Tu No Me Calculas [Import]

1. Sonando y Pegando Duro (Presentacion)

2. Meneate

3. Tu Todo Mi Tiempo

4. Muchacha Ternura

5. Ven a Mi Chachacha

6. Yo No Puedo Estar Con Otra

7. Tu No Me Calculas

8. Fatalidad y Casualidad

9. No Hace Falta Que lo Diga

10. Captura

Tracks:

Malaguena - Brian Setzer
Traeme Paz - Patricia Vanne
Eye Patch - Robert Rodriguez
Yo Te Quiero - Marcos Loya
Guitar Town - Robert Rodriguez
Church Shootout - Robert Rodriguez
Pistolero - Juno Reactor
Me Gustas Tu - Manu Chao
Sands Theme - Tonto's Giant Nuts
Dias De Los Angeles - Del Castillo
The Man With No Eyes - Robert Rodriguez
Mariachi Vs. Marquez - Robert Rodriguez
Flor De Mal - Tito Larriva
Chicle Boy - Robert Rodriguez
Coup De Etat - Robert Rodriguez
El Mariachi - Robert Rodriguez
Siente Mi Amour - Salma Hayek
Cuka Rocka - Chingon

Customer Reviews:

Not as good as the film..........2007-05-06

I remembered the music in the movie as being a little better than it actually is. I was a little disappointed in the CD.

disappointing.......2007-03-26

It just wasn't what I thought it would be and I personally didn't like it. But it is good music.

it's all about the Malagueña.......2004-12-01

i loved the movie and the music there is good. i really like the Malagueña so i learned how to play it on guitar. the song is great i enjoyed the movie as much as i enjoyed the sound track

Start to Finish, a Real Mexi-CAN of a Soundtrack.......2004-11-30

Alright, so the main reason I got the soundtrack was Pistolero by Juno Reactor,a real driving, pumped-up techno song. I started to get into the rest of the music on the soundtrack, and I find it an essential cd I carry along with me. The great thing about this soundtrack is you can listen in on Mexican traditional music and a glimpse of the culture, and still have some real badass-sounding guitar! Whatever you may think of the film, you can imagine the actors playing their parts in your head, since they play and sing in the soundtrack (as the first one). There is an aura in the music I can't put my finger on; there's a history, an old feel to it, but it lingers with new musical ideas. Kinda like the movie, in terms of making it. I agree fullheartedly with previous reviews: where the movie fails, the music fills in the gaps and expands on Mexican music, making the entire movie/soundtrack experience very deep and epic. I dunno, maybe I'm rambling, but I emphasize that this soundtrack adds culture and kickass to your collection, as it did mine.

Better than the movie!.......2004-11-21

When I first saw this film I was shocked at its total stupidity. I was a big fan of the first Desperado and this sequel completely choked my enthusiasm. One thing that was good about this film though was the music. I have to admit it, the music was excellent and in harmony with the motion picture. The best tracks on this CD are Traeme Paz, El Mariachi and Siente Mi Amor (Salma Hayek brings out the best in her sensuality in this song). I'm not a big fan of Latino music but some of these songs are so beautiful they deserve to be listened to. Yo Te Quiero and Cuka Rocka both are well known songs and excellent to dance to, while Flor Del Mal is a very nice and chilling ballad. This CD is a great addition to your music collection, don't hesitate to buy it.

Average customer rating:

Sensuality Personified!

The Very Best of Régine Crespin

Manufacturer: EMI Classics
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

Legend: Régine Crespin [CD & DVD]
The Very Best of Lucia Popp
Very Best of
Italian Opera Arias
Berlioz: Les Nuits d'été; et al / Crespin, Ansermet

ASIN: B0006VYEJQ
Release Date: 2005-04-26

Tracks:

Ils S'Eloignent Enfin...Sombre Foret
D'Amour L'Ardente Flamme
Les Grecs Ont Disparu...Malheureux Roi!
Nous Avons Vu Finir...Chers Tyriens
Je Vais Mourir...Adieu, Fiere Cite
Ah! Salome! Dans Ce Palais...Il Est Doux, Il Est Bon
Je Souffre
Mes Cheres Filles, J'Ai Encore A Vous Dire
Soir
Le Secret
Apres Un Reve
Clair De Lune
Lo Fiolaire
Lou Coucut
Coeur En Peril
Berceuse Creole

Tracks:

Einsam In Truben Tagen
Euch Luften, Die Mein Klagen
Eine Waffe Lass Mich Dir Weisen...Der Manner Sippe
Ich Sah Das Kind
I. Der Engel
II. Stehe Still!
III. Im Treibhaus
IV. Schmerzen
V. Traume
I. In Der Fremde
II. Intermezzo
III. Waldesgesprach
Timor Di Me?...D'Amor Sull'Ali Rosee
Ecco L'Orrido Campo...Ma Dall'Arido Stelo Divulsa
Tu Che Le Vanita
D'Art Et D'Amour

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Sensuality Personified!.......2005-04-27

This is one of the best collections of Regine Crespin. Of course, her Berlioz/Ravel set with Ansermet is definitive, but the beauty and soft womanliness of her voice can be heard in all the selections on this disc. The engineers went for her vocal best and they created a fine collection aptly titled "The Best of..." One would be unduly captious to find Crespin "brittle" of tone here.

