Le Plus Grands Succes [Import]

Product Description
Greatest Hits from French Gothic Pop Diva of the Big 80's. Includes her Single 'toute Premiere Fois'.

Tracks:

Son Vergin Vezzosa - Paul Plishka
Eccomi... Oh! Quante Volte
Mira, O Norma
Santo Di Patria... Allor Che I Forti Corrono... Da Te Questo
Contro Un Cor Che Accende Amore - Nicolai Gedda
Che M'apporti? - Ambrosian Opera Chorus
Quel Sangue Versato Al Cielo S'innalza - Ambrosian Opera Chorus
Vorrei Spiegarvi, Oh Dio, K.418
Amor, Op.68 No.5

Tracks:

Martern Aller Arten
E Strano! E Strano!
Ah, Fors'e Lui
Follie! Follie!
Sempre Libera
Ces Murs Silencieux - Pardonnez-moi, Dieu De Toute Puissance - Ambrosian Opera Chorus
Toi! Vous! - Oui! Je Fus Cruelle Et Coupable! - Ambrosian Opera Chorus
N'est-ce Plus Ma Main? - Ambrosian Opera Chorus
Robert, Toi Que J'aime
Tu Ne Chanteras Plus?
Chere Enfant Que J'appele
Meine, Lippen, Die Kusen So Heiss
Wien, Wien, Nur Du Allein
Always Through The Changing

Customer Reviews:

RIP, BEVERLY SILLS 1929-2007.......2007-07-03

The great American diva's passing was announced today.

This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.

Brava Sills!.......2007-02-02

A very nice compilation of Sillsiana. The different cuts on this CD provide a nice illustration of her work. Let me briefly describe my response to a sampling of the works on this CD:

Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.

Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.

Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.

Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.

Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.

Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.

In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.

Sills fits my bill.......2006-03-13

This recording is another in an all too small CD collection of Sills recordings. I eagerly await more.

The Great American Soprano.......2005-10-01

This is a great collecition featuring arias from the Classical and Romantic periods. Fabulous!!!!!

My Favorite Woman.......2005-08-05

I would have to say that when I first heard Beverly Sills sing, I was entranced. I couldn't take my eyes off of her and I became angry at any rustling around me, because I was afraid I would miss one note. It was so addictive....that is what she is....addictive! A c.d. will never properly capture her style. She is an amazing leader in opera, taking it into a new frontier and I believe this c.d. showcases that.

Nicolai Gedda - French and Russian Arias & Songs

Average customer rating:

Gedda in 60's and early 70's
A recording that does Gedda justice
It is the voice of destiny.
This is some of the finest singing ever recorded
What a master singer!!!

Nicolai Gedda - French and Russian Arias & Songs

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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The Very Best of Nicolai Gedda
The Very Best of Alfredo Kraus
Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini
Schumann: Dichterliebe / Wunderlich, Giesen
The Very Best of Franco Corelli

ASIN: B000001XMK
Release Date: 2000-06-06

Tracks:

La Dame Blanche: Viens, gentille Dame
Faust: Quel trouble inconnu me penetre! - Salut! demeure chaste et pure
Romeo et Juliette: Ah! leve- toi, soleil
Les Huguenots: Non loin des vieilles tour- Plus blanche que la blanche hermine
Carmen: La fleur que tu m'avais jetee
Lakme: Prendre le dessin- Fantasie aux divins mensonges
La Damnation de Faust: Merci, doux crepuscule!
Les Troyens: Inutiles regrets!- Ah! quand viendra l'instant des supremes adieux
Prince Igor: Is it thou, Vladimir? (in Russian)
Jevgeny Onegin: Kuda, kuda, kuda vi udalilis (Where, Oh Where Have You Gone?)
Where Are You, Little Star?
The Garden By The Don
The He-Goat
In This Moonlit Night
At The Ball
Legend
Don Juan's Serenade
The Song Of The Young Gypsy
How Fair This Spot Or Hill Is Beauty

Customer Reviews:

Gedda in 60's and early 70's.......2003-08-21

Nicolai Gedda, a vocal wonder of the post-WWII Europe is in great form in live selections presented on this CD.
The French opera arias, particularly Berlioz and Gounod, required stellar high B's and C's plus ability to shift the registers seemlessly. Well, Gedda dispite his accent, was indeed perfect for this material. He will make you hold your breath every time he hits those high notes and each of these notes is crystal clear and dead-center on pitch.
For me personally, the best part of the disc is a 1971 recital of Russian art songs by Mussorgsky, Tchaikovsky and Rachmaninov. Gedda sings with a lot of feeling and is not afraid to "invent" -- check out the messa voce, or rubato that he adds. "Where art thou, little star" is heart-gripping in its beauty.
Unfortunately, the recital is clearly not presented in its entirety. I just hope Gala will release the full version some time soon.
Of course, all the selections are "live". But that's not a serious problem here (unlike many other Gala CDs made almost unlistenable by caughs and other noises). Yes, there are a few distractions, but not enough to take away from pure joy of Gedda's singing.

