| 1. Beijos De Beco |
| 2. Risos E Cha |
| 3. Diva |
| 4. A Ra |
| 5. Copo Vazio |
| 6. Que Horas Nao Sao |
| 7. Noties De Sol Dias De Lua |
| 8. Polos |
| 9. Nem Ai |
| 10. Framboesas |
| 11. Na Lagoa Dub |
Editorial Reviews
Product Description
2001release by this New Artist Includes a Cover of a Ra from Caetano Veloso.
A wonderful collection for a terrific price, super fast shipping too- as always.
Good quality sound
The DVD is interesting in filling in details of the history, the area and how the CD was produced.
Es el resultado de un riguroso trabajo cooperativo entre un musicólogo, Piotr Nawrot, y un conjunto de gran trayectoria profesional, Florilegium Musicum, al cual se añadieron cuatro cantantes provenientes de Bolivia con la intención de aportar cierto "nativismo" a la interpretación. De todos modos, éste rasgo (el nativismo) no llega a vislumbrarse en la interpretación ya que la misma no logra alejarse mucho de una visión europeísta del repertorio.
Las obras presentadas en el disco representan una verdadera novedad, ya que en su mayoría fueron grabadas por primera vez en este proyecto.
Una de las cosas más interesantes es el "plus" o premio final que es el reslutado de una improvisación realizada en los ensayos con sikus, guitarra y bajo.
Se agradece especialmente la incorporación de un DVD en el que se exponen detalles del montaje discográfico y de la investigación que se llevó a cabo para su realización.
There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.
Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.
Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.
From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.
Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.
Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.
Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.
Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.
The singers in this album are as perfect as you'll ever want them to be. Baltsa is the best Carmen ever in my opinion; both flirtatious and a firework. After hearing her seductive "Pres de ramparts de Seville" it's no wonder Don José is irresistibly drawn to her. Even I have the same reaction to her singing as Don José. For some unknown reason; while I'm listening to the phrase "Mon officier n'est pas un capitaine" I can't stop myself from taking a deep breath of "contentment" (you know, the way you would do if someone declared his undying love for you...) and this is something that never fails to happen whenever I listen to this aria. The strange thing though is that you'll hear Don José doing the exact same thing at the exact same time. The first time I heard this it was almost unbelievable. Listen to this aria and you'll probably understand what I'm talking about.
Ricciarelli's Michaela is the sweetest one I've ever heard. If I was Don José I would really be having a hard time deciding which one of the women to choose. (But of course, no man goes for "sweet" when he can get "steamy hot" instead...) The duets between Michaela and Don José are just as sweet and tender as the duets between Carmen and Don José are full of sensual tension.
The Don José in the voice of Carreras is from my point of view the most perfect one. He can sound like the naïve and shy young soldier falling madly in love for the first time and also like the madman Don José ends up as in the final act. And speaking of the final act; the last 10-15 minutes of this opera are worth the price of the opera alone. Don José alters between begging and threatening to get Carmen back while Carmen herself refuses everything he says or does. The tension escalates every minute and ends when Don José finally kills Carmen. And I'm getting goose-flesh all over when he's crying "Ma Carmen, adorée". His singing throughout the entire opera is outstanding. I love the duets with Ricciarelli and Baltsa in addition to the famous and wonderful rendition of "La fleur que tu m'avais jetée". This aria ends up like the most gentle and tender love song. Thank you, Carreras and Karajan for that moment!
The rest of the cast are really good as well; we have José van Dam doing a fine job as the toreador Escamillo and Frasquita and Mercédès are portrayed by Christine Barbaux and Jane Berbié. So although the French actors are horrible (with the exception of Michaela) the singers make it worthwhile.
That being said, this Carmen remains tied for first among my operas.
Maybe there's a better version out there (Abbado/Bergazon/Domingo? Plasson/Georghiu(sp?/Alagna?), but you can't go wrong with this version.
I for one don't mind von Karajan's bombastic orchestration and tempi here, I think it's very appropriate. I absolutely love this recording and I'm sure you'll never regret buying it.