It is by now, very difficult to imagine anyone singing "Il est doux" with more apt expression of the line than La Crespin. Wagner's Wesendonk lieder is simply sublime from start to finish and the Faure takes on new meaning. That she is comical, melancholy, fun and happy by turns singles her out. This collection captures all her awesome talent. Underneath it all seems to be a very, if I may, sexual energy.

Crespin must be heard to be believed and the miracle lies in that even her softest tones are really enveloping, never thin. All tones are open and this is why there are enough colors in Regine Crespin's delicious voice to paint the world a thousand times, but it may also be why she infamous for being short and edgy on top but I remind, never here is she such. She is a relaxed singer in superb voice, comfortable in her own olive skin and makes the most out of every word those poets wrote.

The whole collection is unique in pace, style, and voice. It is Regine Crespin...in a nutshell fabulous!

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Rap & Hip-Hop | Styles | Music

General | Soundtracks | Styles | Music

General | Instructional | Miscellaneous | Styles | Music

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music
Similar Items:

Britten: Young Person's Guide to the Orchestra Op34; Simple Symphony Op4
The Life and Works of Ludwig van Beethoven
What to Listen for in Music
Study of Orchestration, Third Edition
The Life and Works of Frédéric Chopin

ASIN: B00006O0NT
Release Date: 2002-12-03

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

Very Best of
Average customer rating:

A great introduction to the art of Placido Domingo

This is really the best.

If you like Placido at all, you must have this CD.

Rare And Great Domingo Classics

A real Bobby Dazzler

Very Best of
Placido Domingo
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music
Paris Symphony Orchestra | ( P ) | Featured Performers, A-Z | Classical | Styles | Music
Similar Items:

Placido Domingo: A Love Until The End Of Time

Bravo Domingo

The Very Best of Franco Corelli

Perhaps Love

The Domingo Songbook

ASIN: B000083GOJ
Release Date: 2003-04-22

Tracks:

Ill Mio Tesoro
Un'aura Amorosa
Dies Bildnis Ist Bezaubernd Schon
La Ci Darem La Mano
Vani Sono I Lamenti...Svegliatevi Nel Core
Pays Merveilleux...O Paradis
Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
None But The Lonley Heart
Lensky's Aria
Donna, Non Vidi Mai (Manon Lescauy Act, II)
Ah, Manon, Mi Tradisce
Dammi I Colori...Recondita Armonia
E Lucevan Le Stelle (Tosca, Act III)
Ch'ella Mi Creda (La Fanciulla Del West, Act III)
Dai Campi, Dai Prati (Mefistofele, Act I)
Virgini Muse...Quando Al Soave Anelito
O Sink Hernieder, Nacht Der Liebe
Was Am Besten Er Kann...Hoho! Hohei!

Tracks:

Se Quel Guerrier Io Fossi!...Celeste Aida
Su, Profetessa...Di Tu Se Fedele
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
O Tu Che In Seno Agli Angeli
Su, Cacciator...Fontainebleau!...
Niun Mi Tema
Ach, Wie So Herrlich Zu Schau'n
Sckenkt Man Sich Rosen In Tirol
Gern Hab'ich Die Frau'n Gekusst
O Vaterland...Da Geh'ich Zu Maxim
Dein Ist Mein Ganzes Herz
Mi Aldea
Cancion Del Sembrador
No Puede Ser
Serenata
Copillas De Belen
Coplas Del Pastor Enamorado
En Aranjues Con Tu Amor
Jealousy Tango
La Golondina

Amazon.com

Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith Eisler

Customer Reviews:

A great introduction to the art of Placido Domingo.......2007-07-04

Placido Domingo, of course, is one of the finest tenors of the latter part of the 20th century. This 2 CD set well captures his talent, showing the range of his singing. We hear cuts from Puccini and Verdi to Tchaikovsky and Wagner to Strauss and Handel. And even a traditional Spanish sung and some operetta thrown in for good measure!

This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:

"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.

From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.

From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.

And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.

Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.

Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.

Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.

Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.

So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.

