L' Orso Bruno [Import]

1. E Li Ponti So' Soli

2. Uomo Di Pane

3. Ingresso Della Fabrica

4. Lontana E' Milano

5. Orso Bruno

6. Mare Di Jan

7. Dove

8. Sottopassaggio

L' Orso Bruno,Antonello Venditti,Bmg Int'l,Int'l & World Music,Italian Pop,Italy,Pop,World Music

Average customer rating: Fantastic The more you know, the more you will like this set what are these people thinking? Very Disappointing This is a HORRIBLE recording!

Verdi: La Traviata Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Levine, James | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Studer, Cheryl | ( S ) | Featured Performers, A-Z | Classical | Styles | Music 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 Operettas | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Verdi - Rigoletto / Chernov · Studer · Pavarotti · Scandiuzzi · D. Graves · D. Croft · MET · Levine Verdi: Un Ballo in Maschera Mozart: Le Nozze Di Figaro Verdi - La Traviata / Levine, Stratas, Domingo Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge ASIN: B000001GGR Release Date: 1993-02-16

Tracks:

1. La Traviata: Preludio
2. La Traviata: Act I - Introduzione - 'Dell'invito trascorsa e gia l'ora' (Violetta, Alfredo)
3. La Traviata: Act I - Toast - 'Libiamo ne' lieti calici' (Alfredo, Violetta)
4. La Traviata: Act I - Valzer e Duetto - 'Che e cio?' (Violetta, Alfredo)
5. La Traviata: Act I - Valzer e Duetto - 'Un di felice, eterea' (Alfredo, Violetta)
6. La Traviata: Act I - Valzer e Duetto - 'Ebben? che diavol fate?' (Violetta, Alfredo)
7. La Traviata: Act I - Stretta dell'Introduzione - 'Si ridesta in ciel l'aurora'
8. La Traviata: Act I - Scena ed Aria - Finale - 'E strano!...Ah, fors'e lui' (Violetta)
9. La Traviata: Act I - Scena ed Aria - Finale - 'Follie! Delirio vano e questo!...Sempre libera' (Violetta, Alfredo)
10. La Traviata: Act II - Scene 1 - Scena ed Aria - 'Lunge da lei... De' miei bollenti spiriti' (Alfredo)
11. La Traviata: Act II - Scene 1 - Scena ed Aria - 'Annina, donde vieni?... Oh mio rimorso!' (Alfredo)
12. La Traviata: Act II - Scene 1 - Scena e Duetto - 'Alfredo?' - 'Per Parigi or or partiva' (Violetta, Germont)
13. La Traviata: Act II - Scene 1 - Scena e Duetto - 'Pura siccome un angelo' (Germont, Violetta)
14. La Traviata: Act II - Scene 1 - Scena e Duetto - 'Non sapete quale affetto' (Violetta, Germont)
15. La Traviata: Act II - Scene 1 - Scena e Duetto - 'Un di, quando le veneri' (Germont, Violetta)
16. La Traviata: Act II - Scene 1 - Scena e Duetto - 'Ah! Dite alla giovine' (Violetta, Germont)
17. La Traviata: Act II - Scene 1 - Scena e Duetto - 'Imponete' - 'Non amarlo ditegli' (Violetta, Germont)
18. La Traviata: Act II - Scene 1 - Scena - 'Dammi tu forza, o cielo!' (Violetta)
19. La Traviata: Act II - Scene 1 - Scena - 'Che fai?' - 'Nulla' (Alfredo, Violetta)
20. La Traviata: Act II - Scene 1 - Scena ed Aria - 'Ah, vive sol quel core' (Alfredo, Germont)
21. La Traviata: Act II - Scene 1 - Scena ed Aria - 'Di Provenza il mar, il suol' (Germont)
22. La Traviata: Act II - Scene 1 - Scena ed Aria - 'Ne rispondi d'un padre all'affetto?... No, non udrai rimproveri' (Germont, Alfredo)

Tracks:

1. La Traviata: Act II - Scene 2 - Finale II - 'Avrem lieta di maschere la notte'
2. La Traviata: Act II - Scene 2 - Finale II - 'Noi siamo zingarelle'
3. La Traviata: Act II - Scene 2 - Finale II - 'Di Madride noi siam mattadori'
4. La Traviata: Act II - Scene 2 - Finale II - 'Alfredo! Voi!' (Alfredo)
5. La Traviata: Act II - Scene 2 - Finale II - 'Invitato a qui seguirmi' (Violetta, Alfredo)
6. La Traviata: Act II - Scene 2 - Finale II - 'Ogni suo aver tal femmina' (Alfredo)
7. La Traviata: Act II - Scene 2 - Finale II - 'Di sprezzo degno se stesso rende' (Alfredo, Germont)
8. La Traviata: Act II - Scene 2 - Finale II - 'Alfredo, Alfredo, di questo core' (Violetta)
9. La Traviata: Act III - Preludio
10. La Traviata: Act III - Scena ed Aria - 'Annina?' - 'Comandate?' (Violetta)
11. La Traviata: Act III - Scena ed Aria - 'Teneste la promessa... Attendo, ne a me giungon mai... Addio del passato' (Violetta)
12. La Traviata: Act III - Baccanale - 'Largo al quadrupede'
13. La Traviata: Act III - Scena e Duetto - 'Signora...' - 'Che t'accadde?' (Violetta, Alfredo)
14. La Traviata: Act III - Scena e Duetto - 'Ah, non piu!... Ah! Gran Dio! Morir si giovine' (Violetta, Alfredo)
15. La Traviata: Act III - Finale ultimo - 'Ah, Violetta!' - 'Voi? Signor?' (Germont, Violetta, Alfredo)
16. La Traviata: Act III - Finale ultimo - 'Prendi, quest'e l'immagine' (Violetta, Alfredo, Germont)

Customer Reviews:

Fantastic.......2006-03-29

I just bought this CD... and it is FANTASTIC. Please buy it, the singing is gorgeous, the acting is superb, and the orchestra is just.. spot on. I recommend this recording over all others of Traviata, and I have heard quite a few.

The more you know, the more you will like this set.......2005-10-05

I find quite a few novice reviewers weighing in here. To denigrate a major artist like Pavarotti or Studer in favor of the workmanlike Juan Pons--a pet baritone of Levien's at the Met who won neither renown nor critical admiration anywhere else--is silly. The real question is how a fine La Traviata with great singers and a major conductor fits into the overall picture of this oprea on disc.

The classic 1950s versions with Callas, form Lisbon and La Scala on EMi, are in antiquated radio air checks with a dreadful orchestra in the Lisbon case, matched by a very feeble Germont in Sereni and an intrusive stage prompter talking over the singers. La Scala has a better cast but many defects in the sound, including dorpouts into near unintelligibility. In both cases the whole show is Callas, although Giulini is a major asset on the La Scala version, and some critics hail Kraus in the Lisbon set.

Among modern recordings we have one outright winner, the Kleiber performance on DG with Domingo at his best and a very affecting Ileana Cotrubas as Violetta. Kleiber rides the score hard at times, and Sherril Milnes, as usual, tends to shout as the elder Germont. But these are quibbles considering the overall musicality being displayed in every scene.

Overall musicality and drama are important. You can't have an outstanding La Traviata just b getting together some good vocalists. Which is why Pavarotti's earlier set on Decca was so disappointing. Leaving aside that Sutherland sounds a bit mature for the role, and that she enunciates Italian horribly, the combination of her voice and Pavarotti's is spectacular. But then you have the woefully routine conducting of Bonynge. On the Caballe set you get another bad conductor, on the Muti set you get the whole score without cuts but a very wobbly, squally Scotto and the dried-up tenor of the aging Alfredo Kraus.

It's not a perfoect world, and once you summarize all the pluses and minuses, this 1992 set under Levine looks better and better. Studer has all it takes to make Violetta musically and dramaticaly convincing. I am not concerned about vocal slips here and there. Pavarotti is in very good voice for his age, and Alfredo suits that voice perfeclty. He is a model of musicianship and perfect enunciation. Pons is adequate but no better. Levine conducts from the inside, with real understanding and emotion. Altogether, this is the best La Traviata on disc since the Kleiber recording--I for one am very grateful it came along.

what are these people thinking?.......2003-10-27

I was shocked to read these reviews! there are so many other recordings that are much worse than this one!