1. Overture: Short, but engaging. Gets your attention. ***
2. Scherzando: Sweet and snazzy. It's basically the prologue. ***
3. Blues: Enthralling take on the piano. Great percussions. ***
4. Somewhere: Beautiful and rich. A real tear-jerker. *****
5. Scherzo: A fun song. Great performance by both sisters. ***
6. Mambo: Fantastic! Upbeat and wild, this is my all-time favorite. *****
7. Cha-Cha: Sweet. This song always sounds great on a piano. (Or two in this case!) ****
8. Cool: Awesome! The Labeques play this piece with a jazz flair. *****
9. Rumble: This is the rumble, every note right on key. ***
10. I Have a Love (Finale): Beautiful...get your hanky out for this one. ****
11. Something's Coming: Never one of my favorites, but the Labeques do a good job, as always. ***
12. Maria: Strong and passionate. Beautiful piano playing by both sisters. ****
13. America: Starts off high and upbeat. Awesome high-voltage playing. Powerful! *****
14. Jet Song: Upbeat and rocky, the Labeques boogie woogie this one. ****
15. One Hand, One Heart: Not as powerful as the others, but wonderful all the same. ****
16. I Feel Pretty: Again, not one of my favorites, but Kostal turned this one into a sweet, music box composition. At first, actually, the Labeques didn't want to include I Feel Pretty, but in the end were pleased by Kostal's Chopin-like arrangement. ***
17. Tonight: Enthralling! Sends shivers up my spine. Amazing music. *****
18. A Boy Like That/I Have a Love: Amazing, passionate. Very, very passionate. *****
Overall, this CD is a five star all the way. Lenny would be proud.
Similarly, the two greatest recordings of Turandot are often considered Zubin Mehta's 1974 masterwork with Dame Joan Sutherland, Luciano Pavarotti, Montserrat Caballé, Nicolai Ghiaurov, and Tom Krause and this 1982 coup de maître. Mehta's recording is one massive, exotic, Oriental explosion of sound and melody; the music of Puccini's swan song rushes over the listener like a tidal wave of ardor and violence. Karajan's approach is, as one might expect from him in the latter portion of his career, more calculated and stylistically refined; his interpretation draws out like a blade - slowly, but constantly ameliorating. Neither approach is necessarily "correct," for Mehta's is perfect in the sense that it is consistently overwhelming and rapturous, while Karajan's swells consistently in increased exquisiteness and grandeur.
As he matured, Karajan began to place greater emphasis on the orchestral quality of his operatic recordings, rather than the vocal presence; thus, as the orchestra was projected more directly in his later recordings, the soloists became less distinct, and the chorus was often inaudible. (His grandiose but flawed 1979 recording of Don Carlo is an example.) Thus, one striking difference in this recording is the spectacular quality and clarity of the choral passages. The Wiener Staatsopernchor is often treated like an old battle-axe, though it ranks with the Chorus of the Royal Opera House, Covent Garden, and the John Alldis Choir as one of the finest choruses on the planet. Chorus master Roberto Benaglio excels, driving the voices through "Gira la cote, gira, gira," which begins with a grinding, calculating pulse and descends into a frenzied, murderous mass. "Perchè tarda la luna?" is measurelessly surreal; the voices seem to echo from a vast distance, as though they were beckoning through a thin veil of strings and shadowy, mysterious moonlight and clouds. "O giovinetto! Grazia, grazia!" is also sublime as the populace's bloodthirstiness plummets into a guttural remorsefulness at the appearance of the adolescent, strikingly handsome Prince of Persia. (How can one not bask in the genius of the moment when the basses murmur "Principessa! Grazia, grazia," begging vainly for the pardon of the damned prince, while Karajan sparks growls from the brass, accentuating their unutterable fear?) "Non indugiare!" (the chorus of the shades) is frighteningly real and threatening with its mistiness and the terrified peeps from the flutes; "Così comanda Turandot," the opening chorus of the heralds in Act III, is also wonderfully atmospheric with the harbingers rumbling like arcane sentinels, posted atop some unknowable pylon in the ancient past. The Wiener Sängerknaben are also superb in their dainty Act I chorus ("Là sui monti dell'Est"); the voices of the young boys seem like the whimsical chatter of seraphim, while the pulse of sepulchral bells and gongs accentuate their dreamy tone.
