Mina & Battisti [Import]

1. Emozioni

2. E L'uomo Per Me

3. Fiori Rosa, Fiori Di Pesco

4. Citta Vuotta

5. Dolce Di Giorno

6. L'ultima Occasione

7. Mi Ritorni In Mente

8. E Se Domani

9. Nel Cuore, Nell' Anima

10. Se Tu Non Fossi Aqui

11. Un'avventura

12. Un Bacio E Troppo Poco

13. Sono Come Tu Mi Vuoi

14. Lo Vivro Senza Te

15. Un Anno D'amore

16. Insieme A Te Sto Bene

17. Se Non Ci Fossi Tu

18. Pensieri E Parole

19. Mi Sei Scoppiato Dentro Al Cuore

20. Il Tempo Di Morire

See all 24 tracks on this disc

Tracks:

Prelude (orchestra) PROLOGUE
Welch' Licht leuchtet dort?
Dammert der Tag? (Drei Nornen)
Dawn/Tagesgrauen/Lever du jour (Orchestra)
Zu neuen Taten, teurer Helde (Brunnhilde)
Mehr gabst du, Wunderfrau (Siegfried/Brunnhilde)
O heilige Gotter (Brunnhilde/Siegfried)
Siegfried's Rhine Journey (Orchestra)
Nun hor, Hagen (Gunther/Hagen) ACT ONE, scene one
En Weib weiss ich (Hagen/Gunther/Gutrune)
Vom Rhein her tont das Horn (Gunther/Hagen/Siegfried) scene two Heil! Siegfried, teurer Heldi!
Wer ist Gibichs Sohn? (Siegfried/Gunther/Hagen)
Bergrusse froh, o Held (Gunther/Siegfried/Hagen/Gutrune)
Vergass' ich alles (Siegfried)

Tracks:

Gunther, wie heisst deine Schwester?
Bluhenden Lebens labendes Blut (Siegfried/Gunther)
Was nahmst du am Eide nicht teil? (Siegfried/Hagen/Gunther/Gutrune)
Hier sitz' ich zur Wacht (Hagen) scene three
Altgewohntes Gerausch (Brunnhilde/Waltraute)
Hore mit Sinn, was ich dir sage !(Waltraute)
Welch banger Traume Maren (Brunnhilde/Waltraute)
Blitzend Gewolk (Brunnhilde)
Brunnhild'1 Ein Freier kam (Siegfried/Brunnhilde)
Jetzt bist du mein (Siegfried/Brunnhilde)

Tracks:

Prelude (orchestra) ACT TWO, scene one
Schlafst du, Hagen, mein Sohn? (Alberich/Hagen) scene two
Hoiho, Hagen ! (Siegfried/hagen/Gutrune) scene three
Hoiho! Hoihohoho!
Rustet euch wohl (Hagen/choir)
Gross Gluck und Heil (Choir/Hagen) scene four
Heil dir, Gunther! (Choir)
Brunnhild', die hehrste Frau (Gunther/Choir)
Gegrusst sei, teurer Held (Gunther/Choir/Siegfried/Brunnhilde/Hagen)
Einen Ring sah ich an deiner Hand (Brunnhilde/Siegfried/Gunther/Hagen)
Betrug! Betrug! (Brunnhilde/Gutrune/Choir/Gunther/Siegfried)
Helle Wehr! Heilige Waffe!(Siegfried/Brunnhilde/Choir)
Glaub', mehr zurnt es mich als dich (Siegfried) scene five
Welches Unholds List (Brunnhilde)
Vertraue mir, betrogne Frau! (Hagen/Brunnhilde)
Auf, Gunther, edler Gibichung! (Hagen/Gunther/Brunnhilde)
So soll es sein! (Gunther/Brunnhilde/Hagen)

Tracks:

Prelude (Orchestra) ACT THREE, scene one
Frau Sonne sendet lichte Strahlen (Woglinde/Wellgunde/Flosshilde)
Eine Albe fuhrte mich irr (Siegfried)
Siegfried !
Ein goldner Ring ragt dir am Finger!
Behalt ihn, Held
Weialala leia (Flosshilde/Wellgunde/Wogline/Siegfried) scene two
Hoiho! (Hagen/Choir/Siegfried)
Trink, Gunther, trink! (Siegfried/Gunther/hagen)
Mime hiess ein murrischer Zwerg (Siegfried/Hagen/Choir)
In Leid zu dem Wipfel (Siegfried/Hagen)
Was hor' ich? (Gunther/Hagen/Choir)
Brunnhilde, heilige Braut! (Siegfried)
Funeral March (Orchestra) scene three
War das sein Horn? (Gutrune)
Hoiho! Hoiho!
Siegfried - Siegfried ershlagen!(Gutrune/Gunther/Hagen)
Schweight eures Jammers jauchzenden Schwall (Brunnhilde/Gutrune)
Starke Scheite schichtet mir dort
Wie Sonne lauter strahlt mir sein Licht
O ihr, der Eide ewige Huter!
Mein Erbe nun nehm/ ich zu eigen
Fliegt heim, ihr Raben!
Grane, mein Ross, sei mir gegrusst! (Brunnhilde)

Amazon.com

Testament's 1955 Bayreuth Festival Götterdämmerung completes their release of that extraordinary Ring cycle. As in the previous operas of the tetralogy, this Götterdämmerung scores on several counts. As part of the first Ring cycle to be recorded in true stereo it has important historical interest. As an example of Joseph Keilberth's revelatory conducting, it reminds us that he was a great Wagnerian. His control of the dramatic narrative is superb, with tempos that were considered fast for his time but now are convincingly apt. And as an example of great Wagner singing, it's nothing less than spectacular. Astrid Varnay is a magnificent Brünnhilde, singing with passion, her big dramatic soprano soaring over the orchestra in the Immolation Scene. Windgassen was the Siegfried of choice in the 1950s, and he fits the bill with his virile tenor and characterization. In Joseph Greindl, Keilberth had a black-voiced Hagen who conveyed real menace.