This is really the best........2007-05-16

I have many of Mr. Domingo's recordings but I really love this one. He seems to get better with age. Some of the songs are on some of my other recordings but they seem new and fresh on this CD. I really think this is the best of Placido Domingo.

If you like Placido at all, you must have this CD........2005-04-06

Placido Domingo has been around for so long, it is easy to take this great artist for granted. I totally agree with the previous reviews of this album; I can also say that I had the opportunity to hear him live in concert on April 2, 2005 in Biloxi, Mississippi, and his voice is still stunning. His opening aria that night was the prayer from El Cid, "O Souverain," which he dedicated to the memory of Pope John Paul II. This piece is the 8th selection on CD 1, and is from a 1997 live recording. His thrilling finish blew me away when I listened to it the first time, and and the crowd on the recording reacts the same way the Mississippi audience did when we heard him. That aria alone is worth the price of this CD set.

Rare And Great Domingo Classics.......2005-03-08

EMI's "The Very Best Of" series is a wonderful way for the opera lover/novice or even connoisseur in training to get acquainted with the great singers of opera in the 20th century. It is possible that in a few years, the great singers of today (from the 90's up to now and further into the future) will grace the album covers of The Very Best Of...The Very Best Of Renee Fleming, The Very Best Of Salvatore Licitra, etc. This is not exactly the best of Domingo. It is more of a collection of rare and wonderfully expressive arias from operas that range all over the map- Mozart, Verdi, Puccini, Wagner, Meyerbeer, Gounod, Massenet. Now, here's the reason why so many people adore Domingo, myself included - Domingo is a Renaissance Opera Tenor. He has sung almost every tenor role in the opera universe. Even if he is, to some, the "tenor who sang with Pavoratti in the three tenors" he proves he's the strongest of the bunch, the most dedicated, the most prolific and most artistic. Domingo has a beautiful voice, with secure high register and dark, masculine middle chest voice and exciting dramatic electricity! He's sung more than 50 operas, in addition operetta and Spanish Zarzuela (the Spanish equivalent to musicals or operetta which is where he got started and his parents sung in Zarzuela) and he has also recorded Spanish mainstream love songs for Latin audiences. A winner of Grammies, an actor in movies about operas that he starred in (Tosca, La Traviata, Otello) and the most active tenor on tv broadcasts, he is just incredible and powerful.
He is a great force in opera.

Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......

A real Bobby Dazzler.......2004-02-19

Fans of Mr. Domingo would be lucky to find a selection of music that more profoundly explores and exhibits the diversity of his vocal ability and interpretation than is offered on these two discs. Delicious displays of Mozart, ringing renditions of the most challenging high Italian roles, powerfully rounded accounts of some of the heavy German/Russian repetoir, and some noticably nostalgic songs from the light Spannish tradition provide an impressive catalogue of the great man's rich, focussed, technically impecable and singularly beguiling vocal talent. Those who are yet to form an opinion on any particular genre of the operatic spectrum would do well to start here, so eclectic is this album. Also, you might be reassured to know that, should you become an admirer of P.D.'s talent as a result of listening to this compilation, (it is difficult to resist), you will have no trouble finding other recordings by him. A record-breaker with more than 110 roles to his repetoir (40 is a respected total for an opera singer), he is the most recorded tenor in history, leaving more than 80 complete accounts to date of operas in the Italian, French, German and Russian traditions.

Average customer rating:

Very Enjoyable for all music fans
Absolutely Amazing! Two CDs packed with the world's most beautiful classical music...

The Classical Album 2005

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

The Number One Classical Album 2006
Time to Say Goodbye
Vittorio
Defined
Romanza

ASIN: B000A8AXWW
Release Date: 2005-09-13

Customer Reviews:

Very Enjoyable for all music fans.......2006-03-02

This is very good collection of music that brings to life a wide variety of music that is both old and contemporary. The selections vary from composers, historical and famous such as Pavarotti and Puccini to today's James Horner (Titanic, A Beauituful Mind) and John Williams (Star Wars, Sabrina, Jaws, Saving Private Ryan).

If you enjoy the sounds of Sarah Brightman, Charlotte Church, Enya, Kate Bush, Andrea Bocelli, and various theatre music (Andrew Lloyd Webber (Evita, Cats), then you will find this collection worthy of your appreciation.

I have often wondered why classical music radio channels do not play modern composers (i.e., Horner, Willams), and am glad that this album gives them credit that they deserve. There is so many good compositions being created every day that only appear to have a voice on the big screen, which is unfortunate.

Track 11, composed by The Doors, and is a nice version, indeed. I also enjoy the Bond players giving a new twist to some old favourites.