A recording that does Gedda justice.......2003-04-05

This compilation disc from Gala presents the artistry and musicianship of Nicolai Gedda. He is a great tenor. His voice may not be the most beautiful, but it certainly is pleasant to hear. He has an excellent top register; no high note is beyond his reach. His pianissimos, not really given their due here with Gala's selections of songs and arias, are really top-rate and extremely beautiful. If you want to hear his lovely pianissimos, get the hard-to-find "Opera Arias: Nicolai Gedda". The selection of arias and songs here is wonderful. Also included is a wonderful duet from "Prince Igor" sung in Russian and several Russian songs by Mussorgsky, Tchaikovsky, and Rachmaninoff. I didn't care much for the Russian songs, but Gedda performed them very well with perfect Russian diction. The French arias are amazingly well done. If you have been left unmoved by his versions of Don José's Flower Song from his two studio recordings of "Carmen", you will not be disappointed with the version included here. This version is sung with great emotional involvement. It comes from the 1954 live recording of "Carmen" with Giulietta Simionato and Herbert von Karajan. Gedda has the flexibility and the high D for the "Les Huguenots" aria. His renditions of the two Gounod arias are wonderful and his high notes are superb. Énée's aria from "Les Troyens" is very well done. He even attempts a trill in it. A recently released live recording of a performance of "Les Troyens" with Gedda, Horne, and Verrett is available. Check it out. Gedda may be too light of voice for such a heavy role as Énée, but who could resist such stylish, superb singing and French diction? He also can scale all the dangerous heights and dramatic demands of the fiendishly difficult role. The sound of this compilation is surprisingly good. There is some static, but it never becomes distracting. Audience noise is minimal to nonexistent. Applause is found only on a few tracks and is always appropriate. All in all, a worthwhile purchase at a remarkably low price!

It is the voice of destiny........2002-09-01

If I say that it is nice I'll say nothing. Gedda's voice is really juicy and romantic and vocalize school is enormously mastered. When you hear to it, the first thought is that such voice cannot to be belonged to real, live person. It is for angel's not for real man.

This is some of the finest singing ever recorded.......1999-05-12

Although strangely forgotten by the opera world and overshadowed by the overwhelming publicity surrounding the three tenors (Carreras, Domingo, and Pavoroti), Gedda ought to be recognized as the greatest living tenor. His artistry, technique, musicianship, and individuality are second to none. Buy this CD and delight in some of his best work. There are presently no singers that even approach the mastery of the repetoire recorded on this album which Gedda sings perfectly and easily.His refinement and power are unexcelled. (No, the three tenors don't hold a candle to him. In fact, comparing Gedda to them is a bit like comparing a halogen bulb to a candle. Very nice candles, yes, but no match for an artist of his caliber.)

What a master singer!!!.......1999-01-20

This is a truly wonderful recording of the tenor, who I feel, is the greatest in the second half of the 20th Century. Maestro Gedda sings repetoire from the lyric Gerrard in Lakme to the dramatic Raoul in Les Hugeunots all with stylish ease and elan. Gedda had the most beautiful high notes in the business. These are all live performances and the span of time is from 1954 (Carmen, with von Karajan) to 1972 (Les Hugeunots). Finally, on CD, one gets to hear Maestro Gedda sing Lenski's Aria from Eugene Onegin, more beautiful and sumptuous than any other Tenor before or since. Also the last 9 tracks are Russian songs and this is some of the most beautiful singing heard anywhere (also done live).

Average customer rating:

Rain: Grand Piano & Nature

Manufacturer: Direct Source Label
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00005ORBQ
Release Date: 2000-07-05

Tracks:

Fantasy in D Major, K. 397
Study in C Sharp Minor, Op. 2, # 11
Clair de Lune, Op. 46, # 2
Nocturne, Op. 54, No. 4
Italian Concerto, Second MVT.
Liebestraume, # 3
June (Barcarolle), Op. 37, # 6
Prde in C Major (WTC BK 1)
Waltz in C Sharp Minor, Op. 64, # 2
Song of Spring, Op. 62, # 6
Valse - La Plus Que Lente
Minuet in G Minor
Rrie, Op. 15, # 7
Menuet in the Name of Hadyn
Arietta, Op. 12
Song Without Words, Op. 19, # 1
Gavotte (Holberg)
Mazurka in C Sharp Minor, Op. 63, # 3
Intermezzo in E Flat Major, Op. 117, # 1

Average customer rating:

A long overdue collection by one of the English masters of the clarinet.
Great Collection