The rest of the large cast is as close to flawless as we have a right to expect, with perhaps the best Gunther (Hermann Uhde) and Alberich (Gustav Neidlinger) on disc, and in Maria von Ilosvay, a Waltraute who is gripping in her long scene with Brünnhilde. The singers are as strong in the last act as they are in the first, remarkable for this long opera. The orchestra is uniformly excellent and the sonics, if not up to today's state-of-the-art engineering, are natural, accurately depicting the voices and projecting a good sense of space and stage spread. This is a unique Götterdämmerung (and Ring cycle), with an unbeatable combination of great performance and decent stereo sound. --Dan Davis

Album Description

The is the fourth and final release of the first stereo recording of Wagner's Ring Cycle, Gotterdammerung recorded during the 1955 Bayreuth Festival and featuring Astrid Varnay, with Joseph Keilberth, conductor.

Customer Reviews:

A "GOTTERDAMMERUNG" and a "RING" for the AGES!.......2007-06-19

This recording of Wagner's "Die Gotterdammerung" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "Die Gotterdammerung" choices on disc. As do the remaining three operas, also recorded at the same time, by the same cast, that make up the "Ring".

Going back over the decades of my life, I remember when you only had one choice for a "Ring"...Solti/Decca, and that was it.

Then, there came the von Karajan, and then the Bohm/Bayreuth. Then, there seemed to be a mini-explosion of "Rings" over the following years, so many that it became/becomes staggering to think about!

Two statements:
1) If you are NEW to Wagner's "Ring" do not become confused with all the choices out there. There are really only two live recordings you need consider...the Krauss/Bayreuth, and this one, Keilberth/Bayreuth, and one studio recording to think about, the Solti/Decca set. You may think this excessive, but you NEED all three of these recordings. Period.
2) If you are FAMILIAR with Wagner's "Ring", then, assumably, you want the Best recording of it. I will assume you already have the Solti set, as most people do. The Krauss set you may or may not have. It is a stunner. And, now, the Keilberth....the most awesome recording, in many ways, you will ever experience.

Think: 1955, live, Bayreuth, the Best Wagnerians of their age, assembled together at the behest of Wagner's grandsons, in Wagner's theater, and the best part....recorded in STEREO! By Decca, of all people, before the Solti studio Ring was ever thought about! Why Decca sat on these magnificent recordings just blows my mind.

Luckily for us, Testament acquired the rights to release these timeless recordings, and we now, after 52 years, can marvel at and enjoy these magnificent performances of four of the greatest musical masterpieces ever written, combining to make up the most monumental work ever written for the stage! Enjoy this (set) of Masterpiece Recordings! ~operabruin

Full Circle.......2007-05-09

The 1955 Bayreuth Ring comes full circle with this excellent GOTTERDAMMERUNG. The cycle is a superb example of music drama at its finest, with golden-age performances caught live, in sound equal to the best of its day. We hear a truly stellar cast, in their prime, with several seasons of RING performances behind them. The conductor, Joseph Keilberth, had been conducting at Bayreuth since the 1952 RING. He knew the house well, and all the singers.

I would not want to be without the Clemens Krauss RING of 1953, another great cycle from Bayreuth, but the quality of sound, good as it is, cannot match the 1955 cycle, concluded with this recording. The only real problem the Decca team encountered was with the 'infernal' smoke and fire machine that runs through the Nibelheim scene of DAS RHEINGOLD.

There is no such technical problem with GOTTERDAMMERUNG. This, and its companion dramas of the Cycle, surely must be the benchmark in terms of cast, sound quality, conducting, and orchestral execution. It may be outpointed in certain areas, but overall this GOTTERDAMMERUNG completes a RING that ought to be the first choice, if cost is not an issue.

It is expensive. The cost for the vinyl version is staggering, though I suppose purists will insist on having that incarnation. I am very happy with the CDs, which I purchased one set at a time as they emerged. It took a while, but the wait has been worth it.

Which Gotterdammerung to buy, Keilberth or Solti?.......2007-04-21

I was prepared not to find this Gotterdammerung superior to, or even equal to, the receding Siegfried, but one listening tells me that all is well. Whereas there are few impressive sets of Siegfried on disc, Solti's Gotterdammerung is one of the recordings of the century (I believe I read one poll where it was voted THE recording of the century). Yet for overall dramatic effect, Keliberth also leads an inspiring performance. Since Testament is asking a dear price for this historic set, it might be worthwhile to compare the two rivals.

Solti: The overwhelming element here has always been the Vienna Phil, recorded in sumptuous grandeur by Decca. For sweep and epic proportion, no one has ever come close to matching them. The next freat thrill comes from Nilsson, a Brunnhilde of incomparable power and gleaming penetration. Solti gives us his best effort in Wanger, and among the supporting roles Christa Ludwig (Waltraute), Gunter (Fischer-Dieskau), Alberich (Neidlinger) and Hagen (Frick) cannot be faulted. Windgassen's voice had become worn and leathery over the years, and his Siegfried, although highly experiened and musical, isn't a pleasure to listen to for beauty of voice or youthfulness. (It sounds considerably more taxed in the live Bayreuth set under Bohm on Philips.)

It must be remembered that the stereo era hadn't seen a complete Gotterdammerung before this pioneering effort, which stunned the classical music world in the early Sixties. After four decades, it remains undiminished and sells for reduced price is various reissues. ONe should seek out the latest remastering since the original ADRM version from the early Eighties sounds thin and shrill compared to the original LPs.