Ciao,
Neil

Absolutely Amazing! Two CDs packed with the world's most beautiful classical music..........2005-11-08

First, let me begin by saying that I am by no means an expert in classical music, but have grown to appreciate it immensely in the past year. I can say wholeheartedly that this is the most beautiful compilation of music I have ever had the pleasure of listening to. It's simple irresistible. There are few words to describe how emotional it is to hear Pavarotti sing "II Canto", or Placido Domingo belt out "Questa o quella". You just get numb with joy!! I have NO idea what they are saying but a translation not necessary. The entire collection (TWo jammed-packed CDs) is phenomenal (excluding the selections from "Bond" which I found to be particularly annoying and not at all "classical" in the true sense of the word). There is something here for everyone, regardless of your personal musical tastes or tolerances.

A guaranteed hit -- Don't miss this one.

CD One

Andrea Bocelli "En Aranjuez con tu amor"
Bryn Terfel - "Granada"
Bond - "Viva" ( not my favorite, sounds almost disco-ish)
Hayley Westenra - "Pokarekare Ana"
Luciano Pavarotti - "Una Mattina"
Katherine jenkins - "Time To Say Goodbye" (a heart stopper - so beautiful!)
Duel - "Canon" (lovely!)
Janine Jansen - "Allegro from 'Spring'"
Andreas Scholl - "Ombra mai fu"
Nigel Kennedy - "The Unknown Soldier"
Kiri Te Kanawa - "Nuns' Chorus"
Nelson Freire - "Chopin Etude No. 1 op. 25
Julian Lloyd Webber - "Flight of the Bumble-bee"
James Horner - "For the Love of a Princess
Hans Zimmer & Lisa Gerrard "Now We Are Free"
Renee Fleming - "Mesicku na nebi hlubokem"
Russell Watson - "Amore e Musica"

CD TWO

Luciano Pavarotti - "II Canto" (I MUST see him sing this in person!!)
Placido Domingo - "Questa o quello" (I never tire of hearing this)
Andrea Bocelli & Bryn Terfel - "the Pearl Fisher's Duet"
Jose Carreras - "Funiculi, funicula
Dominc Miller & Kaori Muraji - "Fragile"
Tavener - "Song for Athene"
Josep Calleja - "La donna e mobile"
Jean-Yves Thibaudet - "Gymopedie No. 1"
Juan Diego Florez - "Una furtiva lagrima"
Kathleen Ferrier - "Blow the Wind Southerly"
Angela Gheorghiu - "Ave Maria"
Janine Jansen - "Schindler's List Main Theme"
Bond - "explosive"
Secret Garden - "You Raise Me Up"
Hayley Westenra - "Never Say Goodbye"
The Three Tenors - "Nessun Dorma"

Enjoy!

Cris Cunningham for Amazon.com

Beyond Chant: Mysteries Of The Renaissance

Average customer rating:

Great literature... but thats about it
Essential listening.
Captivating!
Lofty music
Slow down Maestro !

Beyond Chant: Mysteries Of The Renaissance

Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

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

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Voices Of Ascension: From Chant To Renaissance
The Greatest Choral Music of Palestrina: Prince of Music
Mysteries Beyond: Songs and Chants in Praise of Mary
Duruflé: Requiem Op.9/Messe Cum Jubilo,Op.11
Josquin Desprez: Motets & Chansons

ASIN: B0000006ZN
Release Date: 1994-05-23

Tracks:

Sicut Cervus
Ave Maria
Justorum Animae
Jesu Rex admirabilis
Exultate Deo
Exultate Justi
Jesu,Dulcis Memoria
Ave Verum Corpus
Psalm 90
Psalm 96
Hodie Christus Natus Est
O Maria Virgo Pia
Tu Pauperum Refugium
O Sacrum Convivium
If Ye Love Me,Keep My Commandments
Hosanna To The Son Of David
O Quam Gloriosum
Selig sind die Toten
Heu Nos Miseros
Exaltabo Te
O Sing Joyfully
O Magnum Mysterium
Laudate Nomen
Cantate Domino

Amazon.com

Go right to the first track and prepare for one of the most masterful and stylish performances of Palestrina that you'll ever hear. It's not flashy music nor is the singing especially virtuosic, but the unified phrasing, ideal balance among sections, and overall ensemble technique is impressive, and Palestrina's little motet simply opens and displays itself like a beautiful flower. The rest of the program, which includes a variety of beautiful flowers from composers such as Josquin, Sweelinck, and Tallis, maintains the same standard. Anyone looking for an introduction to Renaissance sacred choral music will find much here to encourage further exploration--standards like Byrd's "Ave verum corpus" and Victoria's "O magnum mysterium"-- and lesser known tiny masterpieces such as Victoria's "Jesu, dulcis memoria." The Voices of Ascension ranks with the world's finest choirs, and this recording reflects both the highest standard of choral singing and the highest standard of choral composition during the Renaissance. --David Vernier