Birgit Nilsson's Turandot was recognized for her virginal steeliness and unattainable, torturously mocking eroticism. Dame Joan Sutherland's personification was equally aloof and, with her delicate coloratura timbre, more vocally enticing. Katia Ricciarelli's performance is not as instantly inviting as either of the aforementioned two. The first thought that is likely to run through the listener's head is bewilderment as to why Karajan would cast such an inadequate singer in such a demanding and necessarily intimidating role. However, repeated listening will hopefully communicate differently. Ricciarelli's Turandot may eventually be recognized as a brittle, tormented little woman, whose ornamental beauty is disguised behind a cracked aegis of rancor; with this in mind, her vocal inadequacy actually adds to the role a level of dimension which Nilsson and Sutherland would not (nor, in all actuality, could not) have grasped.
In her performance of "In questa reggia," Ricciarelli's Turandot sounds as though she may have stepped out of a color print; she is friable and emotionally emaciated in spite of her nearly indescribable pulchritude. In the "Riddle Scene" ("Straniero, ascolta: `Nella cupa notte vola un fantasma iridescente'...`Guizza al pari di fiamma'...`Gelo che ti dà foco'"), Ricciarelli redeems herself to an extent; the slight whininess of her voice adds a superbly grating, unnerving aura to the grim, ghastly proceedings. One can almost imagine Calaf's imminent frustration and, when the third riddle goes briefly unsolved, horrible panic. Ricciarelli and Domingo also shine brilliantly in their final duet ("Principessa di morte!" ... "Che è mai di me?" ... "Del primo pianto"). Her weakness works to her supreme benefit; she is lame putty in the tenor's hands. It is in this moment that her performance can truly be understood and, unless one is so stringently enamored with Birgit Nilsson or Eva Marton, respected. One can rejoice in the instant that she has discovered the true nature of love; one sees, rather than the death of a man-hating empress, the birth of a glorious, passionate woman.
The dilemma over the worthiness of Ricciarelli's performance does not extend to Plácido Domingo's interpretation of Calaf. The bright-eyed, adventurous, picaresque Tartar prince has been crafted by every leading tenor from Jussi Björling to Franco Corelli (considered the greatest by many) to Luciano Pavarotti (also considered the greatest with equal fervency). Domingo's performance is no exception to vocal robustness, though his characteristic depth became, by 1982, both a sensuous blessing and a vexatious curse. For example, he truly bombs during his outcry of "No, no, Principessa altera"; the maturity in his voice appears like a grotesque abscess. (The editing is also quite poor, which leaves the listener with the impression that he required numerous attempts to fashion his presumably passionate ejaculation as best as he was able.) However, with the consummate tenor aria "Nessun dorma," Domingo is sensually introspective; he captures what Pavarotti and Corelli failed to project. As Calaf, the Spanish legend seems to whisper his serenade to himself, rather than beckoning to all of Peking.
Even if one decides to cast one's gaze to the sunny side of the street in reference to Ricciarelli's controversial performance in the title role, one must still wonder why Calaf would choose a hellcat princess over Barbara Hendrick's beguiling Liù. Caballé, Freni, Scotto, and Vishnevskaya have all yielded excellent interpretations of the noble slave girl, but Hendricks surpasses them all. Her compassionate plea in Act I ("Signore, ascolta!") is so delicately lovely that the listener is likely to overlook the powerful emotion and bravado of the performance. Hendricks also sings with breathtaking pathos and conviction in her Act III confession and suicide ("Tanto amore segreto, e inconfessato" ... "Tu che di gel sei cinta"). She is truly pitiable and heart-warming as the loyal, love-stricken slave girl who commits the ultimate sacrifice for her disrespected and unrequited affection.