Keilberth: Decca also recorded this 1955 live Gotterdammerung, which would be the standard to this day if they hadn't rejected it and moved on to record Solti seven years later. The decision made sense at the time. Although the sonics are fine for a live performance, we hear considerable audience noise and the occasional fluff in the orchestra, which in any event isn't the equal of the Vienna Phil. by a long stretch. Keilberth does one of his best jobs coducting, but he is proficient rather than inspired. I like the opening of the opera, which he keeps from dawdling, but at times Keilberth is too anxious to move forward, and the great set pieces of the Rhine Journey, Funeral March, and Immolation Scene lack the grandeur of studio recordings.

In the cast the standout is Astrid Varnay as Brunnhilde, who sings with passion and commitment, and whose voice is heroic and gleaming enough to encompass the role (she doesn't get tired by the end but is even ore resplendent in the Immolation Scene). Windgassen is nearly as good--he and Varnay were frequently paird and had made DG duet recordings of Wagner). HIs voice is fresh, and he shows stamina during the Act 1 love duet. In the end he was an almost-Heldentenor, but we haven't seen his like as Siegfried since, so I can't complain. The supporting cast is nearly as strong as for Solti, with Neidlinger repeating his signature Alberich. Decca's microhones capture the voices onstage quite realistically and with minimal fade-out due to stage movements.

Overall, Keilberth's interpreatation goes for momentum and propulsion, which is fine in such a long evening, while Solti gives us richness, epic sweep, and the incomparable beauty of the VPO. I am not aobut to make recommendations between the two sets. Many of us who love Gotterdammerung have owned the Solti forever, so it's wonderful to get a second bite of the apple. We'll own both and be greateful.

FINE ENDING TO A GOOD RING.......2007-02-23

I have been more critical than most of the other parts of this Ring Cycle, frequently lauded by others not just as the first stereo Ring, but as the Ring to have over all the rest. To be fair, all 4 parts offer performances that would have been thrilling to have experienced in the theatre, certainly compared to anything you're likely to hear anywhere in the world these days. Standards in Bayreuth in the years following the reopening of the Festival in 1951 and throughout the 50's were impressively and consistently high. But there's the rub. From this one opera house and in that one decade alone there is a range of alternative performances of the Ring, often with a very similar cast, many of which can lay claim to match or even surpass this one, depending on your taste in performance style for this monumental work. Certainly Clemens Krauss from the year before Keilberth is for many people including myself the most satisfying performance of any. Knappertsbusch a couple of years later is patchy but, when he finds his focus, overwhelming - his is a Ring on the grandest scale. These were all in Wieland Wagner's groundbreaking, almost minimalist production from the reopening year of the Festival. Kempe in 1960 (in Wolfgang's first deconstructed dish production) is at the opposite end of the scale; more intimate, more subtle, very much alive to the ebb and flow of the entire cycle. Bohm a few years after that in Wieland's second, much more claustrophobic and primitive production is again a first choice Ring for many connoisseurs, intensely theatrical and with a cast similar to that of Solti's spectacular studio performances, here excelling themselves in live performances. Beyond that, you have Boulez, blowing some fresh air into the textures, cleaning the patina of age off the picture, but less than profound in the great moments, and Barenboim, following in the footsteps of his idol, Furtwangler, in his flexible approach to tempi, but not quite matching his broad architectural control. Neither has a cast to approach those of the 50's.

Having said all that, I must admit that this Gotterdammerung is the finest part of Keilberth's cycle. The urgency of his conducting carries the narrative along on a wave of inevitability to its tragic (if, indeed, it can be called tragic) and glorious end. This works to best effect in the taut, urgent and intense arch of Act 2. In the grandest moments of Act 3, however, you may feel something more is needed. For a Funeral March and an Immolation that carry the full grandeur and weight of the destruction of a whole civilisation (which is what they ultimately are), perhaps you need to turn to Kna, to Goodall or to Furtwangler.

The singers throughout the lifespan of this first Wieland Wagner production were remarkably consistent and uniformly of a far higher standard than we are forced to accept these days. Varnay never sang with less than 100% commitment, here more than ever. Hers is a white-hot performance: the voice has more warmth and darkness (if that's not oxymoronic) than a Nilsson, less mumsiness than a Flagstad and she uses it with bold abandon in the Dawn Duet and the Oathtaking of Act 2. Windgassen is truly a youthful hero (compared to his outings for Solti and Bohm) and brings real poetry to the Narration and Death. I'm inclined to think Neidlinger the definitive Alberich and here, as throughout the cycle, he gives his definitive performance. Uhde, too, is near enough the definitive Gunther, but his performance for Knappertsbusch in '51 perhaps shades this one for penetrating depth of characterisation. I've always found Greindl's voice a bit unattractive compared to the rich blackness of a Frick or an Andresen, but it certainly has the size to dominate a Wagnerian orchestra in full cry in his summoning of the vassals. Rhinemaidens, Norns and a superb Pitz-trained chorus are all worthy of their colleagues.

This is undoubtedly a very fine performance, one that does not deserve to have lain gathering dust on the shelves for so long. The finest Ring on disc, though? For my money that accolade would go to Krauss or, in Gotterdammerung alone, Knappertsbusch in 1951 - a concentrated, intense and profoundly moving performance on the grandest scale. The sound on these new `First Ever Stereo' recordings is good, too, giving an excellent impression of the unique Bayreuth acoustic, but Culshaw and Solti in Vienna are undeniably in a different class. To sum up, this is a Gotterdammerung well worth hearing, owning even, alongside other Bayreuth versions. But to say it sweeps all before it is perhaps overstating the case.