Studer sings wonderfully in Acts 2 and 3 with plenty of beauty and sadness, but she has MAJOR problems in Act 1. Her singing is just dreadful, esp. in her Sempre Libera aria. Her performance in Acts 2 and 3 make up for this, which is why I gave this 5 stars instead of 4. perhaps in the future, we could transfer Callas's performance to this recording, and make it 10 stars.

Pavarotti's voice is heavier, making his performance much more dramatic and darker instead of the light, colorful sound that he had in the Sutherland version. He still sounds fantastic here, in my opinion, even better than on the Sutherland version. The color in his voice, his expression, diction and support remain marvelous as always.

Pons is the best singer of the three. his duet with Studer in Act 2 is one of the many highlights here, and his Di Provenza aria is heartbreaking, perhaps the best one I've heard.

Levine and the Met orchestra are simply the best, esp. in the string section. Def. one of the best U.S. orchestras.

supporting roles and chorus are excellent, esp. in the Gypsy theme in Act 2.

so please ignore the other reviews, and get this recording. it's everything one could ask for.

Very Disappointing.......2003-07-24

This recording could have been one of the best on the market. With its superstar cast and famous conductor, I bought this recording with high expectations.

They were severely disappointed.

Pavarotti, at one time, was the one the best Alfredo's around. But in this 1992 recording his voice sounds strained and weak and is simply unable to meet the rigors of the part. Studer is at best uninspired as Violetta. At worst, her portrayal of the vibrant fun-loving playgirl is boring and lifeless. At some points I get the impression she would rather be singing a different part. And the orchestra sounds about half as big as it ought to be, an orchestra of mice rather than men (and, of course, women).

What saves this recording from a lower score is an intense Pons as the elder Germont. He "di Provenza" is actually quite good and he sounds appropriately sad and torn during the opera, as he should. His is the only worthwhile performance in the entire recording (excepting perhaps the gypsies at the beginning of Act 2, Scene 2). Many of the other minor characters are admirably filled, but the lack of strong leads ruins the entire performance.

In short, this recording is a major disappointment, and at $$$, a major waste of your money. If you really want a great recording of this opera, buy instead Giulini's 1955 La Scala production with Callas and diStephano. This is probably the hands down definitive recording of the opera; too bad the sound is less than stellar. For a more modern version, listen to Klieber's 1990 recording with Cotrubas and Domingo. Both offer a much better alternative than this train wreck of a recording.

This is a HORRIBLE recording!.......2000-05-06

This recording is very BAD! Stay away from it. Studer is not ment to sing Violetta. She does not even sound as if she is into the part. Pavarotti was ment to sing Alfredo, just not here! He is still one of the best Alfredo's around, but this recording he sounds bored and not into his character. Juan Pons is great as Germont, but just because he is in it, its not worth buying this bad recording. The orchestra under James Levine sounds, for lack of a better word, weird! It does not sound full, but not to small. Very bad reading of one of the very few Verdi opera's I like.

Average customer rating: The Past Near-Perfect Wow The Most Electrifying 'Walküre' Ever Recorded

Wagner: Die Walküre (Acts 1 and 2) Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Frida Leider: A Vocal Portrait Wagner: Die Walküre Wagner: The Ring ASIN: B0000AE7BM Release Date: 2003-10-21

Album Description

In the early 1930s Bruno Walter planned to record the complete Die Walküre in Berlin, exploiting recent refinements in the electrical recording technique. However when the Nazis came to power, Jewish artists, including Walter, were immediately under threat. The location of the recording was shifted to Vienna. In 1935 the whole of Act 1 and parts of Act 2 were taken down. Melchior, the finest Heldentenor of that or any time, and Lehmann managed to sound astonishingly youthful, while Hotter was to become the leading Wotan of the next two decades. Logistical and budgetary problems made it difficult to complete Act 2 and only in 1938 was the rest of it undertaken in Berlin, under the vastly experienced leadership of Bruno Seidler-Winkler.