The Complete American Decca Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Swing Low Sweet Clarinet: Reginald Kell & His Quiet Music
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ASIN: B0009ONYPA
Release Date: 2005-09-13

Tracks:

I. Allegro
II. Adagio
III. Rondo. Allegro
I. Allegro
II. Larghetto
III. Menuetto-Trio I/II
IV. Allegretto Con Variazioni I-IV/Adagio-Allegro
I. Allegro
II. Andante
III. Minuetto In Canone-Trio In Canone Al Rovescio
IV. Allegro

Tracks:

I. Allegro Maestoso
II. Menuetto I-Trio
III. Adagio
IV. Menuetto II-Trio
V. Finale. Allegro
I. Allegro Con Brio - Mieczyslaw Horszowski
II. Adagio - Mieczyslaw Horszowski
III. Tema. 'Pria Ch'Io L'Impegno'. Allegretto-Allegro - Mieczyslaw Horszowski
I. Andante - Mieczyslaw Horszowski
II. Menuetto - Mieczyslaw Horszowski
III. Rondeaux. Allegretto - Mieczyslaw Horszowski
I. Zart Und Mit Ausdruck
II. Lebhaft, Leicht-Coda: Nach Und Nach Ruhiger
III. Rasch Und Mit Feuer-Coda-Schneller

Tracks:

I. Allegro Con Fuoco
II. Andante Con Moto
III. Rondo. Allegro
I. Allegro
II. Adagio
III. Andantino-Presto Non Assai, Ma Con Sentimento
IV. Con Moto-Un Poco Meno Mosso
I. Allegro - Mieczyslaw Horszowski
II. Adagio - Mieczyslaw Horszowski
III. Andantino Grazioso - Mieczyslaw Horszowski
IV. Allegro - Mieczyslaw Horszowski

Tracks:

I. Allegro Appassionato
II. Andante, Un Poco Adagio
III. Allegretto Grazioso
IV. Vivace
I. Allegro Amiabile
II. Allegro Appassionato
III. Andante Con Moto-Allegro
I. Allegretto - Brooks Smith
II. Allegro Animato - Brooks Smith
III. Lento - Brooks Smith
IV. Molto Allegro - Brooks Smith
I. Improvisation: Tempo Rubato-Espressivo - Brooks Smith
II. Modal Blues: Tempo Di Blues - Brooks Smith
III. In Rhythm: Moderato - Brooks Smith
I. Allegro Non Troppo - Brooks Smith
II. Larghetto - Brooks Smith
III. Allegro - Brooks Smith

Tracks:

Premiere Rhapsodie For Clarinet And Piano
I. Massig Bewegt
II. Lebhaft
III. Sehr Langsam
V. Kleines Rondo, Gemachlich
I. Sempre Piano E Molto Tranquillo
II. MM=168
III. MM=160
I. Verbunkos (Recruiting Dance). Moderato, Ben Ritmato
II. Piheno (Relaxation). Lento
III. Sebes (Fast Dance). Allegro
La Plus Que Lente
La Fille Aux Cheveux De Lin
Reverie
Le Petit Berger
Ecstasy
The Pied Piper
Blue Haze
Dance Of The Three Old Maids

Tracks:

I. Ouverture. Vif Et Gai
II. Divertissement. Anime
III. Jeu. Vif
IV. Introduction Et Final. Modere-Vif
I. Adagio 'Lovely On The Water - Brooks Smith
II. Andante Sostenuto 'Spurn Point' - Brooks Smith
III. Larghetto 'Van Dieman's Land' - Brooks Smith
IV. Lento 'She Borrowed Some Of Her Mother's Gold' - Brooks Smith
V. Andante Tranquillo 'The Lady And The Dragon' - Brooks Smith
VI. Allegro Vivace 'As I Walked Over London Bridge' - Brooks Smith
Siciliana And Gigue
Adagio
Allegro
Giga
Rondino Uber Ein Thema Von Beethoven
Piece En Forme De Habanera
Petite Piece
Roundelay
Berceuse
Jamaican Rumba - Brooks Smith
Caprice Viennoois Op.2
Liebesleid
Liebesfreud
Stars In My Eyes
Schon Rosmarin

Customer Reviews:

A long overdue collection by one of the English masters of the clarinet........2007-01-05

The Yorkshireman Reg Kell became famous for using vibrato in the classical world when it was unfashionable. He used it tastefully, and other artists such as Jack Brymer and Emma Johnson have continued to use it. He also had a series of tutorials with Benny Goodman (for Goodman's benefit) which led to Goodman changing his embouchure from the upper teeth on mouthpiece to the upper lip - as well as lower, -on mouthpiece, which perhaps in Goodmans's case was not a good move, as he had it right the first time!.