The Climax of the Definitive Ring.......2007-02-16

After having bought Rheingold, Walkure and Siegfried, I had high hopes for this last Ring opera. If anything, they were surpassed. Conductor Keilberth reveals a mastery of this richest and most complex of Ring scores in a way that boggles the mind. Every bit of pacing and phrasing is simply perfect, and it fits together so well that singling out examples won't do it justice. This is a true symphonic entity. anyone who thinks that Gotterdammerung is an overlong opera should listen to the concentration and intensity of Keilberth's interpretation. As for the cast, they really outdo themselves. Windgassen's Siegfried is if anything more secure and heroic than in Siegfried, and his Narration and Death are heartbreaking. Uhde's Gunther is perfect in its blend of heroism and cowardice. Brouwenstyn's Gutrune is perfect as an innocent seductress, von Illosvay's Waltraute is very urgent and really convincing, and Greindl's Hagen is perhaps the most polished and malevolent on recording. Neidlinger remains the classic Alberich, better than on another other cycle, because his portryal is multidimensional, embittered and downtrodden as well as spiteful. As for Varnay's Brunnhilde, well, she is the best, period! Vocally, she combines Flagstad's warmth with Nilsson's high notes, and goes through the metamorphoses of ardent lover to vengeful harpie to transfigured and resigned figure of wisdom more convincingly than any other. The sheer strength that she musters in the Immolation has to be heard to be believed. There is no question about it: GET THIS RING CYCLE AND LISTEN! BAYREUTH RULES FOREVER!
I would like to clarify something here. I fully appreciate other ring recordings in existence. I would never want to be without the Kempe or Krauss Bayreuth Rings, or the great 1951 Knappertsbusch Gotterdammerung. Each has something to contribute to our knowledge and appreciation of this, one of the greatest works of western art. But again, I must say that if I prefer this Keilberth Ring above others, it is merely because this is one Ring in which everything has gone right and fits so perfectly together. Plus, Keilberth seems to unite all the best qualities of the aforementioned conductors and makes this such a compelling experience for this listener. As for the recorded sound, I do not agree that it is behind in quality to the Solti/Decca. Wagner intended for there to be a BALANCE between singer and orchestra, not a predominance of orchestra over singer, something that happens in the Solti at times. This is not to belittle that achievement, but rather, that to my mind and ears, this is more what the composer wanted us to hear. The contrapuntal yextures are simply clearet in this recording; the Rhine Journey could almost be a Bach Brandenburg Concerto! REAL power comes from clarity, subtlety, light and shade, and tension, rather than from sheer muscle and brute force. I feel that Keilberth, like Krauss, Kempe and (at times) Knappertsbusch, offers us these qualities in greater portions than does Solti (again, not to in any way belittle his great concept). It is fortunate that, as I had said in the Rheingold review, there is a richness of great Ring recordings to offer us thought.

Seville to Sante Fe: A Spanish Guitar Anthology

Average customer rating:

A Review of Classical Guitar- Terry Muska
excellent music

Seville to Sante Fe: A Spanish Guitar Anthology

Manufacturer: Talking Taco/Iago Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | International | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Indie Music | Stores | Music
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Spanish Guitar: Timeless Collection
Mesa Sunrise: Best of John Huling
Christmas in Santa Fe
Reflections of Spain: Spanish Favorites for Guitar
Masters of Flamenco Guitar

ASIN: B000001D3K
Release Date: 1999-05-18

Tracks:

Cancion Mixtteca (Frank Corrales)
Camino A Santa Fe (Ruben Romero)
Adelita (Frank Corrales)
Recuerdos De La Alhambra (Terry Muska)
La LLorona (Frank Corrales)
Romance Antiquo (Ben Tavera King)
Valentina (Frank Corrales)
Adelita (Terry Muska)
Delgadina (Frank Corrales)
El Testament d'Amelia (Terry Muska)
Seis Cuerdas y Seis Cervezas (Frank Corrales)
Amanacer En Nuevo Mexico (Ruben Romero)
Canarios (Ben Tavera King)
Las Golondrinas (Frank Corrales)
Romance Anonimo (Terry Muska)
Leyenda (Terry Muska)
Cielito Linda (Frank Corrales)
Lagrima (Terry Muska)
El Abandonado (Frank Corrales)
FaLai Mina Amor (Ben Tavera King)

Product Description

The solo and duo guitar arrangements on "SEville to Santa Fe" cover over 500 years of guitar music starting withthe royal courts of Spain and continuing through today with performances of the best-loved selections from the Spanish and Mexican guitar reperoire and flamenco improvisations.

Customer Reviews:

A Review of Classical Guitar- Terry Muska.......2000-04-15

One of my favorite instruments to listen to is the classical guitar. I currently have all of Terry Muska's CDs in my collection. These CDs are relaxing and inspiring and I often listen to them when I am drawing or webdesigning.

Beautiful work, Terry!

excellent music.......1999-01-28

This music is traditional and will last from generation to generation as it has. It gathers people from all ages. The spanish guitar is made for the soothing and comfort of the soul with this CD. You will want to listen to this CD forever, you will never out grow it.

Average customer rating:

The most noble voice
PURCHASE THIS JEWEL WHILE YOU CAN
luminous artistry from a genius
A special Dignity and an Unfailing Beauty of Voice.

Songs Of Spain / De Los Angeles, et al

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | International | Styles | Music

General | Opera & Vocal | Styles | Music

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

Operettas | Opera & Vocal | Styles | Music

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

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The Fabulous Victoria De Los Angeles
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ASIN: B00000I4KQ
Release Date: 1999-02-23

Tracks:

El rossinyol
El testament d'Amelia
Adios meu homino
Mina nay por me casare
Tengo que subir
Ahi tienes mi corazon
La vi llorando
Ya se van los pastores
Campanas de Belen
Jaeneras que yo canto
A dormir ahora mesmo
Granadinas
Hincarse de rodillas
Cancion de trilla
Parado de Valldemosa
Nik baditut
Andregaya
Din, dan, boleran
Mariam matrem
Ay, triste vida corporal!
Que es mi vida, preguntais?
Porque es, dama, tanto quereros?
No me llames segalaherba
Ay, luna que reluces
En esta larga ausencia
Molinillo que mueles amores
Confiado jilguerillo
Seguidillas religiosas
Cancion de cuna
El jilguerillo con pico de oro
El canape