Customer Reviews:

The Past Near-Perfect.......2006-04-09

Imagine that you have access to a time machine: you set a few dials and you can be whisked to an orchestra seat for a performance by legendary artists. Now imagine that the charge for this fabulous journey is about fifteen dollars. That is what this two-cd set is tantamount to. The performers are among the most illustrious Wagnerians in the history of opera, whether caught in the prime (Lehmann and Melchior), or at the beginning (Hotter) of remarkable careers. They are joined by two equally renowned ensembles led for much of these recordings by the sterling Bruno Walter and for the rest by the distinguished Bruno Seidler-Winkler. The engineering has yielded sound so noise-free and expansive that the result might have been produced twenty years later than the actual 1930's dates. The listener doesn't have to "listen through" a veil of scratchy background and muted dynamics. All in all, this reissue superbly achieves what archival recordings strive for but all too often fall short of: it gives full reproduction of great performances so that one generation can clearly communicate with another. The only thing that keeps this recording from being perfect is the lack of a third act. As it is, even if you are a less-than-perfect Wagnerite these performances will grip you. Take the first step in your journey to a wonderful experience of the past and buy this music.

Wow.......2005-09-27

Of course this recording has been around for years. Never-the-less, for new fans of Wagnerian opera who have never heard the 1st Act sung by Lehmann and Melchior this will be a revelation!

The 2nd Act is also near-overwhelming, and both together is the reason this recording stays in the catalog: It doesn't get much better than this!

The Most Electrifying 'Walküre' Ever Recorded.......2003-10-25

This is a recording that merits its status as a legend. It has everything ... except the opera's third act. An explanation: the recording was begun in 1935 in Vienna, under conductor Bruno Walter but owing to all kinds of technical and scheduling difficulties parts of the second act had to be recorded three years later with mostly the same singers in Berlin under Bruno Seidler-Winkler, himself no mean Wagner conductor, because Walter had by then left Hitler's Germany. And the third act was simply never recorded. Even so, it has never been out of print. Many years ago I owned this performance on an LP whose dreadful sound could not hide the intensity and beauty of the performance. This transfer, done by Naxos's miracle man, Mark Obert-Thorn, is absolutely stunning. There are many passages where one simply cannot tell that the recording was made seventy years ago. The voices are generally very forward and are extremely life-like. Except for occasional and quickly forgotten slight tubbiness and limited dynamic range the orchestral sound is more than satisfactory; indeed, it is about the best I've ever heard from recordings of that era. A transfer engineering triumph.

But the best part is the musical performance, cobbled together as it is in some respects. The cast is a dream. Get this:

Sieglinde----------Lotte Lehmann
Brünnhilde---------Marta Fuchs
Fricka-------------Margarete Klose
Siegmund-----------Lauritz Melchior
Wotan--------------Han Hotter
Hunding------------Emanuel List

Further, each of these singers is in extraordinary voice. It is as if they sense they are involved in a history-making endeavor in this, one of the first attempts to record 'Walküre.' Lehmann, who could later sound a bit matronly, here sounds ardently young and feminine. Melchior sings as well as I've ever heard him, a bronze baritonal sound that is absolutely rock-solid, coupled with fidelity to the music as written, not always present elsewhere with Melchior. Marta Fuchs, who made few recordings, is a young-sounding and intensely dramatic Brünnhilde; the voice is like a laser. The young Hans Hotter, then only 26, is singing his first Wotan, a role he made his own in the years to come. There is a strong, rather than hectoring, Fricka from the mezzo, Margarete Klose. Hunding is manly and dramatically apt as sung by Emanuel List. The Vienna portion (more than 2/3 of the recording) is played by the Vienna Philharmonic who as the Vienna State Opera Orchestra had this music in their bones. The Berlin portion utilized the Berlin Philharmonic who are only marginally below the VPO's level in this era. This is Bruno Walter's only major Wagnerian recording. This conductor, often cited as the quintessentially gemütlich Germanic conductor, leads an intensely dramatic performance. What a pity we don't have more Wagner from him.

Individual passages of note in Act I: Melchior's 'Ein Schwert verhiess mir der Vater,' and then 'Winterstürme' followed by the rapturous duet (Melchior, Lehmann) 'Du bist der Lenz.' Act II: the argument in Scene One between Fricka (Fuchs) and Wotan (Hotter), which is often just sort of skated over but here is full of fire and spirit. Then the most dramatically engaging 'Wotan's Monolog' (where he tells Brünnhilde the history of the Ring) that I've ever heard; this passage is sometimes scorned because it is so long and recounts material that presumably the informed opera-goer already knows. Not so here; Hotter makes us, as well as Brünnhilde, hang on every word. Klose's alternately confused and brave Brünnhilde, especially at the beginning of Act II, Scene 4 ('Siegmund! Sieh auf mich!) where she tells Siegmund he must die, is simply stunning.