Customer Reviews:

Great literature... but thats about it.......2007-06-17

This cd was mildly dissapointing, to say the least. The literature is fantastic. Some of the greats are featured on here with some of their best works. No doubt a great taste of the Renaissance, especially for someone new to it. However, I'm sorry to say that the performance is second-rate, at best. Dennis Keene apparently is either unaware, or just simply understudied when it comes to the Renaissance. He shows an incredible lack of messa di voce, which was what drove the counterpoint of the Renaissance. His interpretations rob this music of its deeply personal purpose. I would suggest the Hilliard Ensemble over any ensemble for Renaissance literature, and find it dissapointing that so many people praise such emotionless, understudied Renaissance ensembels such as the Voices of Ascension, the Tallis Scholars, and the Oxford Camerata, just to name a few. Very good literature... But always pick the Hilliard Ensemble or Anthony Rooley's Consort of Musike when you have the option. It seems like Paul Hillier and Anthony Rooley are the only two true Renaissance scholars currently conducting ensembles.

Essential listening........2007-03-05

This was my first CD of Renaissance choral music, as it undoubtably has been for a great many people. It offers the best possible introduction to the genre for 2 main reasons: 1. No other CD of Renaissance choral music contains such a varied cross-section of early to late Renaissance sacred music styles. 2. The performance and recording quality are fabulous.

Keene uses a variety of different voicings and numbers of singers according to the needs of each particular piece, sometimes with only 2 on a part. The ensemble heard on this recording is a select professional core of The Voices Of Ascension, one of the best choral groups in the country. The voices are all very rich and resonant, and the intonation through the entire CD is unquestionably on par with the best in the world. The singing is, for the most part, completelly vibratoless and extremely smooth, which creates a gorgeous purity that allows this music to shine. However, it does become strident at times, which may put off some choral conductors who are strongly against straight-tone singing.

Of particularly high quality and beauty are the Viadana "Exultate Justi", Byrd's "Ave Verum Corpus", Tallis' "O Sacrum Convivium", and the Victoria and Sweelinck pieces. Another extraordinary track is Leonardo Leo's "Heu Nos Miseros", a late Baroque piece included because of its influence from earlier styles. It is a 9 part double choir piece full of extravigant dissonances and emotion, performed breathtakingly.

Captivating!.......2006-04-12

I was christened as a choral music fan once, as a college student, I heard the music of the Cambridge Singers. Inundated with classical music for years, how could I never have heard such music?! It was as if my musical senses were born anew: for it was with the same awe as a child encountering the world for the first time, that I discovered this novel and fascinating world of a cappella choral music. There were landmark discoveries along the way: Choir of Trinity College, Cambridge; Concordia Choir; St. Olaf Choir; the Dale Warland Singers; the Kansas City Chorale; Kantorei; the West Coast Mennonite Chamber Singers...and (as you expected!) I must end with the Voices of Ascension. The clarity of their pure voices can only be paralleled by the Choir of Trinity College, Cambridge. Chant haters, do not avoid this CD - you will find no chants here! Chants hold absolutely NO intrigue for me and I cannot endure listening to them for long periods of time. By contrast, this music, aptly named "Beyond Chant," truly does uncover hidden musical treasures of the Renaissance for those who would ordinarily avoid such music. The intricately woven a cappella harmonies are captivating and satisfying. I highly recommend this CD to all choral music fans.

Lofty music.......2005-10-14

Some of the earliest pieces of Christian music are the various kinds of chant. These hearken back to synagogue singing; there were various kinds of chant, including Gregorian, Old Roman, Mozarabic, Cistercian and Anglican chant. These tend toward the monophonic, singing with a single 'tune' or lone. They are generally without regular beats or set meters. However, in the Renaissance, monophonic chant grew into a polyphonic form, and this is one of the most glorious eras of music. (My shelves at home are filled with CDs of this sort.) Composers in this era include many represented on this disc - Palestrina, Desprez, Victoria, Lassus, Byrd, Gibbons and Tallis were some of the leading lights of the time. Lesser known but still glorious include Tye, Viadana, Sweelinck, Hassler, Batten and Schutz.

One of the interesting features of this disc is that it includes three pieces by Sweelinck, two psalm settings and 'Hodie Christus Natus Est'. (Sweelinck is very under-represented in recording and performance today). Some pieces are very well known - Byrd's 'Ave Verum Corpus' is perhaps one of the most familiar pieces from this period, as is Palestrina's 'Exultate Deo'. This is a collection that draws from the breadth of the Western Christian tradition of music from this time, with composers from Britain, Italy, the Netherlands, France, Germany, and Spain.