However these recordings originally came out a very long time ago in the early days of vinyl, and a re-issue is long overdue. Kell's excursion in to light music is interesting, though he stops well short of anything resembling jazz, although he had earlier recorded one record with Bert Ambrose's band in the 1940 which was the nearest he got, - but that is not included here. His main forte is in the works of Mozart, Weber, Beethoven and Brahms, but he also plays Bartok and Templeton. It shows what an accomplished performer he was. All were recorded after he left the UK to live and play in America.

This set shows his rightful place as a performer in the history of clarinet playing. He had raised the standard of the time, and had the benefits of improved recording techniques and length of play boudaries were removed with the LP record.

Great Collection.......2006-07-30

My only negative comment is that he rushes some of the runs; everything else is great!

Average customer rating:

Chaliapin, the great Russian singer actor.
A Chaliapin feast

Chaliapin: A Vocal Portrait

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

General | Folk | Styles | Music
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Prima Voce: Chaliapin
Great Singers, 1909-1938

ASIN: B00006RHPA
Release Date: 2003-01-21

Customer Reviews:

Chaliapin, the great Russian singer actor. .......2004-08-23

Born in the same year as Caruso and attracting the wild acclaim that used to be accorded to opera singers, Feodor Chaliapin is now featured in the Naxos "Great Singers" series. A selection of his acoustic recordings (1902-1924) occupy the first CD and a selection of his electric recordings (1926-1936), and in charge of restoration is Ward Marston.

Like Caruso, Chaliapin had a huge voice that nevertheless proved eminently compatible with acoustic recording processes. Indeed, collectors need not be deterred by the age of many of these recordings. Some of the very best items, whether opera or song, fall into the acoustic group. The 1911 recordings of Rubinstein's "Demon" excerpts, which I heard a few times many years ago and have never forgotten, are amongst the best of all in this entire selection.

Also like Caruso, Chaliapin's recording career owed much to producer Fred Gaisberg who, in his autobiography, allotted a whole chapter to this great singer. In recent times, eminent critic John Steane has named Chaliapin as one of the two or three great singer actors of the C20th. Gaisberg was responsible for recording the Prayer and Death of Boris during an actual performance of "Boris Godunov" at Covent Garden in 1928. Perhaps this best indicates Chaliapin's work as singer and actor. Another successful item here is the `Le veau d'or' from "Faust", which one critic has judged ideal for showing Chaliapin's special magnetism.

The notes provide an informative survey of Chaliapin's recording output. One error is the attributing some of the orchestral support in the recordings from the 1920s to the London Philharmonic Orchestra, and orchestra which was founded by Beecham in 1932.

A Chaliapin feast.......2003-02-14

It's nice of Naxos to collect in one place some of the most representative recordings of the great Russian basso, Fyodor Chaliapin. This is a 2CD set; the first CD is from the acoustic era of recording, the second from the electrical era. Not only are the expected arias and songs from the Russian literature represented, but also there are more than a few Italian/French/German selections.

There are two scenes from 'Boris Godunov': Varlaam's Song and the Farewell and Death of Boris. Three versions of Mussorgsky's 'Song of the Flea', from 1907, 1929 and 1936 (the latter his last recording) are included, all of them marvelous. Other highlights, made all the more effective by Chaliapin's amazing ability to act with the voice, are 'La calunnia' from 'The Barber of Seville' and 'Le veau d'or' from Gounod's 'Faust.' I also liked 'Chanson Bachique' by Glazunov, which I'd never heard before.

The sound is fantastic, the wizardry of Ward Marston who, along with Mark Obert-Thorn, is involved with Naxos's extensive re-issue of treasures from the history of the recorded voice.

Tracks:

Maitre Pathelin: Act 1. Romance: Je Pense A Vous
Le Cid: Act 3: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere
Les Abencerages: Act 2. Recitatif Et Air: Suspendez A Ces Murs... J'ai Vu Disparaitre L'espoir
Mireille: Act 3. Cavatine: Mon Coeur Est Plein D'un Noir Souci... Anges Du Paradis
L'Amant Jaloux: Act 2. Ser: Tandis Que Tout Sommeille
La Juive: Act 4. Air: Rachel, Quand Du Seigneur
Mignon: Act 3. Romance: Elle Ne Croyait Pas, Dans Sa Candeur Naive
L'Africaine: Act 4: Pays Merveilleux
La Damnation De Faust: Part 4, Scene XVI. Invocation A La Nature: Nature Immense
Iphigenie En Tauride: Act 2. Recitatif Et Air: Quel Langage Accablant... Unis Des La Plus Tendre...
Les Pecheurs De Perles: Act 1. Recitatif Et Romance: A Cette Voix Quel Trouble Agitait Tout Mon...
Le Roi D'ys: Act 3. Puisqu'on Ne Peut Flechir... Vainement, Ma Bien-aimee
Joseph: Act 1. Recitatif Et Air: Vainement Pharaon Dans Sa Reconnaissance... Champs Paternals
Samson Et Dalila: Act 3: Vois Ma Misere, Helas!
L'Attaque Du Moulin: Act 2: Le Jour Tombe, La Nuit Va Bercer Les Grands Chenes