The marginally less effective part of the recording is in the last part of Scene 5 when two different singers (Ella Flesch and Alfred Jerger) perform that scene's confrontation between Wotan and Brünnhilde. It's not that they are bad--in fact, they're quite good--but their voices are so very different from Fuchs's and Hotter's that it is a bit jarring.

This, obviously, is not going to be anyone's only recording of 'Die Walküre.' And although there is a scene by scene synopsis, there is no libretto; Naxos probably recognizes that anyone buying this 2CD set will probably already have a modern recording and a libretto.

Still, I suspect I will be reaching for this performance in preference to a number of other more modern performances that I own. It's that good! Once again I want to thank Naxos for making this and other significant historical recordings available in clear sound at a budget price. They keep coming up with winners like this, the 1931 French 'Manon,' the early Karajan 'Meistersinger,' the recently released 'Louise,' and others.

Most heartily recommended.

CD1=73:41
CD2=70:22
TT=2:24:03

Scott Morrison

Average customer rating:

Wiener Staatsoper Live 1933-1944 Manufacturer: Koch Schwann (Germ.) ProductGroup: Music Binding: Audio CD All Works by Borodin | Borodin, Alexander | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schmidt | Schmidt, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Braun, Hans | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Mascagni, Pietro | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Mozart, Wolfgang Amadeus | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Strauss, Richard | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Borodin, Alexander | A to B | Featured Composers, A-Z | 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 ASIN: B000006KLQ Release Date: 1994-03-22

Tracks:

1. Carmen: Prelude, 1st act - Orch der.../Bruno Walter
2. Die Walkure: Keiner ging-Wintersturme wichen dem Wonnemond - Set Svanholm
3. Der Rosenkavalier: Kann mich auch an ein Madel erinnern - Viorica Ursuleac
4. Don Carlo: Dio, che nell'alam infondere amor - Todor Mazaroff/Piero Pierotic
5. Die Meistersinger Von Nurnberg: Wach auf es nahet gen den Tag - Chor Der Wiener Staatsoper
6. Le Nozze Di Figaro: Non piu andrai - Paul Schoffler
7. Lohengrin: Entweihte Gotter-Ortrud, wo bist du - Margarete Klose/Maria Muller
8. Der Fliegende Holler: Wirst du des Vaters Wah! nicht schelten - Hans Hotter/Helena Braun
9. Furst Igor: Wenn an Igor's Stell' ich w - Alfred Jerger/Chor Der Wiener Staatsoper
10. Notre Dame: Zwischenspiel - Orch der.../Wilhelm Loibner
11. Aida: Celeste Aida - Max Lorenz
12. Die Zauberflote: Ach, ich fuhl's, es ist verschwunden - Maria Reining
13. Die Walkure: Vorspiel-Nun ze dein RoHojotoho - Walter Groann/Anny Konetzni
14. Un Ballo In Maschera: Alla vita che t'arride - Matthieu Ahlersmeyer
15. Gotterdammerung: Siegfrieds Rheinfahrt - Orch der.../Clemens Krauss
16. Die Frau Ohne Schatten: Vater, bist du's - Hilde Konetzni
17. Cavalleria Rusticana: Ah! Lo vedi, che hai tu detto?-No, no, Turiddu - Helge Rosvaenge/Maria Jeritza
18. Rienzi: Ha! Rienzi hoch!-Erstehe, hohe Roma, neu - Franz Volker/Chor der Wiener Staatsoper
19. Der Resenkavalier: Ist ein Traum, kann nicht wirklich sein - Eva Hadrabova/Maria Gerhard
20. Lohengrin: Entweihte Gotter-Ortrud, wo bist du? - Margarete Klose/Maria Muller

Average customer rating:

Richard Wagner: Die Walküre (Act 2) Manufacturer: Capitol ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B00000DOAT Release Date: 1992-04-14

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