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Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata
Average customer rating:

Why 5... Find Out!

Outstanding De Sabata! Most famous and controversial Tosca!

The Tosca of the century

Wow Wow Wow Wow Wow!!!!

Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan

Bizet: Carmen (Complete Opera); Mirella Freni; Jon Vickers; Grace Bumbry

Rossini: The Barber of Seville (Complete opera); Beverly Sills; Nicolai Gedda; James Levine; London Symphony Orchestra

ASIN: B0000E3HM3
Release Date: 2003-12-02

Tracks:

Ah! Finalmente!
E Sempre Lava!
Sante Ampolle! Il Suo Ritratto!
Dammi I Colori...Recondita Armonia
Gente La Dentro!
Mario!...Mario!...Mario!...Son Qui!
Ora Stammi A Sentir
Or Lasciami Al Lavoro
Ah, Quegli Occhi...Quale Occhio Al Mondo
Mia Gelosa!
E Buona La Mia Tosca
Sommo Giubilo, Eccellenza!
Un Tal Baccano In Chiesa!
Tosca? Che Non Mi Veda
Ed Io Venivo A Lui Tutta Dogliosa
Tre Sbirri, Una Carrozza

Tracks:

Tosca E Un Buon Falco!
Ha Piu Forte Sapore
O Galantuomo, Come Ando La Caccia?
Meno Male!
Ov'E Angelotti?
Ed Or Fra Noi Parliam Da Buoni Amici
Sciarrone, Che Dice Il Cavalier?
Orsu, Tosca, Parlate
Floria!...Amore
Salvatelo!...Lo?...Voi!
Se La Giurata Fede Debbo Tradir...Gia Mi Struggea L'Amor
Come Tu Mi Odi!
Vissi D'Arte
Vedi, Le Man Giunte Io Stendo A Te!
Lo Tenni La Promessa
Tosca, Finalmente Mia!
Or Gli Perdono!
Andante Sostenuto
Lento (Le Campane Suonano Mattutino)
Largo - Mario Cavaradossi? A voi... - Meno
E Lucevan Le Stelle
Moderato Con Moto
O Dolci Mani Mansuete E Pure
Senti, I'Ora E Vicina
Amaro Sol Per Te M'Era Il Moire
E Non Giungono
Come E Lunga I'Attesa!
Presto! Su, Mario!

Customer Reviews:

Why 5... Find Out!.......2006-10-13

When I first got this recording, it was my first Tosca. As such, I didn't know what to listen to (or what to listen for) and really at the time the only other soprano I had heard was Cecilia Bartoli in La Cenerentola. So bascially it was my first Tosca with my only soprano. Even so, I knew after listening to the second act that this would be the best Tosca I had ever heard. Callas gives an amazingly intuitive dramatic performance of Tosca, with di Stefano matching her wonderfully as Cavaradossi. Tito Gobbi, of course, is Scarpia and gives the role an extremely insightful flair. Spoletta is played by Angelo Mercuriali, who gives, if not the most dramatic, certainly a precise interpretation of the role. As with all of Callas's Tosca recordings, the second act (i.e. from "Tosca e un buon falco!" to "E qual via scegliete?") is perhaps the best interpretation of the music and the donna Tosca that I have heard. Behind the baton is Victor de Sabata, who provides a unique insight into the music. He brings out, as Toscanini says, "what Puccini intended for the audience to hear". 5 stars.

Outstanding De Sabata! Most famous and controversial Tosca! .......2004-08-07

This is one of the few recordings in which the conductor attracted my attention more than the singers. This is not to dismiss the singers but De Sabata's conducting makes this the most idiomatic Tosca recording I've ever heard.

All three protagonists are heard here in their short-lived prime. Callas in firm voice is a capricious, nervous and furious Tosca. Many accuse her of overacting but here she controls herself and most outbreaks sound sincere. You won't hear the grandness, dignity and beauty of Tebaldi's Tosca but Callas' Tosca is a unique creation. No need to argue which one is better, they both are legendary and besides, tastes differ.

Di Stefano is all ardour and tenderness in this most beloved tenor role. I can already hear the manners that eventually ruined his instrument but he nevertheless is a memorable Mario. Gobbi's Scarpia frightens Tosca not because of what he is but because of what he can do. Gobbi doesn't have the huge voice that made Bastianini or London so scary but he uses his to great effect and creates a sinister Baron Scarpia. Luise's Sagristano is most convincing.

One of the greatest virtues of this old Tosca recording is its vitality and chemistry between the performers. No wonder that since its release it's impossible to make and accurate historical evaluation of Puccini's Tosca without taking it into account. Finally released at budget price!