Amazon.com

Roberto Alagna is without peer among contemporary tenors in the French repertory, as this excellent collection of staples, sprinkled with rarities, demonstrates. He has the right blend of sweetness for the lyric selections and exciting vocal heft for those requiring more muscle. If one must find something to carp at, it's the tenor's occasional tendency to slip into an inappropriate Italianate verismo style. Examples of the "sweet" Alagna are his gorgeous floating soft ending to "Je crois entendre encore," from Bizet's The Pearlfishers, and the lovely head voice in the Lalo aria. His "Rachel, quand du Seigneur," a favorite of tenors from Caruso to Richard Tucker, is taken at a sluggish tempo, but it has the requisite vocal finish and characterization. And Alagna creates the necessary sense of wonder in the opening of "Pays merveilleux," from Meyerbeer's L'Africaine. The Bruneau selection that closes the disc is a welcome rescue of a lovely farewell-to-life aria from a long-forgotten late-Romantic opera. Unlike most collections done with a generalized, one-size-fits-all approach, Alagna's finds him almost always in character. Bertrand De Billy's accompaniments are sometimes too restrained (the orchestral introduction to the Bizet aria is downright sleepy), but that shouldn't keep admirers of French opera and world-class singing from grabbing this disc. --Dan Davis

Customer Reviews:

Great French aria recital!!!.......2003-02-13

Roberto Alagna has the makings of a great French tenor. He has the style and diction down pat. This CD shows off his tenor to great effect. I especially liked the rare selections that were included. There is some wonderful French music on this disc.

Alagna is given great support by conductor Bertrand de Billy and the Royal Opera House Orchestra of Covent Garden. The sound is excellent. This disc was finely produced. On to the review.

Alagna's voice has a scratchy edge to it that gives character to his otherwise rough timbre. His voice is not ugly, but it is not the typical sweet voice of a French tenor. His voice grows on you. His voice also has some dramatic heft to it. He is best in the arias that require some dramatic heft, but not a whole lot. He is totally committed dramatically to the music that he sings. The aria from "Joseph" and the one from "Le Cid" are two great examples. He sings the famous aria from "La Juive" very well. However, on some of the arias, he tends to use too much unnecessary drama. The editorial reviewer was correct in saying that Alagna has a tendency to slip into inappropriate Italian verismo style. Alagna's rendition of the aria from "Samson et Dalila" is not that good. That aria is probably too heavy for his voice. The timbre of his voice takes on an unattractive edge when he sings that aria. Alagna sings the delightful Sérénade from "L'Amant Jaloux" very well with lovely pianissimos. However, it seems that he is a bit rough in his delivery of some of the words. By rough delivery, I mean the use of too much emotion. This charming piece is probably not suited to a relatively heavy voice like his. Also, the exquisite aria from "Le Roi d'Ys" suffers from rough delivery of some of the words. I also wish he had sung the word "vais" in the phrase "Je vais, hélas, mourir!" pianissimo like Nicolai Gedda does on his version of the aria. Alagna's rendition of the beautiful aria from "The Pearl Fishers" is excellent. His pianissimos are to die for! One previous reviewer said that his pianissimos sounded mechanically produced and that some were even unpleasant to the ears. Do not believe that person. Alagna has gorgeous pianissimos that are very naturally produced.

Overall, this is a great recital album that includes some very rare material. It is worth getting.

The first great French tenor of the 21st century!.......2001-06-23

Roberto Alagna is probably the greatest tenor to come from France since Georges Thill, widely considered to have been the greatest French tenor of the 20th century. This is unquestionably Alagna's best solo album, the equal of his astonishing work in Werther. All of his virtues are amply displayed here: a splendid voice, directness and honesty of expression, superb diction in his native French, intelligence, imagination, complete and utter immersion in character, and the ability to make each word he sings mean something. Throughout the disc we hear nobility and sweetness, elegance and passion, tenderness and pain, even charm and humor. This is not merely a 'stud', but a great artist in the service of music.

Most important of all is Alagna's questing spirit. While some superstar singers barely change or add to their repertory over decades of performing, Alagna is eager to mine the rich lode of French repertory (of which we only know a few nuggets) and bring otherwise unknown or forgotten works to a new public. Some of these arias haven't been recorded in at least 60 and even almost 80 years. In fact, so rarely performed are they that the ROH Orchestra had to borrow the orchestral parts for two arias from the Orchestre de Paris!