The composers here wrote liturgical music for Masses and other worship services, as well as other pieces - motets and other kinds of new music. This disc represents music that is two or three steps removed from plainsong and basic forms of chant - some are quite a bit distant. Viadana's composition for 'Exultate Justi', for example, was actually composed later, and despite being done in a more Renaissance style, shows decided influences of the Baroque (this might also be part of the performance of the Voices of the Ascension that gives this impression).

The Voices of Ascension, under the direction of Dennis Keene, grew out of the choir of the Church of the Ascension in New York City. Many of the singers are active soloists in addition to being part of this group (whose numbers vary, but often around 40). Keene is a conductor, organist and teacher (not an uncommon combination). Trained at Juilliard, he has led the Voices of Ascension through many outstanding recordings and performances.

This is a performance that is definitely uplifting, and a good collection of music in its breadth to introduce the glories of Renaissance polyphony to those who with little exposure to it. The recording quality is very good, and the choir is quite full and well suited for the music. Some have commented upon the tempo, but this was not a concern for me, and did not stand out as unusual or a problem upon listening (indeed, there were a few points at which I might wish for it to be a bit faster, rather than slower).

A collection that soars!

Slow down Maestro !.......2004-01-04

Another reviewer writing about another album by Dennis Keene wrote:

"Yet the performance is not the slowly flowing honey usually served up by, say, the Tallis Scholars (as good as that is). Particularly in the Gloria and Credo of the Mass, Dennis Keene deliberately de-emphasizes the rise and fall of the different voices' lines in favor of a more naturally speech-like declamation of the long Latin texts. This means a surprisingly fast tempo--and some rhythmic spring and syncopation one might not expect in Palestrina. Some (not all) of the motets get a similar treatment: it works well in joyous pieces like the Pentecost motet Dum complerentur, but listeners might miss that melodic rise and fall in some of the slower works. The singers of Voices of Ascension are quite skillful, and the slight edge in their tone helps make the different melodies unusually audible. Very worthwhile, but not your father's Palestrina."

As a matter of fact, I used to like this album quite much although it was certainly not my favorite. That was until I listened to Robert shaw's "O Magnum Mysterium", which is amedley of Renaissance, negro spiritual, Russian and Western contemporary religious music. I was struck by Shaw's profoundly spiritual interpretation of the pieces by Victoria and Tallis that are also recorded on "Beyond Chant".

From then on I could no longer listen to this cd without feeling feeling increasingly dissatisfied. I tried to find a precise reason and not being a music specialist I was quite at a loss until I found the review above. Maybe the quick tempo is the key to my dislike.

I definitely feel that Dennis Keene and his singers do not have the depth of the Robert Shaw Festival Singers although the booklet accompanying the cd claims that the audience was spellbound by their performance, which took place in a cathedral in New York.

Tracks:

Vaga luna che inargenti
Stornello
Se. . .
Me voglio fa 'na casa
O del mio amato ben
Vaaghissima sembianza
O primavera!
Occhi di fata
La promessa
Serenata
Tormento!
L'alba separa dalla luce l'ombra
Ideale
Lolita
Non ti scordar di me
La danza
EDGAR: 'Orgia, chimera dall'occhio vitreo'

Customer Reviews:

Another dazzled listener.......2006-12-12

All the other reviewers love this disc because it is, quite simply, dazzling. Twenty five years ago the voice of Carlo Bergonzi on a record borrowed from the library (along with those of Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau) made me realize that opera was something worth listening to.... Things haven't changed. Bergonzi was among the handful of true greats and this recording does justice to his intelligent and passionate voice.

Exquisite Music.......2005-11-15

This CD is a favorite of mine for two reasons, Bergonzi is magnificent and the Italian songs are gorgeous. Moreover, these wonderfully crafted Italian songs are arranged in a straightforward manner--the tenor sings with a piano accompaniment--which allows the listener to focus directly on the beauty of the music. Bergonzi is simply extraordinary, he has such subtle vocal control combined with real warmth. The result is refined, but lush music.

Carlo Bergonzi - the tenor's tenor.......2005-07-28

This CD is for lovers of Italian "classical" Ballads, and is highly recommended. Most of the songs are sung by Carlo with a piano accompaniment, so don't expect to hear grand opera.