The Tosca of the century.......2004-05-17

This recording has been showered with accolades and praise by critics, operafans, reviewers etc. etc. And listening to it a whole world comes to life. In a time when Puccini's masterpieces are destroyed by arrogant "directors" this golden age recording is like a breath of fresh air. Callas is in her prime, sounding fresh, loving, passionate and fascinating. She became Tosca, all her jealousies, passions, moods, fears are so real, so sublime and natural that you'll forget that you're listening to a recording. She cleared Tosca of those veristic, fish-wife tears after "Egli ved ch'io piango!" and her tears and agony are heard through her voice alone. Listen to Tosca's ardent "A come la sai bene l'arte di farti amare!" ... She sounds so gorgeous, so lucid and passionate, it'll warm your heart. Then there is act II with the never equalled clash between Tosca and the evil Scarpia sung and acted to perfection by Callas (Whose high Cs will chill you!) and Gobbi. (The only Scarpia) Listen to Callas' tearful, beautiful "Vissi d'arte" sung with exquisite legato, velvety warmth and most tearful colours. Pleading "Why, oh lord dost thou repay me thus?" she will break your heart! The chilling murder of Scarpia with Callas/Tosca ROARING "M'ai assai TORTURATO!!!!!" is too thrilling to describe. And the final duet sung with di Stefano and Tosca's suicide are portrayed hauntingly. Di Stefano, her favourite partner and part of the greatest operatic trio of the century (Callas, di Stefano, Gobbi) sounds sunny, charming and passionate. In short: It's the best Tosca ever recorded.

Wow Wow Wow Wow Wow!!!!.......2004-03-16

This is my first Callas recording. I was curious about her, of course, but I was always put off by descriptions of more or less horrendous audio problems on the famous recordings. Used to modern recordings, I didn't know how I'd react to such bad sound, so I put off trying.

No more! This is a new (12/03) EMI Remaster of the famous de Sabata "Tosca" -- yes, THE definitive "Tosca" starring Callas, Di Stefano, and Gobbi. And I can tell you it sounds WONDERFUL!

Why is this set so affordable, then? I have no idea! There is no libretto included, only a slim booklet with a track list, a short synopsis of the action for each track, and one article about the opera and this performance. There is no cardboard case, and only a simple 2-part jewelcase, not the hefty one often provided with opera CD sets.

But it's enough!! It's more than enough! I'd buy these disks if they were sold loose in a paper bag. I am totally, permanently won over. This performance is simply electrifying! The music leaps out of the speakers and grabs you. Callas as Tosca had me in tears! Scarpia scared me! It's too good to believe it happened several decades ago.

Tracks:

Man Of La Mancha: Overture
Man Of La Mancha: Man Of La Mancha (I, Don Quioxte) - Cervantes
Man Of La Mancha: Man Of La Mancha (I, Don Quioxte) - Don Quixote, Sancho Panza
Man Of La Mancha: It's All The Same - Aldonza, Muleteers
Man Of La Mancha: Dulcinea - Don, Aldonza
Man Of La Mancha: Dulcinea - Don
Man Of La Mancha: I'm Only Thinking of Him - Antonia, Padre ,Housekeeper
Man Of La Mancha: The Missive - Sancho, Aldonzo
Man Of La Mancha: The Missive - Sancho, Aldonzo
Man Of La Mancha: I Really Like Him - Sancho, Aldonza
Man Of La Mancha: What Does He Want of Me? - Aldonza
Man Of La Mancha: Barber's Song - Don, Sancho, Barber
Man Of La Mancha: Barber's Song - Don, Barber
Man Of La Mancha: Golden Helmet Of Mambrino - Don, Barber, Sancho
Man Of La Mancha: Golden Helmet Of Mambrino - Don, Barber, Sancho
Man Of La Mancha: To Each His Dulcinea - Padre
Man Of La Mancha: The Impossible Dream(The Quest) - Aldonza, Don
Man Of La Mancha: The Impossible Dream(The Quest) - Aldonza, Don
Man Of La Mancha: The Dubbing -I nnkeeper, Don
Man Of La Mancha: Knight of the Woeful Countenance - Innkeeper
Man Of La Mancha: Little Bird, Little Bird - Anselmo, Pedro
Man Of La Mancha: Aldonza - Don, Aldonza, Sancho
Man Of La Mancha: A Little Gossip - Sancho, Padre
Man Of La Mancha: A Little Gossip - Sancho
Man Of La Mancha: Finale - Don, Aldonza
Man Of La Mancha: Finale(Dulcinea reprise) - Don, Aldonza
Man Of La Mancha: Finale(The Impossible Dream reprise) - Don, Aldonza
Man Of La Mancha: Finale(Man of La Mancha reprise) - Don, Aldonza, Sancho
Man Of La Mancha: Finale(Man of La Mancha reprise) - Don, Aldonza, Sancho
Man Of La Mancha: Ultimo Finale - Aldonza, Padre, Antonia, Sancho

Amazon.com

Plácido Domingo endows Quixote with a vocal richness and intensity no previous man of La Mancha has brought to the role. But as wonderful as Domingo is, he is too overpowering to capture the vulnerability of Quixote's mental state, an essential quality of this character. Julia Migenes gets trapped in Aldonza's massive register changes, even though her lower range is expressive and robust. She is unafraid of indulging the chest tone, a vital necessity in this role. The sore spot is Mandy Patinkin, who is misguided by delivering Sancho in an unnaturally nasal and obnoxious manner--he is more annoying than cute. A worthy, if far from perfect, recording. --Barbara Eisner Bayer

Customer Reviews:

An Operatic Don Quixote.......2007-06-19

"Man of La Mancha" is my favorite musical. It has a wonderful message and gives people a lot to think and talk about. The music is also very, very good and can withstand a variety of styles and interpretations. This operatic version features the outstanding Placido Domingo who, I feel, brings an authenticity to the role, perhaps because of his own Spanish nationality and background. This version is quite different from the musical, but still very nice. The fiery Julia Migenes is also a very appropriatly sexy, vet vulnerable Aldonza/Dulcinea.