Since his career began Alagna's voice has grown in drama and power with little loss to the basic lyric quality of his instrument. He does so well with the more dramatic selections not only because of his great skill as a vocal actor, but also because he actually sings the arias beautifully and lyrically instead of just belting them. He is strongest when he can combine heroism with introspection, as in the arias from `Samson et Dalila', `Le Cid', and especially `La Juive', where he perfectly embodies the inner conflicts of these three very different religious men. Indeed I found the grief and guilt of a father about to lose his daughter in the last absolutely heartwrenching. Still, I hope Alagna waits a long time before doing any of these roles on stage, and limits his appearances in them to small theatres. The best track on the disc is `O Paradis', filled with the genuine wonder of discovery. In the aria from `Joseph', Alagna convinces in the widest range of emotions from nostalgia to rage to the desperate desire for reconciliation, and the aria from `Les Abencerages' is also a dramatic tour-de-force. There is also a truly heroic rendition of `Nature immense' from `La Damnation de Faust'. The glorious paean to friendship from `Iphigenie en Tauride' is both urgent and sensitive, and the farewell to life from `L'Attaque du Moulin' is sung even more beautifully than by some historic tenors.

He also shows that he is quite capable of the light touch, such as in the aria from `Le Roi d'Ys' and especially `Elle ne croyait pas' with its beautiful diminuendi. The aria from `Maitre Pathelin' which opens the disc is a sweet, lovely serenade capped by a splendid high C#. It's a pity that he does not take all of `Je crois entendre encore' as sweetly and headily as he takes certain phrases, but I admit to being extraordinarily picky about the performance of this aria and am only truly satisfied by Gedda.

As with his performances at the Met and elsewhere, Bertrand de Billy proves his skill in bringing out the spirit and elegance of French opera. If his tempi are a trifle slow (and nowhere near as much as those of, say, Michel Plasson) they only aid musical expression. He has been a long time friend and collaborator of Alagna, and their rapport shows here. The orchestra plays very well and London Voices makes a fine choral contribution to the `Samson et Dalila' scene.

If there is any complaint to be made, it is that while Alagna differentiates character superbly, he doesn't differentiate actual musical style much. Over 100 years separate the Gretry and Bruneau arias, and he sings them basically the same way. And there are a few moments where he overdoes the heroism (and volume) a bit, notably in `Anges du paradis' and the Gretry aria. Still, in the context of the disc's overall splendor, these are minor flaws. It's also a shame that the originally announced aria from `Herodiade' is not included. I presume it didn't fit onto the otherwise generously filled (73 minute) disc.

By and large the documentation is also very good. Admirers of French opera who have only heard the rarities on historical labels with minimal documentation will greatly appreciate the full texts and translations included here. There is a nice essay on the French tenor tradition 'which Roberto Alagna inherits' written by noted English critic John Steane, who also provided explanatory notes for each track (some for the rarities could have been slightly more detailed). Although I am glad that Alagna isn't subjected here to the sugary publicity gush that most singers these days get in their CD booklets (so much for him being 'overhyped'!), it's a pity that there is no biographical or career information about him or de Billy.

I really hope that Alagna gets his wish to have some of these and other rare operas recorded in their entirety and staged, but I doubt if the political and economic situation in the opera world will permit it. Even if performances or complete recordings are impossible, Alagna absolutely must record many more solo French albums. A Berlioz disc with both Enee's and Hylas' arias from Les Troyens is essential. Certainly this wonderful stage comedian should also record more comic repertory. And of course, he should continue to bring us many more recordings of arias that haven't been recorded in ages, and even some world premieres. I also seriously hope that he gives us his interpretations of French song repertory as well. Frankly, if he wants to record the Paris phone book, that's fine with me too!

A truly great recording.......2001-06-10

This album is among the best I ever heard. Alagna's beautiful tenor tone is truly amazing throughout the CD and his perfect French diction is very enjoyable. After listening mr. Alagna's French I prefer him to anyone else I've heard singing this repertoire. IMO the loveliest songs are "Je pense à vous" with the easy high C# and the light "Vainement, ma bien-aimée". I think the arias from Le Cid and Samson are a bit too heavy for him, but however, he sings them with the great interpretative power. It's possible that he uses a little too much pianissimo in the Bizet aria, but on the other hand that's where I think his voice is at its best. Nothing can take the fifth star away! This CD will be with me anywhere I go...

Good but not great.......2001-05-23

I generally liked this recording because it presents much unfamiliar material (Mehul, Bruneau) combined with Mr. Alagna's excellent diction. However, after I unwrapped the CD, I immediately compared his singing of "Je crois entendre encore" with Jussi Bjorling and found it lacking. Bjorling lets you feel the melancholy of what the character had and lost. He is obviously reliving his memories. The pianissimo at the end is truly haunting. Mr. Alagna's soft notes seem almost mechanically manufactured.and sometimes border on the unpleasant. He was best in those pieces that required more spinto sound (the selections from Samson et Dalila and Le Cid, for example). I would recommend this recording if only for the unfamiliarity of much of the material.