Tracks:

Ah, el novio no quiere dinero
Coma la rosa en la guerta
Estavase la mora
Aquel rey de Francia
Damos gracias a ti, Dios
Sobre Baca estaba el rey
Ay que non hay!
Rosa das rosas
Maravillosos e piadosos
Tres moricas m'enamoran
Paseabase el rey moro
Dime a do tienes las mientes
Si no's huviera mirado
Dexo la venda
Puse mis amores
Aqui me declaro su pensamiento
Pues que me tienes
Gentil dama, non se gana
Mi querer tanto vos quiere
Una hija tiene el rey
Una matica de ruda
Si la noche se hace oscura
Pastorcico, non te aduermas
Ay triste que vengo
No soy you quien la descrube
Pase el agua, Julieta
Aquel caballero, madre
Duelete de mi, Senora
De Antequera salio el Moro
De los alamos vengo, madre
Enfermo estaba Antioco
Dame acogida en tu hato
Morenica, dame un beso
Senora, si te olvidare
De donde venis, amore?

Tracks:

La rosa enflorece
Ven querida
Adio, querida
Durme, durme, hermozo hijico
Paxaro d'hermosura
Avrix, mi galanica
Irme quiero, la mi madre
Ya viene el cativo
Yo m'enamori d'un aire
Una matica de ruda
Anda, jaleo
Los cuatro muleros
Las tres hojas
Los mozos de Monleon
Las morillas de Jaen
Sevillanas del siglo 18
El cafe de Chinitas
Nana de Sevilla
Los pelegrinitos
Zorongo
Romance de Don Boiso
Los reyes de la baraja
La tarara
El combat del somni: Damunt de tu, nomes les flors
A l'ombra del Lledoner: Canco de grumet
Canciones negras: Cancion de cuna para dormir a un negrito
Cuatro madrigales amatorios: De los alamos vengo, madre
Coleccion de tonadillas: Callejeo
Coleccion de tonadillas: El tra la la y el punteado
Seis canciones castellanas: No quiero tus avellanas
Seis canciones castellanas: Jota
Panxolina
Tu pupila es azul
Cantos populares espanolas: Malaguena
Cantos populares espanolas: Granadina
Cantos populares espanolas: El Vito
Cantos populares espanolas: Pano murciano
Clavelitos
Adios, Granada
Madrigal

Tracks:

Coleccion de tonadillas: Amor y odio
Coleccion de tonadillas: Callejeo
Coleccion de tonadillas: El majo discreto
Coleccion de tonadillas: El majo olvidado
Coleccion de tonadillas: El majo timido
Coleccion de tonadillas: El mirar de la maja
Coleccion de tonadillas: El tra la la y el punteado
Coleccion de tonadillas: La maja de Goya
Coleccion de tonadillas: Las currutacas modestas
Tres majas dolorosas: Oh muerte cruel!
Tres majas dolorosas: Ay majo de mi vida
Tres majas dolorosas: De aquel majo amante
Goyescas: La maja y el ruisenor (Rosario)
'La vida breve': Vivan los que rien! (Salud - Act 1)
'La vida breve': Alli esta! Riyendo! (Salud - Act 2)
'Acis y Galatea': Confiado jilguerillo
El tripili
Llorad, corazon
Iban al pinar
No lloreis, ojuelos
Mananica era
Mira que soy nina
Gracia mia
El pano moruno
Seguidilla murciana
Asturiana
Jota
Nana
Cancion
Polo
'La Tempranica': Zapateado (La tarantula e un bicho mu malo)

Customer Reviews:

The most noble voice.......2004-05-28

Victoria de los Angeles' voice not only has a silken quality and fascinating glow to it but it is one of the most regal, noble sounds you'll ever hear. She illuminated those moments of quietness, gentleness and noble, feminine pride and elegance like no other soprano before and after her. This release of her "Spanish Songs" has never been surpassed. The songs of her homeland seem to have been written for her beautiful instrument alone, she fills every piece with special beauty and charm, religious flair and beautiful, noble simplicity. Buy this recording and see why Victoria is one of the best sopranos ever having come from Spain.

PURCHASE THIS JEWEL WHILE YOU CAN.......2002-01-08

FOR A LONG TIME "SONGS OF SPAIN" HAS BEEN MY FAVORITE ALBUM OF CLASSICAL, POPULAR, SECULAR AND RELIGIOUS (CHRISTIAN AND SEPHARDIC) SPANISH SONGS. DE LOS ANGELES DEFIES A RIVAL IN THIS GENRE. DE LARROCHA, SORIANO AND ZANETTI PROVIDE UNEQUALED ACCOMPANIEMENTS. THE RECORDINGS ARE SECOND ONLY TO LIFE PERFORMANCES. I UNDERSTAND THAT EMI INTENDS TO TAKE THIS SET OUT OF PUBLICATION. PURCHASE THIS JEWEL WHILE YOU CAN! I JUST PURCHASED MY THIRD SET FROM AMAZON AND I TREASURE IT AS MUCH AS MY FIRST!

luminous artistry from a genius.......2000-12-26

the vocal artist of vocal artistsdisplays her absolutely gorgeous voice and musical understanding of spanish feeling with a warmth that is unmatched anywhere.the only thing better was to hear her in person!