Comparisons: Original Broadway Version; Movie version, Brian Stokes Mitchell as Don Quixote; Jim Nabors as Don Qixote; Jacques Brel as Don Quixote (French version)

Almost nothing but praise.......2007-06-01

In my opinion, the vocalists were the best selection. I thoroughly love Patinkin (and have since "The Princess Bride"), Migenes and Domingo is a fail-proof choice. I would have just liked to have seen a bit more of the story told in this track.

Great, if not a bit confusing.......2004-10-13

There are two reasons to buy this album.

One is in the breathtaking performances of Placido Domingo in the lead, and in the innkeeper in Samuel Ramey.

Two is the fact that the score from the musical is just plain good.

This recording doesn't capture the essence of the musical. I've only seen the musical once, and it was years ago, but that's always been my one criticism of it.

However, the two aforementioned vocal performances alone makes this recording worth a spin or three.

Not The Best "Man of La Mancha".......2004-06-25

This recording is a real disappointment. I am a huge fan of this musical and I was saddened by this recording, which could have been fantastic. The idea of using opera singers to record American musicals is not a new idea, and has been successfully done in the past, but this misguided attempt can easily be bypassed.
Placido Domingo, miscast in a role that isn't vocally congenial to him, sounds confused most of the time in this unhappy recording. The role needs a deeper, more baritonal voice, preferably a bass with a good upper range. It's too bad they didn't give Ramey a crack at the title role. Domingo doesn't capture the grandeur, nobility, or madness of the role, and his singing on this set sounds a bit under strain with very little resonance. His spoken lines are dull, and it sounds like he is sight reading most of the time.
Mandy Patinkin vocalises so discreetly as to hardly make an impression at all, one is barely aware he is even part of the recording. He sounds like he's doing an impression of a midget. His ideas about this comic side-kick role are obviously some kind of dead-pan but they mostly fall flat. His singing is small-scaled and verges on quasi-falsetto. Another sever disappointment from a normally reliable artist.
Julia Migenes should not have been asked to sing Aldonza. She obviously doesn't take the role seriously: if the idea behind this recording was to capture the operatic beauty of classically trained voices, then why is she singing in some kind of pop vocal style? I'm assuming she's trying to emulate the American Broadway style, but she just comes off sounding wrong. Her voice has little beauty and she has even less sense of style. Her three solos are painful to listen too--she alternates from brash harshness to a wiry soprano upper register. She might have done some interesting things with the role had she taken it seriously. Her spoken dialogue is, paradoxically, done with conviction and skill, but stands out on this recording only because the others can't handle the dialogue at all. All in all, her performance is an embarrassment.
The others are adequate, but no more. Ramey is strong but stolid. Hadley is in good voice, but has a weak lower register (important in his part), and Domingo's sons cope well with their small roles.
The conductor has the score well in hand, but the orchestra sounds as if it were recorded in a completely different accoustic than the voices, which are sometimes too far forward.
There is more dialog included in this recording than the others, but unfortunately as stated before, most of it isn't done convincingly. The music is also recorded completely uncut (as far as I know) which is an advantage over the other recordings.

My Feeble Opinions..........2003-12-30

Okay, this is probably more than biased, but I was given this album quite a few years ago, without even knowing what Man of La Mancha was. It inspired me to listen to the other cast recordings, and I still come back to this one the most!

I like the quality of Domingo's voice, so the accents hardly bother me. His vocals are just too easy for me to fall into. And as for Mandy Patinkin, I couldn't disagree more with general opinion. Maybe since he's the first Sancho I heard, it really grew on me, but I liked his rendition before and after viewing/listening to other versions, and I've always liked his voice. It has a very different quality to it, and if that changes the role for this recording, so be it. I really liiiiike it!

As for Aldonza, Julia Migenes' strong vocals in moments of extreme anger and despair to her reluctantly sweet coming around to Don Quixote's charms really struck me. All in all, I was charmed by this recording early on and still am! The main vocalists are extrememely talented and outshine any of the weaknesses in the recording itself. There's plenty of charming wit, humor, and drama, and I found none of it to be bogged down by any of the performances.

Verdi: La Traviata
Average customer rating:

Callas superb, others less so...

Much better than EMI version!

THE LISBON CALLAS 'TRAVIATA' IN MUCH BETTER SOUND!