A very lovely CD

Sheer Perfection!.......2002-09-25

This album is quite simply put, exquisite! Bergonzi shows in this collection that even late in his career he could still produce that wonderful lyric beauty he was so famous for. My favorite song on this abum Donaudy's "Vaghissima sembianza" is so perfect, so shimmering, just so very beautiful. This song is worth the price of the album itself. Bergonzi's stylings on de Curtis' "Non ti scordar di me" will send one back to the recording of Beniamino Gigli, and favorably so. Begonzi also demonstrates a musicianship on this album that is second to none. Bergonzi was truly a "class act". This is one of the most beautiful, most perfect Neapolitan collections ever. This CD is a must have for lovers of Bergonzi, for lovers of Neapolitan songs, or just lovers of perfect singing!!

glad i came across this one!.......2002-01-18

I love this CD and recommend it to anyone who loves opera and clear, beautiful singing. The variety of songs ranges from meltingly romantic to playful and flippant. My Italian is not very good but his diction is so perfect I feel like I understand every word. Bergonzi's big, athletic voice gives the illusion of being barely under control. But of course it is under complete contol, never bellowing. John Wustman's supple, slender accompaniment is perfect, each introduction whets the listener's appetite for the song, which he then gently frames and supports. He does get to shine on "La Daza". This would be a great CD for those new to opera and is worth it for "Vaga luna" alone!

Average customer rating:

Uneven quality but great value
A superb collection of Mendelssohn

Mendelssohn: The Masterworks [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Octets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

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

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

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

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

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Dvorák: The Masterworks [Box Set]
Haydn: The Masterworks [Box Set]
Vivaldi: The Masterworks (Box Set)
Brahms: The Masterworks (Box Set)
Schubert: The Masterworks [Box Set]

ASIN: B00062FLJ2
Release Date: 2004-11-30

Customer Reviews:

Uneven quality but great value.......2007-04-30

Brilliant Classics has found a niche with their extremely low-price multi-disc collections of the work of a single composer or performer. The Bach, Mozart and Chopin Complete Editions are legitimately considered to be artistic and economical triumphs. But the Masterworks series are more uneven. Currently available from Amazon France at about a buck per CD, they're still a bargain for those interested in quickly building a music library. But it's worth keeping a few things in mind. Unlike the Bach and Mozart Editions, these are not always historically informed performances. In this Mendelssohn set, the Hanover Band puts in a cameo (in Calm Sea and Prosperous Voyage), but most of the ensembles use modern instruments, techniques and proportions. This doesn't always work out, as in the case of the ponderously heavy recordings of the String Symphonies by an apparently full complement of Gewandhausorchester Leipzig strings (Mendelssohn likely wrote these early works for a much smaller group). The caliber of the performances varies too, ranging from good to poor, and from marquis musicians such as Dietrich Fischer-Dieskau to a few Dutch who-dats. The chamber musicians generally acquit themselves well (though the Octet recording is marred by an engineering flaw in the last movement, distortion, at least on my copy). But the symphonies suffer from some substandard performances, such as the Italian Symphony's live recording with not only audience noise but also ensemble flaws such as a distracting clarinet squeak in the first movement's recapitulation. Another strike is the lack of program notes. Brilliant's Complete Editions provide a booklet or CD-ROM with program notes, but here you'll need to do your own research.

Despite these shortcomings, this set is still good value (at least at Amazon France's current price of 31 Euros). And it's a fine way to become acquainted with Mendelssohn's music.

A superb collection of Mendelssohn.......2007-03-24

Let me preface this by saying that most of these works were not new to me - I own many other Mendelssohn CDs and have enjoyed his compositions for some time now. Also, this set is available much cheaper elsewhere, particularly from European retailers.
The symphonies are well-performed. 'Reformation' is an inspired live recording. The 12 string symphonies, written in Mendelssohn's youth, are also included. The concertos are exceptional - the violin concerto is as good as you'll find anywhere. The oratorios Elijah and Paulus are included, as well as the complete chamber works and a diverse assortment of choral works. The last few discs include the Lied ohne worte, the epic organ sonatas, and excellent renditions of A Midsummer Night's Dream and Fingal's Cave. While there are a few sketchy performances in the choral and chamber works, the performances and recordings are generally very solid, and the body of work couldn't be better.

No Tenors Allowed: Famous Duets for Baritone and Bass

Average customer rating:

The Troubles with Thomas
Make sure you buy 2!
But one complaint
Voices of power
A Masterful Double Bill

No Tenors Allowed: Famous Duets for Baritone and Bass
Giuseppe Verdi , Vincenzo Bellini , Gaetano Donizetti , Münchner Rundfunkorchester , Miguel Gomez-Martinez , Thomas Hampson , Samuel Ramey , and Domenico Cimarosa
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Samuel Ramey - Operatic Arias
Date With the Devil
The Very Best of Thomas Hampson
Samuel Ramey: Ev'ry Time We Say Goodbye: Songs of Barber,
Leading Man

ASIN: B00000I8T3
Release Date: 1999-03-16

Tracks:

Il matrimonio segreto: Se fiato in corpo avete
Don Pasquale: Cheti, cheti immantinente
Marino Faliero: Israele, che vuoi?...Se pur giungi a trucidarlo
I Puritani: Il rival salvar tu dei...Suoni la tromba
Attila: Uldino, a me dinanzi...Tardo per gli anni
Don Carlos: Restez!
Simon Boccanegra: Suona ogni labbro il mio nome
Un Giorno de Regno (Il finto stanislao): Tutte l'ami!