A special Dignity and an Unfailing Beauty of Voice........2000-09-17

This set offers four generously-filled CDs comprising almost 140 Spanish songs from Victoria de los Angeles' repertoire. To all of them she brings a special dignity and an unfailing beauty of voice. The earliest recordings date from 1950 and the last is the items she sang at the opening of the Barcelona Olympics in 1992. Yes, you will find the ubiquitous "Clavelitos!" here, and a later version of "La maya el ruisenor" from "Goyescas". The enclosed booklet provides illuminating notes by Lionel Salter, who also translated many of the texts which are also included. Accompanists include Gerald Moore and Alicia de Larrocha, and Victoria de Los Angeles provides a guitar accompaniment herself in one song. The last track of all, a zapateado from a zarzuela, recorded live in New York, must almost have brought the house down.

Average customer rating:

Yes! In Deed!
She is back - and in GREAT form!!!

Bau
Mina
Manufacturer: Sony / Bmg Import
ProductGroup: Music
Binding: Audio CD

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Ti Amo
L'Allieva
Serie de Oro: Grandes Exitos
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Love Collection

ASIN: B000KEG8JS
Release Date: 2006-11-27

Tracks:

Mogol Battisti
Sull'orient Express
Johnny Scarpe Gialle
Nessun Altro Mai
Alibi
Per Poco Che Sia
End
Uomo Che Mi Ama
Amore Viene E Se Ne Va
Fai La Tua Vita
Inevitabile
Come Te lo Devo Dire
Datemi Della Musica

Album Details

2006, Studio Release from the Legendary Italian Singer.

Customer Reviews:

Yes! In Deed!.......2007-01-31

Victor Vail (a reviewing customer) on here said it best, I could never top his review but I will say, Mina is a true living legend (which everybody who's ever bought her music knows), she has been making great music for decades, but when it came to her 2005 album (L'Allieva), alot of her fans were disappointed, some said because her English was pretty bad, for me it was not her English but the slow paced album it's self, it was boring to me and was not one of her best efforts. However (Bau) is Mina in top form, still shining after all these years, for me Mina's singing voice has not dryed up (like alot of reviews say), she sounds the same as she did in the 1970s. Unlike alot of singers including my Barbra (who has played it safe alot, in the 1990s), Mina has taken chances with music styles, singing Jazz, Rock Pop, Vocals and even made that beautiful religious album (Dalla Terra). It seems that Mina likes to test the waters, and from testing the waters herself, almost half, no!, everytime she does great!. Mina has even had different music genres in one song, making that really special to hear. This album haves to be one of her best and in the future will stand up next to all her other great albums she has made through the decades. Almost 67 years old she still haves great vision and a good ear for music. (Bau) features similar music styles that you might have heard on (Cremona), (Leggera), (Olio) and (Bula Bula). Half this album, if not the whole thing is a knockout for some of the music, some for Mina and some for both on a song. Believe the five star reviews, this album is worth buying and keeping forever!, it's never boring, it's magnificat and will take you on a journey from the very first song to the last.

She is back - and in GREAT form!!!.......2007-01-31

I adore Mina - but was one of her fans who hated her last CD (L'Allieva). I was afraid, listening to L'Allieva, that it was possible Mina's voice was leaving us... (She IS, afterall, 67 years old, this March!) So, even though I knew I had to get this new CD, I was a bit leary to actually listen to it.

I am ECSTATIC to report that Mina's CD is terrific! The woman's voice is still fully intact, and magnificent! This CD not only stands up to her recent recordings, but it stands up to ALL of her recordings, over the past 25 years!!! Her voice is still strong - still able to soar - still full of passion... AND - she is STILL "making music", taking chances that most singers of her caliber would be afraid to take. (Are you listening, Barbra?) I've not listened to the CD enough to be more specific with my personal favorites, but so far? Tracks 4, 6 & 8 are knockouts!

There is no one like Mina - no one. This CD is a must-have for anyone who enjoys her.

The sound quality is clear & rich. The orchestrations are contemporary - smooth - and above all, intelligent.

What a gift to the world, this woman is. BRAVO, MINA!!!!!!!!!!!!!!!!

Average customer rating:

Setting the record straight, more to follow
Platinum Collection
Great Great Great MINA

The Platinum Collection
Mina
Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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Serie de Oro: Grandes Exitos
Le Piu Belle Canzoni Di Ornella Vanoni
Ancora Tu: Greatest Hits
Love Collection
The Best of Lucio Dalla

ASIN: B0001GNH4O
Release Date: 2004-02-06

Tracks:

Importante Finire
Non Gioco Pi
Amor Mio
Io E Te Da Soli
Insieme
Parole Parole
Bugiardo E Incosciente
Non Credere
E Poi...
Emozioni
Voce del Silenzio
Fa Qualcosa
Vorrei Che Fosse Amore
E Penso a Te
Zum zum Zum
Grande, Grande, Grande
Cario
Dai Dai Domani
Musica Finita

Tracks:

Questione di Feeling
Ancora Ancora Ancora
Magica Follia
Cornichons (Big Nick)
Una Luna Storia d'Amore
Giisto
Momento Magico
Allora Si
Via di Qua
Senza Fiato
Se il Mio Canto Sei Tu
Rose Su Rose
Ma Che Bont
Un'aquila Nel Cuore
Buonanotte Buonanotte
Cittuota (It's a Lonely Town)
Tres Palabras
Cielo in una Stanza

Tracks:

Neve
Pazzo
Volami Nel Cuore
Johnny
Non C'Piio
In Vista Della Sera
Can't Take My Eyes off of You
Un'estate Fa
Fosse Vero
Amore, Amore, Amore Mio
Raso
Something
Come Stai
Corvo
Fortissimo
Cry Me a River

Customer Reviews:

Setting the record straight, more to follow.......2006-11-24

I will write a lengthier review in the near future to set the record straight about Mina. Bluntly however, regarding this album, just buy any of her CD's used, say about 8, for the same price. Like the Beatles, every song is good or great and this collection is okay; but too subjective and considering her vast output, too expensive.