Alagna is a stud.......2001-05-06

This CD is primo Alagna. Only his first recital and maybe the Rondine are better. People say he's in decline, but they just need to listen to the Gluck track on this CD. Or the Meyerbeer. Or the Gounod. It's all great. Yay Roberto!

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Lully: Atys (Highlights)

Manufacturer: Harmonia Mundi Fr.
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Binding: Audio CD

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ASIN: B00009IC6L
Release Date: 2003-09-09

Ben Heppner - Airs Francais / LSO, Myung-Whun Chung

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Very nice recital of French arias
Great recital, some arias are not so great
Fine French Fare
Good, but something missing...

Ben Heppner - Airs Francais / LSO, Myung-Whun Chung
Hector Berlioz , Giacomo Meyerbeer , Fromental Halévy , Jules Massenet , Myung-Whun Chung , Ben Heppner , and London Symphony Orchestra
Manufacturer: Deutsche Grammophon
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ASIN: B00005RDBC
Release Date: 2001-11-13

Tracks:

BERLIOZ: "Inutiles regrets"
Nature immense
Merci, doux crepuscule!
Seul pour lutter
Ah! je vais l'aimer
HALEVY: "Rachel, quand du Seigneur"
MASSENET: "Ah, qu'il est loin, mon pays"
O Souverain, o juge, o pere
O noble lame etincelante
MEYERBEER: "O paradis"
Plus blanche que la blanche hermine
Roi du ciel
ROUGET DE LISLE: "La Marseillaise" (arr. Berlioz)

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Ben Heppner is our leading dramatic tenor, but he's also a skilled recitalist; he triumphed in Colin Davis's concert recording of Berlioz's Les Troyens. His first solo recording for Deutsche Grammophon demonstrates his skill in the French repertory. Almost half the disc is given to Berlioz arias, done with power and stylistic comfort. His artistry differs from the traditional French tenor; the voice is beefier, some of the delicacy is lost. But the tradition ceased to exist by the 1970s, and Heppner compares favorably with anyone on the scene today. His voice is darker than those most often heard in these arias, so while it may surprise at first in "Nature immense," here, as elsewhere, there's a rightness about his singing that's compelling. His "O Souverain" is sensitively done, and the wonderful Halévy aria (the entire scene is given) is done without the verismo disfigurements of Alagna's on his French aria disc for EMI. Myung-Whun Chung's sympathetic conducting makes for a classy partnership. --Dan Davis

Customer Reviews:

Very nice recital of French arias.......2003-04-06

Ben Heppner is a great tenor. Contrary to some reports, he is not a heldentenor. He is an unusually large-voiced lyric. His voice is very fine indeed. This recital contains some nice renditions of French arias. A few arias were not that great. He has the pronunciation down pat. I loved the aria from "La Juive". Heppner is perfect for the role of Eléazar. The aria benefits greatly from having the chorus present and the inclusion of the rousing and tuneful cabaletta. The "Le Cid" arias also benefitted from the chorus being present. Some high notes of his are quite unpleasant. One such high note was the high D in the "Benvenuto Cellini" aria. His voice is really not light and high-placed enough for some of the arias he sings. One example is the "Les Huguenots" aria. Nicolai Gedda is perfect for that aria. Anyway, this recital is, on the most part, enjoyable.

PS. There is a serious problem in the booklet. Most of the arias have misaligned texts and translations. This makes following the singing very difficult.

Great recital, some arias are not so great.......2003-02-14

Ben Heppner is an immensely talented singer with a great voice and excellent musicianship. This recital disc of French arias and the French national anthem is a great introduction to his art. Already a great Wagnerian singer, he is branching out into new territory. I think the French repertory fits him very well. I did not care much for some of the arias. This was true for the "Sapho" aria and the two arias from "Le Cid". My favorite aria is "Rachel, quand du Seigneur la grâce tutélaire" from "La Juive". It is dark, brooding, and very beautiful. Heppner sings it amazingly well. He avoids unnecessary sentiment in this aria that is so often subjected to Italian verismo style. I also like the aria from "Benvenuto Cellini". It is very nice and contains wonderful music. Heppner performs Vasco de Gama's aria from "L'Africaine" very well. You can sense his wonder and marvel of the new land on which he has just been stranded. The French national anthem is given a rousing rendition. He is given excellent support from conductor Myung-Whun Chung and the London Symphony Orchestra. I wish he had included more popular arias from more well-known French operas. Two nice suggestions are "Asile héréditaire" from "Guillaume Tell" and "Vois ma misère, hélas!" from "Samson et Dalila". Despite my objections to some of the material chosen for this disc, it is still a great recording.