Excellent

Verdi: La Traviata

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

Verdi: Aida

Bellini: La Sonnambula (complete opera live 1957) with Maria Callas, Nicola Zaccaria, Antonino Votto, Chorus & Orchestra of La Scala, Milan

Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan

ASIN: B0009K8L8E
Release Date: 2005-06-21

Tracks:

Prelude
Dell'Invito Trascorsa E Gia L'Ora
Libiam Ne'Lieti Calici
Che e Cio?
Un Di, Felice, Eterea
Ebben? Che Diavol Fate
Si Ridesta In Ciel L'Auro
E Strano! E Strano!
Ah, Fors'e Lui
Follie! Follie!
Sempre Libera
Lunge Da Lei
De'Miei Bollenti Spiriti
Annina, Donde Vieni?
Alfredo?... Per Parigi Or Partiva
Non Sapete Quale Affetto
Un Di, Quando Le Veneri
Ah! Dite All Giovine
Imponete... Non Amarlo Ditegli
Morro! La Mia Memoria
Dammi Tu Forza, O Cielo!
Che Fai?
Ah, Vive Sol Quel Core All'Amor Mio
Di Provenza Il Mar

Tracks:

Avrem Lieta Di Maschere La Notte
Noi Siamo Zingarelle
Di Madride Noi Siami Mattadori
Alfredo! Voi!
Invitato A Qui Seguirmi
Ogni Suo Aver Tal Femmina
Di Sprezzo Degno Se Stesso
Alfredo, Alfredo, Di Questo Core
Prelude
Annina?... Comandate?
Teneste La Promessa
Addio, Del Passato Soave... Vien Diletto
Largo Al Quadrupede
Signora!... Che T'Accadde
Parigi, O Cara
Ah, Non Piu
Ah! Gran Dio
Ah, Violetta
Prendi, Quest'e L'Immagine
Se Una Pudica Vergine
Casta Diva... Ah! Bello A Me Ritorna
Qui La Voce
Isolde's Liebestod

Customer Reviews:

Callas superb, others less so..........2007-01-07

Ok, most people who buy this recording will do so to hear Maria Callas in the role of Violetta. I recommend buying it for that alone. Of Traviata and Callas, one studio recording exists produced by CETRA and it leaves much to be desired. The other widely known Traviata is the live production at La Scala in 1955 with di Stefano as her Alfredo. That 1955 recording is truly the ultimate. Callas was in wonderful voice with a truly outstanding supporting cast. Giulini as conductor brought a wonderful nuance and subtlety not often heard in Traviata.
This album, recorded live in 1958 at the San Carlos opera house is one of historical lore. There have been several bootleg recordings floating around since Callas's death and it was then remastered by EMI in a recording which the audio still does not improve upon the performance. This recording proves to be the best for audio. The performers can be heard clear as a bell. Very little microphone distortion exists. Now, from there we go on to the actual performance.
Callas's penultimate.
The first act goes somewhat rough in the beginning as the voices and orchestra warm up. But, by the time we hear E stranno? we are enthralled. Callas brings a beautiful interpretation as always. Her act one really features Violetta's fragility which often is not caught up from what I hear in most Violettas. Her Sempre libera is a crying call. She cannot see herself as being loved and cared for, but wants desperately to try. Other great moments include the third act Addio del passato. Callas has never had such heart wrenching emotion. Every infelction of color lands correctly. Even the crack of the low C on the last lines fits accordingly with a dying woman's sentiments. A few strains can be heard notably on higher notes with a little wobbling, but that is to be expected with Callas after '57. Also, in the second act finale she seems to be struggling to simply get thru.
Now, to the other parts. The orchestra under Ghione seems quite limited and acceptable. No real understanding of the distinction of ton between acts. He also lacks subtlety with act two's duets.
Alfredo Kraus can be seen setting up for future greatness but is simply passable in his interpretation of Alfredo. His voice in prime never really catches the flowing lines and melodic notes seen so well under di Stefano in the '55 Traviata.
Now, for the worst part. Mario Sereni. How did he get this role against Callas. From what I can tell from research he was a stand in at Teatro Carlos and was in with the board of directors. Either way, he is barely listenable. He has no nuance or idea of line interpretation. He is a standard Giorgio Germont. No inflection of individuality. He also sounds a bit hoarse for the role if I hear correctly.
So, given all these factors I give it four stars for Callas and an amazing third act. from Addio del passtao to Parigi o cara the tension is unbearable until Violetta gasps her last breath.
So, if you are looking for a truly great Traviata get the 1955 Callas la Scala. If you want more modern sound buy I can only suggest Gheorghiu's 1993 Covent Garden premiere. But, this recording makes a great addition to any collection.

