about to collapse from exhaustion during a heavy aria from Ernani. But "Ah si, ben mio" from Il Trovatore is beautiful, as is the Luisa Miller aria; Don Carlo also seems to fit Bocelli well. Needless to say, the singer's fans will certainly want to have this--and it might encourage them to try other recordings of music by Verdi. Newcomers and the curious will find plenty to admire, too. The sound itself remains alluring, and Bocelli has taken steps also towards improving his technique. In short, some nice surprises for the opera lover, and many for the Bocelli fan. --Robert Levine

Customer Reviews:

Not as good as Amore.......2007-03-24

This CD came perfectly, I just prefer the Amore CD better.

a voice teacher and early music fan.......2007-02-14

It is said that from the age of eleven years, Guiseppe Verdi (1813-1901) wanted to write operas. He left his post as organist to study music in Milan, a move made possbile by his patron,Barezzi, whose daughter he eventually married in 1836. Shortly thereafter he composed his first opera 'Oberto" which was so successful that his future seemed secure. However, the death of his wife and two babies some time later forced him into a state of depression. The impressario Mirelli gave him the book 'Nabucco' (Nebuchadnezzar) to read, and he immediately began to write music for it. Therewith he embarked on the career which eventually made him the "Grand Old Man" of Italian opera. In modern slang, he was a "natural".From "Oberto", written in his twenties, to "Falstaff", completed when he was eighty, his characteristic integrity and intensity persisted; as he wrote his 30 operas, his powers of expression broadened and deepened. By the time he wrote 'Aida', commissioned by the Khedive of Egypt, Verdi was 56. 'Aida' is often named as his greatest opera. The live elephants used in the production, the authentic costumes and musical instruments copied from ancient Egyptian tombs made an attractive picture, and his music made a "Celeste Aida" of the whole.
Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with tenors of his ilk, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.

Verdi.......2007-01-03

Excellent Verdi selections. As usual, top tonal quality with excellent breath control. The best tenor to come along with such diversification as to sing just about anything presented to him. A superb choice for the connoisseur of italian operas.

The triumph of mediocrity.......2006-02-04

No, Bocelli is not an awful singer, he is an awful OPERA singer, and it shows here. His colorless, uneducated and bland voice make me wonder why people like him so much. As a baritone in training I'm able to say that my voice teacher's STUDENTS sing much better than this guy.
His tessitura is nowere near adequate for singing any of the arias from Rigoletto, "La donna è mobile" sounds much like a kid would sing it. "Celeste Aida" is one of the worst selections, and one of the most electronically enhanced, as it requires a precise voice placement (which Bocelli doesn't posses) since much of it lies very high in the register, and a heavier, rounder voice; if the role is not adequate for many REAL tenors, it is much less adequate for a pop singer. The "feeling" raving reviewers talk about is nothing more than a voice coming (incorrectly) from the throat, and the "beautiful" high D in "Possente amor" is a beautifully screamed falsetto, the same could be said about "Di quella pira"'s C; what's amazing about all this is the fact that electronic enhancement doesn't make his voice sound better. Some have ludicrously compared him to the likes of Vargas, Domingo, and Corelli, even saying he's better; this is nothing more than ignorance and bad taste.
Maybe his fans are tired of detractors bringing out the big names in their defense, so let's be honest: he's one of the WORST opera interpreters out there, I wish great singers like Mariusz Kwiecen, Matthew Polenzani, and René Pape received the publicity he gets, though it won't happen; at least some consolation lies in the fact that these people are true artists willingly and GLADLY offering their art to the people in order to make a living; I'm sure if Andrea didn't make so much $$$$ with his opera experiment, he would've dropped this travesty long ago.

no expert.......2005-12-17

I'm not a genuine, dyed-in -the-wool opera fan. The sound of the soprano voice makes me grit my teeth. Some of the great tenors are very pleasing, but mostly I'm just not especially enthusiastic or impressed. Actually, I think it's rather stupid for good singers to abuse their voices by bellowing. This was necessary before the invention of amplification, but not any more.
So, obviously, I'm not in the position to compare Bocelli's arias to those of the tenors considered the greats. I can hear that his voice lacks the robustness of the Pavarottis of this world. BUT - I like many of the famous arias, and to my ear, Bocelli's performances, electronically enhanced or not, are melodic and pleasant to the ear. As a result of listening to Bocelli, I've become familiar with some great music that I would otherwise be likely to ignore.
So I listen and enjoy and really don't care about all the criticism.