Mina Mazzini is the greatest female singer of the 20th Century, Opera included, which she dabbled, briefly and successfully in. The great Louie Armstrong said publicly that Mina is the, "greatest white singer in the world." Apparently and on good authority, off the record, Louis said, "greatest, period."

She is so good that now that her voice is indeed, showing signs of wear, tear and cigarettes, (how stupid is that) she has turned to singing, often, easy pop songs. What remains of her tattered cords blows away most of the composers of these songs; even things I've always felt trite, like, "Blowin' in the Wind, are incredibly poignant. What's left of her voice in other words lends itself to Pop, as it's easy for her and she does incredibly well, even in English. Apparently it must be much harder to sing Pop than the Italian songs, she mainly sang. (The opposite of say, Roger Daltrey, who wasn't the greatest, at times, Rock singer, but incredibly good with straight pop, witness his solo albums.)

For those that are looking for, "the last, great, musical buzz," this IS it. Everyone I have ever played Mina to, immediately put her in the "Beatles level," enjoyment realm. No, she's not quite as great as the Fab Four; they after all were composers; she an interpreter. But she's pretty damn close, which should say it all. And you have HUNDREDS of songs of 'perfect music,' to enjoy.

Finally, the first reviewer is wrong. Mina's golden period was the 60's.
True, her voice got, 'dry,' as the reviewer stated, but that happened in the late 70's but even her 'dry,' voice, is incredibly enjoyable.

** I heard a recent song where she displayed her damaged cords, deliberately, in an unflattering way. That was first Mina song of hundreds I didn't like.

** Mina can, in vocal impressions, out Holiday, Billie Holiday, out-Streisand, (with ease) Streisand, and out Minelli, Liza, (who states unequivocally, that Mina, "is the greatest singer in the world.)" Surely however, surely she can't "Shirley" pun intended, pull a Bassey? Hell, yes. She has that same cinematic, mind blowing power as evidenced at the end of a 60's version of, Georgia On My Mind. However, she doesn't sound like Shirley Bassey on every number, have no fear. She even caused Aretha Franklin to storm off the stage when she out, improvised, the soul great; (though Mina's range is not 5 octaves like that worthy.)

Still, Mina can easily do Franklin, but NOT vice-versa. Blasphemous though it sounds, Mina's 60's scat-singing is to me, virtually as good as Ella Fitzgerald. She does a killer Ray Charles, (!!) a wonderful, authentic Brazilian Tango, and her Michelle and I Should Have Known Better, must have given even Paul and John, respectively, considerable uh, 'pause.' Am I getting through to you, reader? This woman is THAT good.

Trained as a concert pianist! you are in store for probably, the last great "60's level," musical thrill. We're not talking, oh, Oasis had a few good songs, or White Stripes, or Arctic Monkeys thrill-levels. We're talking the Holy Grail of musical, "every song is perfect," thrills! Enjoy that ride - her likes will never appear again. (For proof, visit youtube.com, type in Mina Mazzini and select and play the first video, E Penso A Te. You'll INSTANTLY become a believer.)

** Bonus - world's greatest legs.

Platinum Collection.......2006-02-11

This interesting compilation spans nearly four decades and confirms the notion that Mina's absolute prime was in the 70s. Much of her early singing is too girlish and frivolous for confort ('Zum Zum Zum' is particularly sorry example that shouldn't have been included here). In the seventies, however, her voice, look and personality underwent a remarkable transformation into a dark and explosive sensuality that must have hit the unsuspecting public like a ton of bricks. The first CD contains many if not most of her best hits of this period, with Mina's trademark vocal technique, intelligent lyrics and intense interpretation. Songs like 'Importante e finire' and 'Non credere' bear more than a passing resemblance with the great Marlene Dietrich. CD 2-3 are for the most part later productions, which I don't care much for. The intelligence and passion is still there, but heavy-handed arrangements cannot disguise the fact that the voice has become dry and the magic is gone.

In summary: get this compilation for the first disc and start from there. You may even find yourself mesmerized by this singer's voice.

Great Great Great MINA.......2004-12-27

I would like to recommend this box set to all the international Mina's fans and also to everybody who wants to listen to a great female voice. Mina is the greatest Italian singer, during her almost 50 year long career (her debut date back to 1958) she received acclamation in Italy for each record she made, and she is well-known in many foreign countries This box set is a collection of some of her best songs released from the end of the 60s to nowadays. All the songs in this collection are examples of Mina's ability in using her powerful and beautiful voice. Considering the very wide Mina's discography (more than 100 albums) this collection is just a little part of what she have done, but it is really the best of the best. Listen to "Insieme" "Grande Grande Grande" "E poi" just to quote only tree songs in the collection, and you will captured by DIVA MINA

Average customer rating:

SImply Untrue
an extra star for all the guest artists
An Homage to a Great Artist
superb vocals

The Very Best of Thomas Hampson
Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

Operettas | Opera & Vocal | Styles | Music

Song of America
No Tenors Allowed: Famous Duets for Baritone and Bass
Arias - Haydn, Mozart, Beethoven, Schubert
Christmas with Thomas Hampson
Samuel Ramey - Operatic Arias

ASIN: B0006VYEI2
Release Date: 2005-04-26

Tracks:

La Ran La Lera...Largo Al Factotum
O Sainte Medaille...Avant De Quitter Ces Lieux
Ce Breuvage...Vision Fugitive
C'est Toi...Au Fond Du Temple Saint - Placido Domingo
La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
Ecoute!...Dieu, Tu Semas Dans Nos Ames
C'est Mon Jour Supreme
Tout Est Desert...Son Regard
Ove Son Io?...Vada In Fiamme
Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
Di Provenza Il Mar, Il Suol
E Sogno? O Realta?
Komm!
Der Garten Des Herzens
Lied Des Venezianischen Gondoliers
Le Lazzarone
L'Ultimo Ricordo

Tracks:

Mein Sehnen, Mein Wahnen
Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
Wie Todesahnung...O Du Mein Holder Abendstern
Gruss Op.48 No.1
Im Wunderschonen Monat Mai
Aus Meinen Tranen Spriessen
Die Rose, Die Lilie
Ich Will Meine Seele Tauchen
Ich Grolle Nicht
Gute Nacht
Die Post
Blicke Mir Nicht In Die Lieder
Ich Atmet' Einen Linden Duft
Ich Bin Der Welt Abhanden Gekommen
Von Der Schonheit
O Vaterland, Du Machst Bei Tag
Als Flotter Geist
Komm, Zigany
An Old Song Re-Sung
At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
Jeanie With The Light Brown Hair
Beautiful Dreamer

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

SImply Untrue.......2006-08-16

The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

an extra star for all the guest artists.......2006-05-08

The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

An Homage to a Great Artist.......2005-10-30

EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

superb vocals.......2005-08-07

Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.

Average customer rating:

Serie de Oro: Grandes Exitos
Mina
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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Latin Pop | Latin Music | Styles | Music

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Latin Music | Imports | Stores | Music
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The Platinum Collection
Ti Amo
Sanremo, Vol. 3
Bau
Una Storia, Il Mito

ASIN: B0009IORU2
Release Date: 2005-04-18

Tracks:

No Lo Creas
Tres Palabras
Somos
Se Melancolia
Amor Mio
Besame Mucho
Adagio
Contigo en la Distancia
Hombre
Esperame en el Cielo
Problema del Corazon
Io Te da Soli

Average customer rating:

discover mina

Well You Needn't
Mina Agossi
Manufacturer: Candid Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

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Zaboum!!
Thunderbird
Savane
Introducing Robin McKelle
Easy To Love

ASIN: B000DZJMJM
Release Date: 2006-03-21

Tracks:

Why Don't You Do Right?
Don't Look at Me
Well You Needn't!
Drive
May I Sit at Your Table?
Father's Talk
Ghost of Yesterday
You
Voodoo Chile
Rose Petals
After You've Gone
Laundry Man Blues
Au Bois de Boulogne [bonus track]

Album Description

The Spartan backing which Mina employs is essential to the Agossi persona. 'Working with just bass and drums gives me the freedom to improvise, not bound by the chords of the piano.' Candid. 2006.

Customer Reviews:

discover mina.......2006-03-28

while mina has yet to create a record that reflects the joy and madness of a live performance, this is one sweet record ... and may tide you over 'til she gets back to the states. personally, i think she could do for music what hendrix did: reinvent an instrument, rework a form and breakdown walls ... yeah, she's that good. in this case, of course it's her voice ... it's "jazz" (whatever that is) and it's all the little boxes that the marketing idiots have decided music should some how fit within.

this is music that is at once sophisticated, primal, sensuous and avant guarde ...

if you want to hear the future, buy this.

Average customer rating:

Se Telefonando
Mina
Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

International | Imports | Stores | Music
ASIN: B0000ARKTK
Release Date: 2003-12-18

Tracks:

Se Telefonando...
You Got To My Head
Inmensidad (L'mmensita)
Banda (A Banda)
Angel Eyes
Si Lloras Si Ries (Se Piangi Se Ridi)
Breve Amore (You Never Told Me)
Full Moon And Empty Arms
Un Ano De Amor (C'est Irreparable) (Un Anno D'amore)
Ta Ra Ta Ta (Try Your Luck)
Stars Fell On Alabama
Sabor A Mi
E' L'uomo Per Me (He Walks Like A Man)
Ebb Tide
Sono Come Tu Mi Vuoi
My Melancholy Baby
Se Tu Non Fossi Qui
Lontanissimo (Somewhere)

Average customer rating:

Classic retro Italian!!

Una Storia, Il Mito
Mina
Manufacturer: Umvd Import
ProductGroup: Music
Binding: Audio CD

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General | Euro Pop | Pop | Styles | Music

Italian | Euro Pop | Pop | Styles | Music

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The Platinum Collection
Serie de Oro: Grandes Exitos
Un Anno D'Amore
L'Allieva
Brava Mina

ASIN: B000066RKM
Release Date: 2003-12-18

Tracks:

Cittuota
Inutile
Valentino Vale
l'Uomo Per Me
So Che Non Cos
Buco Nella Sabbia
Se Mi Compri un Gelato
Io Sono Quel Che Sono
Tu Farai
Anno d'Amore
E Se Domani
Se Piangi Se Ridi
PiTe
Soli
Bacio Troppo Poco
Brava
E Se Domani
Ultima Occasione
E...
Ora O Mai Pi
Addio

Tracks:

Una Casa in Cima Al Mondo
Se Tu Non Fossi Qui
Se Telefonando
No
Breve Amore
Taratata'
Sono Come Tu Mi Vuoi
Se Non Ci Fossi Tu
Mi Sei Scoppiato Dentro il Cuore
Tu Non Credi Pi
Immensit
Canta Ragazzina
Conversazione
Sabati E Domeniche
Banda
Se C'Una Coas Che Mi Fa Impazzire
Tu Non Mi Lascerai
Cartoline
Nel Fondo del Mio Cuore
Se Tornasse Caso Mai
Luned6 Ottobre
Non Illuderti

Album Description

2002 compilation (translates 'One Story, The Myth') for the Italian pop superstar highlights her early career with 43 tracks.

Customer Reviews:

Classic retro Italian!!.......2005-10-09

What a wonderful compilation of Mina's hits from the 60's! I first heard her in the movie "Ginger and Cinnamon" where the 2 main characters, vacationing in Greece, danced on the bus to a lip sync of the song "Taratata"- I was in 60's retro heaven! With those incomparable vocals and Mediterranean 'cool', Mina has made me a huge fan!! This CD is a must have for any fan of 60's nostalgia and European chic.

International Music:

International Music

International Music