Much better than EMI version!.......2006-04-13

I've never heard about this label "Pearl" but my goodness...they are master of remestering! I just had to buy again even though I already own EMI set! Thanks to "Pearl"

THE LISBON CALLAS 'TRAVIATA' IN MUCH BETTER SOUND!.......2005-10-19

The sound source that Pearl has found for this famous performance is infinitely superior to that found by EMI. It's as though a thick layer of gauze has been lifted, and has yielded a much more detailed and sonically improved version of this performance. I cannot see how anyone would purchase the EMI version after hearing this one ------- indeed, if they already own the EMI version, they should replace it with this one immediately. This performance has been discussed at such length in other places and on other postings that it seems silly to elaborate on it, except to say that both Maria Callas and Alfredo Kraus benefit greatly from the improved sonics. Callas, of course, needs no advocates -------- she stands by herself on her own terms. Similiarly, the reputation of Alfredo Kraus, already exemplary, is validated once again. This edition of the Lisbon "Traviata" is the best-sounding one so far, and it is unlikely to be bettered. One big bonus: we get Callas' very early recordings of Isolde's final scene, Norma's "Casta Diva", and Elvira's Mad Scene from "I Puritani", all recorded when Callas was on the verge of her great career. All three arias show the voice in spectacular condition all the way up to an outstanding top E flat. These three arias may seem a bit inconsistent with "Traviata", but they are well worth hearing. No Callas devotee should be without this set.

Excellent.......2005-07-31

This transfer of the famous Lisbon Traviata has consistently better sound than the source used by EMI. There are still bumps, bangs, and occasions when the principles are some distance away from the mike, as with nearly all live performances, but overall the sound is cleaner and fresher. The orchestra sound is considerably less muffled. The voices are more flatteringly recorded here, than on EMI. In many ways, this transfer is the best available recording of Maria Callas in La Traviata. Her recording with Giulini/ di Stefano has her in better voice but one is able to appreciate the subtleties of Callas' interpretation so much more easily here due to the infinitely better sound. Similarly, the principal trio of Violetta, Alfredo, and Germont is much stronger here than on Callas studio venture from 1953 where she practically carried the performance.
Highly recommended
D. Bennett

Angel Melendez & The 911 Mambo Orchestra

Average customer rating:

Great Old-Time Mambo Orchestra
Amazing
Grammy?
AWESOME Minus 1
Awesome !

Angel Melendez & The 911 Mambo Orchestra
Angel Meléndez & The 911 Mambo
Manufacturer: Latin Street Music
ProductGroup: Music
Binding: Audio CD

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Una Noche Inolvidable (An Unforgettable Night)

ASIN: B0001LASUK
Release Date: 2004-02-19

Tracks:

Ven Pa' Que Goze
Chango
Que Rico el mambo (Mambo Jambo)
Besame Mucho
El Cumbanchero
A Gozar Timbero
Si Una Vez
Havah Nagilah
Cereza Rosa (Cherry Pink and Apple Blossom White)
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Mambo a la Sandoval

Album Description

Chicago's very own 20 piece Mambo Orchestra. Latin music at it's finest! 47th Annual Grammy Awards for "Best Traditional Tropical Album" nominee. 4th Annual Independent Music Awards for "Best Latin Album" nominee "Mambo Kings of the Midwest" Oct 2004. Chicago Social Magazine.

Customer Reviews:

Great Old-Time Mambo Orchestra.......2006-03-05

Wow, what a needed CD. I love the arrangement of the songs in the style of the mambo of the Palladium Ballroom. I especially liked the no. 7 song, Si Una Vez, for the great arrangement. The singing is great too. Another reviewer trashed it, which is unfortunate. These people are totally uknown and obviously do it for the sheer love of the music. I really wish I could see something like this in my area (Baton Rouge - New Orleans), but since my area is destroyed, nobody is coming here. Anyway, this recording is a blessing.

Amazing.......2005-04-05

This Cd by far should've won the grammy. Amazing arrangements by Angel Melendez. Great music that puts you in a great mood.

Grammy?.......2005-01-04

This Album sounds ok. A grammy nomination is kind of pushing it though. It sounds as if everyone was playing to something different. There is no "meshing" or blending going on. The voicings in the brass aren't the most pleasing to the ear and the phrasing isn't all that hot, but I guess it's kinda hard with so many horns. There is no drive present...No hard swing. The sound quality is the best thing this CD has to offer, thanx to the master engineer Jon Fausty. This CD sounds decent. It's better than some other stuff thats out there, but I wouldn't put it at the top of my list.

AWESOME Minus 1.......2004-07-18

This album is the best thing i have heard in years except for song number 7 the singer there just needs a little more originality, she reminds me of the same recycled stuff i've been trying to avoid the past few years but i can always just skip that song.

Awesome !.......2004-06-03

This is a great cd! Two thumbs up!

Average customer rating:

Why isn't he better known?

Braga Santos: Concerto for Strings

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

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Braga Santos: Symphony No. 4 ; Symphonic Variations
Joly Braga Santos: Symphonies Nos. 1 & 5
Santos: Symphonies 3 & 6

ASIN: B00005RT5C
Release Date: 2002-01-15

Tracks:

Concerto for Strings in D: Largamente maestoso/Allegro
Concerto for Strings in D: Adagio non troppo
Concerto for Strings in D: Allegro ben marcato
Sinfonietta for Strings: Adagio/Allegro
Sinfonietta for Strings: Adagio
Sinfonietta for Strings: Allegro ben marcato, ma non troppo
Variations Concertantes for Strings and Harp
Concerto for Violin, Cello, Strings and Harp: Largo
Concerto for Violin, Cello, Strings and Harp: Allegro
Concerto for Violin, Cello, Strings and Harp: Adagio

Customer Reviews:

Why isn't he better known?.......2003-08-08

I'm astonished to say that after you sent me this CD, I had to introduce it to a dozen or so well-heeled classical musicians in Mexico City, some of them composers. All fell in love, as did I the first time I heard it, with the clarity and brilliance of this modern yet harmonious music. Yet no one had heard of him. Not being a musician myself, I can only say that I want to hear more of his work...the way he subtly mixes atonal and melodic patterns tells me Braga Santos is, what we refer to, as "a musician's composer".Thanks once again for your efficiency.