Average customer rating:

Ever-reigning Queen of Sopranos
Lucia Popp
Lucy: The Reigning Queen of Opera

The Very Best of Lucia Popp

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Lucia Popp: Opera Arias
Very Best of
Very Best of
Opera Arias

ASIN: B0000AHEAY
Release Date: 2003-09-02

Tracks:

Song To The Moon
Should I Ever Learn
How Confused I Feel
Solveig's Song
Solveig's Cradle Song
Amor Volat Undique
Stetit Puella
In Trutina
Vier Letzte Lieder
Vier Letzte Lieder
Vier Letzte Lieder
Vier Letzte Lieder
Symphony No. 4 In G
Tatiana's Letter Scene

Tracks:

Un Cenno Leggiadretto
Ho Perduto Il Caro Sposo
O Had I Jubel's Lyre
Laudate Dominum
Welche Wonne, Welche Lust
Porgi, Amor
Voi Che Sapete
Giunse Alfin Il Momento...Deh Vieni, Non Tardar
Crudele?...Non Mi Dir
Come Scoglio
Una Donna A Quindici Anni
Der Holle Rache
Ach, Ich Fuhl's
Crucifixus
Die Forelle
Gretchen Am Spinnrade
An Sylvia
Zueignung
Es Lebt' Eine Vilja
Klange Der Heimat

Customer Reviews:

Ever-reigning Queen of Sopranos.......2007-05-28

Listening through these two discs, one thought kept leaping up to mind: will ever there be another soprano as versatile and accomplished as Lucia Popp? Died in 1994 at the early age of 54, the operatic world hadn't really mourned her enough.
People are still lingering on Maria Callas, the 'star' soprano with all her glamour and legendary life could offer.
Real listeners, however, could not give up the memory of Lucia Popp's terrific artistry and almost supernatural voice.
Her Rusalka, her Solveig, her Susanna, Zerlina, Despina in the da Ponte/Mozart trio, her terrific Queen of the Night (unsurpassed by ANY subsequent sopranos up till now), and ALSO her Pamina in the same opera. In any language you ask her to sing, and she excelled. I marvel at the Letter Scene in Eugene Onegin - only if Lucia had the chance to perform the whole opera during her short life! The joy, the expectation, the emotional tribulations, so vividly captured in girlish and pure timbre. No one will ever beat her; not even Fleming and Netrebko.
"Weird and wonderful" - that's what Elisabeth Schwarzkopf said of Lucia Popp's singing. We today would modify it to 'wonderful and unsurpassable'.
This 2-CD set is an absolute must have, even if you have never heard of Lucia Popp before.

Lucia Popp.......2006-01-12

This is a wonderful album showcasing the very best of Lucia Popp (as the title suggests). Her voice was absolutely beautiful. She could sing the slavic languages like no one else. Her version of Dvorak's Song to the Moon is unbeatable. I dare anyone to find a better performance! Also, the song from Die Zauberflute -Ah Ich fuls (sp?) is outstanding. I've yet to hear a better version. Her diction was fantastic and while she wasn't the highest soprano around - she knew what worked for her voice. This is album is a keeper!

Lucy: The Reigning Queen of Opera.......2004-07-12

Lucia Popp is one of the best sopranos to ever grace the operatic/classical voice stage. This CD compilation shows her progression through lyric Handel to lyric and dramatic Mozart (her Der Holle Rache from Magic Flute is unrivaled) to tender art song and operetta literature. The first disc also showcases her adeptness with 20th Century literature as well as the ability to step out of the traditional four languages of opera. Any avid music fan MUST have this CD compilation.

International Music:

International Music

International Music