Fine French Fare.......2002-03-22

Canadian tenor Ben Heppner is certainly one of the finest singers on the current operatic scene. Despite his tendency to slightly squeeze the voice on top rather than allow it to bloom, he truly has a lovely vocal quality, full of warmth and color, along with a superior musical intelligence with which he has begun to bring a deepening sense of dramatic conviction to his interpretions over the last few years. On this disc, he succeeds greatly in the arias from operas which are within his vocal fach: Les Troyens, La Juive, El Cid, L'Africaine, and Le prophète. In particular, it is joy to hear the ardor and longing in his Enée (his complete traversal of the role with the LSO recently won a Grammy), the world-weariness of his Eléazar without the Italianate sobbing which has become de rigueur, and the victorious triumph of Jean de Leyde. Though Mr. Heppner's sense of lyricism serves him well, the other selections really require a different type of tenor, one whose vocal quality is lighter and more flexible in terms of dynamics and shading. Nonetheless, this is a fine recording, with exciting contributions from both the London Symphony Orchestra and conductor Myung-Whun Chun.

Good, but something missing..........2001-12-28

Ben Heppner is probably the best heldentenor around, but a great German singer does not a great French singer make. All the notes are there but the headtones are missing. Sometimes, Heppner sounds like he is really pushing it on the high notes. A French tenor would have known to float them rather than belt them out like a good Wagnerite. This is most obvious in the Berlioz and Halevy selections. Things improve a little in Massenet and then they improve a lot in Meyerbeer. That's to be expected because Meyerbeer was a German trying to write Italian opera for Paris, not a real "French" composer. The Massenet selections from LeCid are spectacular, but part of the effect is from the chorus and large orchestra. The London Symphony Orchestra,led by Myung-Whun Chung,is an asset on this disc. It is consistently full and it gives silky support to the singer. The final item is a rousing version of the Berlioz arrangement of "La Marseillaise." Everyone pulls this off well and it makes a great ending for the disc. Maybe somebody could do the same kind of arrangement for the Star Spangled Banner. It would be an impressive alternative to the pop-soul-country versions that seem to be the norm these days.

Aria: The Finest Sacred & Secular Arias from 1600 to 1800

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Aria: The Finest Sacred & Secular Arias from 1600 to 1800

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Release Date: 2005-02-08

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Excellent and Affordable Recording of an Excellent Opera
recording sound
The Perfect Carmen!!!!! Definitely 5 stars

Bizet: Carmen

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001XNX
Release Date: 2000-06-06

Customer Reviews:

Excellent and Affordable Recording of an Excellent Opera.......2002-06-19

I am thoroughly impressed with the quality and price of this version of Carmen, my favorite opera. For the price of one CD (I bought it when it was still only [price]), one gets three CDs including a quality live recording of this opera as well as a good number of "Bonus Tracks" performed by Gedda. The sound quality is far better than I'd expected given the price and the fact that it was recorded in 1954. There is no static or anything distracting on this recording (except perhaps for the inevitable occasional coughing of an audience member, which one must expect in a live performance). Both the conducting and the singing are great, as all the singers are very capable of their roles: Simionato's Carmen is both beautiful and nasty, Gedda's Jose is jealous yet loving, and Roux's Escamillo is arrogant and rather dislikeable yet wonderfully sung with fine enunciation. No libretto is provided, so look elsewhere if one is desired, but I'm not complaining. This is an excellent, high-quality performance and recording for a good price.

recording sound.......2000-06-07

Could someone comment on the recording quality of this Carman?

The Perfect Carmen!!!!! Definitely 5 stars.......1999-02-13

What a find!!!! Here you have two great sopranos (Simionato and Gueden) in the midst of their glorious careers and one of the greatest tenors of all time at the beginning of his (the great Nicolai Gedda, at 29 and only 3 years into his magnificent singing career). Simionato and Gedda are just magnificent here. Gedda sings a Flower Song so virile and impassioned, it has yet to be equaled. Simionato sings a very beautiful, sexy effortless Carmen. One comment about the Viennans in the audience, there is very little applause (or noise of any kind, for that matter), Maestro Von Karajan must have had the audience sitting on their hands. The Maestro Von Karajan turns his customary great performance, with the Vienna Philharmonic Orchestra. This is such a great performance. Everyone sings so beautifully and their French style in this music is impeccable. Once again, the accoustics on this Gala recording are great. As an extra bonus, you get great performances of Nicolai Gedda singing excerpts from Les Hugeunots and Le Prophete (both by Meyerbeer and both in French). A perfect performance of the opera Carmen. After listening to this performance of Carmen, all others pale in comparison. A must have!

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