Braga Santos: Symphony No. 4 ; Symphonic Variations

Average customer rating:

A masterpiece - not to be missed
Just Wonderful
wonderful works
Superlative, a Judgment Completely Without Hyperbole
Gorgeous - Gorgeous - Gorgeous

Braga Santos: Symphony No. 4 ; Symphonic Variations

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Joly Braga Santos: Symphony No. 2/ Crossroads
Joly Braga Santos: Symphonies Nos. 1 & 5
Braga Santos: Concerto for Strings
Joly Braga Santos: Cello Concerto; Staccato Brillante; Divertimentos Nos. 1 & 2
Santos: Symphonies 3 & 6

ASIN: B00006B1KD
Release Date: 2002-12-03

Tracks:

Symphonic Variations On A Popular Song From The Alentejo
Lento
Andante
Allegro Tranquillo
Lento

Customer Reviews:

A masterpiece - not to be missed.......2007-07-09

If you have not heard the 4th symphony of Braga Santos, you have missed one of the great joys in life. From the heart-beating lament in the 2nd movement to the magnificent life-asserting finale, this music will truly embrace you.
I will never understand the continuing neglect of this masterpiece,(and of this composer)especially with the increasing Latino population in the U.S. Is there not at least one prominent red-blooded conductor who could include this in a program? This music would bring the house down.

Just Wonderful .......2007-05-11

Both pieces on this CD are absolutely terrific.

Perhaps it is time to consider revising the Basic Repertoire. I know many people who love classical music, but when I mention Braga Santos to them, they think it is a kind of wine. Well, in a way it is...his music is utterly intoxicating. I can't get enough of it myself, and I feel that anyone who hears him will feel the same way.

wonderful works.......2005-10-27

So glad to see great reviews on 2 of my all time favorite "unknown works" from Portugal. I have actually more to say about the Variations - about midway into this work begins a beguiling rhapsodic melody that is quite unlike anything else. Listen for musical description of crickets on the hot plains of Portugal at the end. Nice to see these works played so well also. The variations are also on an rare old recording by a Portuguese orchestra transfered to CD years ago, also a classic if you can find it.

Superlative, a Judgment Completely Without Hyperbole.......2004-05-19

I have little to add to the other estimable reviews printed here other than to say that, as an aficionado of minor composers and out-of-the-way repertoire, I have listened to hundreds of symphonies and other orchestral works from leading but often completely neglected composers of many nations, and have never heard a series of symphonies more impressive than those of Joly Braga Santos. How many so-called 'minor' symphonies have provided pleasure by virtue of their skillful orchestration, their clever handling of thematic development, or their inventive architecture....while failing to imprint upon the musical memory any melodies of distinction or, even less, of simply any resonance. Yet here, in the 4th symphony of Mr. Braga Santos, we have all of the characteristic virtues of masterful composition along with the very rare facet of memorable melodies. Melodies, in fact, that contain the essence of beauty and power that typifies the highest artistic achievements. Everyone who loves music should buy this disc. Every music director should consider programming this or other works of this composer. If music like this were programmed more often audiences would appreciate classical music more so than they do in this time in which programming relies too often on a formula of juxtaposing the same old orchestral repertoire with modern works that usually sacrifice melody and shape for sound effects and architectural ingenuity. To the Andrew Littons of the world.....please champion this music!

Gorgeous - Gorgeous - Gorgeous.......2004-03-12

What a magnificant symphony. It is simply stunning! And the "Hymn to Youth" of the last movement is beyond belief. Get this one. You'll play it again and again.

Average customer rating:

warning: no libretto
Excellent in every way, yet another ignored Verdi Voice!
Musical Sheet Lightning

Verdi: La Forza del Destino

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi: Il Trovatore
Verdi: Macbeth
Verdi - Un ballo in maschera / Arroyo · Domingo · Cappuccilli · Cossotto · Grist · NPO · Muti
Vivaldi: In furore, Laudate pueri e concerti sacri
Puccini - La Rondine / Gheorghiu · Alagna · Matteuzzi · Mula · Rinaldi · Ciofi · Bacelli · LSO · Pappano

ASIN: B000BO0GPO
Release Date: 2006-01-10

Tracks:

Overture - Philharmonia Orchestra
Introduzione-Scena: 'Buona Notte, Mia Figlia' - John Tomlinson
Recitativo: 'Temea Restasse Qui Fino A Domani' - Jean Rigby
Romanza: 'Me Pellegrina Ed Orfana' - Rosalind Plowright
Scena: 'M'aiuti, Signoria' - Jean Rigby
Duetto: 'Ah, Per Sempre, O Mio Bell'angiol...Seguirti Fino Agl'ultimi' - Jose Carreras
Scena-Finale I: 'E Tardi...Vil Seduttor' - Various Artists
Coro-Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Multattier' - Mark Curtis
Scena: 'La Cena E Pronta'/Recitativo: 'Viva La Guerra' - Various Artists
Canzone: 'Al Suon Del Tamburo' - Various Artists
Preghiera: 'Padre Eterno Signor...Pieta Di Noi' - Various Artists
Scena: 'Viva La Buona Compagnia'/Recitativo: 'Poich'imberbe E L'incognito' - Various Artists
Ballata: 'Son Pereda, Son Ricco D'onore' - Various Artists
Scena, Coro E Ripresa Della Danza: 'Sta Bene' - Various Artists

Tracks:

Aria: 'Son Giunta! Grazie, O Dio!...Madre, Pietosa Vergine' - Ambrosian Opera Chorus
Scena: 'Chi Siete?' - Juan Pons
Scena E Duetto: 'Chi Mi Cerca?...Infelice, Delusa, Reietta' - Paata Burchuladze
Finale II: 'Il Santo Nome Di Dio Signore...La Vergine Degli Angeli' - Various Artists
Scena: 'Attenti Al Gioco' - Jose Carreras
'La Vita E Inferno All'infelice' - Jose Carreras
Romanza: 'Oh, Tu Che In Seno Agli Angeli' - Jose Carreras
Scena E Duettino: 'Al Tradimento...Amici In Vita, In Morte' - Jose Carreras
Scena: 'All'armi!'/Battaglia: 'Arde La Mischia!'/Scena: 'Piano...Qui Posi' - Various Artists
Duettino: 'Solenne In Quest'ora' - Renato Bruson
Scena: 'Morrir! Tremenda Cosa!' - Renato Bruson
Aria: 'Urna Fatale Del Mio Destino...Egli E Salvo! Oh Gioia Immensa' - Jose Carreras

Tracks:

Ronda: 'Compagni, Sostiamo' - Abrosian Opera Chorus
Scena E Duetto: 'Ne Gustare M'e Dato Un'ora Di Quiete...Oh Tradimento!' - Renato Bruson
Coro: 'Lorche Pifferi E Tamburi' - Abrosian Opera Chorus
Strofe: 'Venite All'indovina' - Agnes Baltsa
Scena: 'Que, Vivandiere, Un Sorso' - Agnes Baltsa
Arietta: 'A Buon Mercato'/Coro: 'Pane, Pan Per Carita' - Various Artists
'Che Vergogna!' - Ambrosian Opera Chorus
Coro-Taratella: 'Nella Guerra, E La Follia' - Various Artists
Predica: 'Toh, Toh! Poffare Il Mondo'/(Recitativo): 'Lasciatelo Ch'ei Vada' - Juan Pons
Rataplan: 'Rataplan' - Various Artists
Coro Ed Aria Buffia: 'Fate La Carita...Che? Siete All'osteria?' - Ambrosian Opera Chorus
Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti...Del Mondo I Disinganni'/Scena: 'Giunge Qualcun..Aprite' - Paata Burchuladze
Scena E Duetto: 'Invano, Alvaro, Ti Celasti Al Mondo...Col Sangue Sol Cancellasi L'infamia' - Renato Bruson
Melodia: 'Pace, Pace, Mio Dio' - Jean Rigby
Scena E Terzetto Finale: 'Io Muoio...Confessione!...Non Imprecare, Umilitati' - Various Artists

Customer Reviews:

warning: no libretto.......2007-02-22

This is a good recording, no doubt about it, but costumers should be aware of the fact that there is no libretto included, but only a detailed synopsis.

Excellent in every way, yet another ignored Verdi Voice!.......2007-01-06

Fortunately, we do not have too many recordings of Forza to choose from. It is hard to cast those roles, so dramatic and long winded and phrases requiring piano and fortissimo and Rosalind Plowright was up to the challenge, but you need more than a big voice to justify Forza, you need TEXTURE too - depth, width, and sheen! No wonder, the opera has vanished from the repertory.

According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.

Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!

Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)

TOP MODERN VERDI -- THAT IS MY ASSESSMENT!

Musical Sheet Lightning.......2006-10-11

Although Verdi's basic style was established early in Nabucco (1842), he keeps getting better down through the 1860s with the spectacular La Forza del Destino and Don Carlo. In listening to his operas after 1870, I am too familiar with Aida and Otello to be deeply impressed with them; and I have never cared for Falstaff. The progress toward "true music drama" climaxing in Otello does not concern me although Boito's brilliant libretto makes that 1887 opera one of Verdi's best. The setting and plot of La Forza del Destino interest me more than any other Verdi opera. The accidental killing of a father, the brother's irrational but deadly vendetta and ,above all, the role played by Italian monasticism capture my imagination. Verdi's supercharged music is convincing at every point. What could be more electric than the brooding overture with its mournful clarinet melody? Leonora prays convincingly to the Virgin and then with a group of monks in Act II. I recall the role played by Italian monasticism in Ann Radcliffe's striking novel The Italian published in the 1790s, the same decade that Cherubini's Medee set the pattern of "grand opera," a basic element in Verdi despite all the talk about "music drama" without arias. Ewen observes, "With its pronounced dramatic content and enriched harmonic and orchestral writing, La Forza del Destino represents a gradual departure from the style of La Traviata toward that of Aida." I prefer to see this brilliant opera as a end in itself apart from any progressive scheme.