Amazon.com

This disc is remarkable in many ways. Not only does it bring together two of opera's reigning lower-voiced superstars, it shows them at their best and presents, in addition, repertoire we rarely get to hear. In the past, Samuel Ramey has occasionally come across as bland and Thomas Hampson as just a bit too eager for a man with what is essentially a very lyric baritone voice. But their chemistry here works: Ramey is filled with passion--some of it comic (as Don Pasquale), some of it vitriolic (as Fiesco), and some of it loony (as Attila); throughout, his burnished tone never lets him down. Hampson is charming and in handsome voice as well--equally light and patterful when comic (a delicious Malatesta), and nicely dire (Ezio and Rodrigue). He isn't up to Simon Boccanegra's stature either vocally or emotionally (for that, listen to the classic performance of Piero Cappuccilli, but the sheer loveliness of his singing is enough to carry the day. A must for fans of either gent, and an intelligent, unhackneyed collection of music to boot. --Robert Levine

Customer Reviews:

The Troubles with Thomas.......2005-12-31

This could have been a fantastic album, but ends up falling well short of that owing to Thomas Hampson. I have never understood the fawning praise Mr. Hampson receives. His voice is unpleasant, his musical interpretations are well-below average, and his coloratura is completely non-existant -- for an excellent example of this, compare, in the Pasquale duet, Ramey's exquisite descending scales in the "aspetta, aspetta, cara sposina" phrase with Hampson's sloppy counterpart, "il poverino, sogna vendetta". The "i" in "poverino" is supposed to carry over four separate notes, and not one note, a whooping cough, and a closing note! Judging by some interviews I've read and/or seen, Mr. Hampson appears to be a decent, down-to-earth gentleman. As an opera singer, however, he's mediocre at best. This recording is worth owning thanks to Ramey, who is absolutely top-notch.

Make sure you buy 2!.......2005-01-05

One to keep, one to give away. You'll wind up burning one for the car and one for the office regardless. A friend lent me this CD and I've bought 4 so far. One of the best! I can't recommend it enough.

But one complaint.......2004-08-21

Amusing concept, wonderful singing. But one question: Why was the Dandini-Don Magnifico duet from LA CENERENTOLA not included? Since they wanted to have two buffo duets, I think that would have been a better choice that the MATRIMONIO SEGRETO number.

Voices of power.......2004-03-21

It had always been my impression that when basses and baritones got together to sing, they were either intent on murdering each other, or else they were engaged in a jolly, male-bonding patter song. "No Tenors Allowed" (NTA) has examples of both of these types of duets. But the lower voices are also opera's authority figures, so we also have a smattering of Doges and Kings on this CD.

The basso cantante of Samuel Ramey and the baritone of Thomas Hampson swirl together like chocolate liqueur in coffee. This CD vibrates with dark sonics. Both artists bring their considerable powers of interpretation to these roles--no fooling around with buffo here, just wonderful singing.

There are a total of eight duets by Cimarosa, Donizetti, Bellini, and Verdi on this CD. Among my favorites:

"Cheti, cheti immantinente" from Donizetti's "Don Pasquale"--The elderly Don Pasquale (Ramey) and his personal physician Malatesta (Hampson) plot to catch Pasquale's young 'bride' in the garden with her lover. This might not sound like a particularly jolly situation, but the duet captures the verve of a hilarious plot--lots of "oh ho's," "ha ha's," and "hee hee's" scattered throughout--the very epitome of bass-baritone hilarity. Listening to this duet, I'm almost tempted to regret Ramey's preference for serious roles over lighter repertory like "Don Pasquale." His old buffoon schemes and whines and chuckles without a trace of vulgarity, just pure musicality. Both singers are patter-perfect.

"Suona ogni labbro il mio nome" from Verdi's "Simon Boccanegra"--This is the first of two great duets between adversaries Jacopo Fiesco, patrician and currently Doge of Genoa (Ramey) and Simon Boccanegra, a plebian and the future Doge (Hampson). Fiesco still hasn't forgiven Boccanegra for stealing the love of his daughter, Maria, who has borne Boccanegra a daughter out of wedlock. In this duet, Ramey's fury contrasts vividly with Hampson's pleading, "Padre mio, pieta t'implora..." as the baritone tells him of the loss of his little daughter (Fiesco's granddaughter). What Boccanegr