I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.

Average customer rating:

A lovely sing along.
Isagani Urgino
Domingo's "continuing tradition" is one worth ending!
Domingo's "continuing tradition" is one worth ending!

Placido Domingo: Songs of Love
Daniel A. Robles , Jacob Gade , Richard Tauber , Eugene Kohn , Bebu Silvetti , John J. Dee , Bill Ross , Rafael Solano , Julio Hernandez , Orlando Hernandez , Peter Horton , Charles Boito , Joseph Meyer , Amy Shulman , Ramon Stagnaro , Joel Timm , James Walker , and Woodward, Gary
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Placido Domingo: A Love Until The End Of Time
Be My Love
The Broadway I Love
The Best of Domingo
Por Amor

ASIN: B00004W4MV
Release Date: 2000-09-04

Tracks:

Love Story
O Sole Mio
Be My Love
Sabor A Mi
Somewhere My Love
En Aranjuez Con Tu Amor
Spanish Eyes
Sabras Que Te Quiero
Aquellos Ojos Verdes
Alma Latina
Somewhere Over The Rainbow
El Condor Pasa
Jealousy Tango
Love Be My Guiding Star

Amazon.com

If the concept of an operatic tenor plying the pop charts with a broad range of songs d'amour is hardly a new one (see also Mario Lanza and Luciano Pavarotti), it's one that has enduring appeal, especially when entrusted to the talents of an established master like Placido Domingo. Culled from his albums De mi alma Latina ("From My Latin Soul") (volumes 1 and 2) and Be My Love, this collection ably finds the common ground between Hollywood and La Scala, and wends its way through a Latin-inflected romantic songbook that stretches from Rome to Rio. Whether mining the sentiments of filmdom's Francis Lai ("Love Story") and Maurice Jarre ("Somewhere My Love") or pop standards like Bert Kaempfert's "Spanish Eyes" and "Somewhere over the Rainbow," Domingo infuses them all with a grace and drama that belie the sometimes overly precious arrangements that back his efforts. The singer has aimed for timelessness here, and largely hit the mark. --Jerry McCulley

Customer Reviews:

A lovely sing along........2007-01-03

We teach voice improvement for singing and speaking so it is heart warming to be able to use such an incredible master to sing along with
in our mother language of English.
Michael White, Director, The Optimal Breathing Institute

Isagani Urgino.......2006-08-08

Placido Domingo is a legend and this CD only prooves that he is not only a legend in the field of Opera but as well as popular music (Crosover). Excellent interpretation. I love it.

Domingo's "continuing tradition" is one worth ending!.......2001-06-28

Classical artists' attempts to cross over to the many varied popular music genres, and vice versa, are rarely pleasant experiences especially for informed and knowing devotees on either side. Domingo's is by far is not only one of the worst but one of the saddest. Domingo's own liner notes attests to the "huge influence" and "lasting inspiration" that the sources of these popular songs had on him. Domingo must have devoted a remarkably great degree of effort overcoming these to become one of this generation's great classical vocalists. But despite this Herculean effort, they tragically resurfaced as evidenced by the universally poor quality of virtually every element of this album. The recordings of Florence Foster Jenkins illustrate well what happens when someone doesn't know any better. Domingo does know better and still couldn't help himself proving bad habits never die. That is what makes Jenkins' effort so funny and, regrettably, what makes Domingo's so sad. The great Domingo "tradition" is more than well documneted in so many previous wonderful recordings and this CD clearly demonstrates he has little left to do in the studio except discredit himself. But he's is only following the same path so many before have traveled in their declining years. And as usual, those in the know are amazed but never surprised.

Domingo's "continuing tradition" is one worth ending!.......2001-06-27

Classical artists' attempts to cross over to the many varied popular music genres, and vice versa, are rarely pleasant experiences especially for informed and knowing devotees on either side. Domingo's is by far is not only one of the worst but one of the saddest. Domingo's own liner notes attests to the "huge influence" and "lasting inspiration" that the sources of these popular songs had on him. Domingo must have devoted a remarkably great degree of effort overcoming these to become one of this generation's great classical vocalists. But despite this Herculean effort, they tragically resurfaced as evidenced by the universally poor quality of virtually every element of this album. The recordings of Florence Foster Jenkins illustrate well what happens when someone doesn't know any better. Domingo does know better and still couldn't help himself proving, once again, bad habits never die. That is what makes Jenkins' effort so funny and, regrettably, what makes Domingo's so pittifully sad. The lasting Domingo tradition was documented on recordings many years ago and "Songs of Love" represents all that's left for him to do in the studio. Like so many before him, he's simply following an all too familiar path in his declining artistic years. Those in the know are always amazed but never surprised.

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