Ruggero Raimondi's bass-baritone voice will never compare with the basso cannon of Nicolai Ghiaurov. Ghiaurov managed to transform the dull, decrepit Tartar king Timur into a Mongolian Mefistofele. Raimondi, however, makes a noble effort to portray the old deposed monarch realistically; he lyrically mutters and whispers his lines, creating an unutterably dolorous and morose character. One must have a frozen heart to endure without a bitter tear his oblivious pleading ("Liù! Liù! Sorgi! Sorgi!") and furious outburst ("Ah! Delitto orrendo!") as the old king who has lost his most tender-hearted and devoted servant. Piero de Palma could easily be considered the greatest Italian character tenor ever to perform on the operatic stage. Every seemingly minute role (from Gastone in La Traviata and Borsa Matteo in Rigoletto to Spoletta in Tosca and Goro in Madama Butterfly) has been gifted with de Palma's petite, witty tone. During his brief Act II monologue ("Un giuramento atroce mi costringe"), de Palma's frail, anemic Emperor Altoum beckons from afar like the voice of the Past or of Destiny itself. He is totally different in juxtaposition to Sir Peter Pears's pompous, aristocratic, autonomous monarch who leered down at Calaf from a cushioned pedestal.
Gottfried Hornik, Heinz Zednik, and Francisco Araiza provide lyrical (and slightly but wonderfully caricatured) comic relief as the three ministers Ping, Pang, and Pong. Hornik, a well-rounded character baritone, possesses a fairly light voice which blends nicely with Zednik's immediately recognizable, nasally sharp tone and Araiza's warm, Rossinian register. They fuse majestically in their Act II trio ("Ho una casa nell'Honan") as the listener is immersed in a gloriously serene, Oriental world of glittering ponds, immaculate mediation gardens, and bamboo. The part of the Mandarin may seem menial, but both Mehta's Sabin Markov and Karajan's Siegmund Nimsgern bring something singular to the role. Markov's rather severe Slavic voice adds a searing tension to the opening proclamation ("Popolo di Pekino!"); Nimsgern is diabolical with a terrible Neidlingerian intensity.
Even if one has loved at length the aforementioned Zubin Mehta recording, one should still give heed to this remarkable work. In some ways, it is indeed inferior; the exquisite beauty of Katia Ricciarelli's lyric voice cannot, in numerous instances, hide her irritating inadequacy. Nonetheless, one should not deny oneself the taste of this marvelous achievement, one of the last of Herbert von Karajan's gargantuan career.
What this means is that all the thrills come when Ricciarelli is offstage and all the spills when she isn't. The Amazon reviewer is wrong to call hers a lyric soprano--she was dramatic enough for Aida and Tosca. It just hapens that Turandot is especially grueling, even for a good Italian dramatic soprano--the music lies so high and exposed that there's not a moment to rest or a style that fakes its way through.
Also, I wouldn't blame the casting on Karajan's penchant for light voices. In 1981 there was a fearful shortage of sopranos who could manage Tosca, Aida, and the two Leonoras. What to do without a Tebaldi, Price, Callas, Milanov, or Nilsson? Desperate opera houses and recording companies turned to "inappropriate" voices like Freni, Scotto and Ricciarelli. In many cases they turned in superb portrayals. However, even in a famine year Turandot was too big a stretch. Unfortunately, the situation has grown worse ever since.
2001release by this New Artist Includes a Cover of a Ra from Caetano Veloso.
Katia B,Katia B,Tratore Music Brasil,Brazilian,Int'l & World Music,Pop,World Music
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Puccini: Great Opera Arias
Manufacturer: Sony ProductGroup: Music Binding: Audio CD  All Works by Puccini
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ASIN: B00005YQLA Release Date: 2002-01-29 |
Tracks:
- Gianni Schicchi: O mio babbino caro
- Gianni Schicchi: Firenze e come un albero fiorito
- La Rondine: Chi il bel sogno di Doretta
- La Boheme: Si, mi chiamano Mimi
- La Boheme: Quando m'en vo
- Madama Butterfly: Un bel di vedremo
- Madama Butterfly: The Flower Duet
- Madama Butterfly: The Humming Chorus
- Madama Butterfly: Tu? tu? Piccolo iddio
- Tosca: Dammi i colori
- Tosca: Vissi d'arte
- Tosca: E lucevan le stelle
- Turandot: Signore, ascolta!
- Turandot: In questa reggia
- Turandot: Nessun dorma
- La Fanciulla Del West: Ch'ella mi creda libero e lontano
- Suor Angelica: Senza mamma, o bimbo
- Le Villi: Se come voi piccina io fossi
- Manon Lescaut: In quelle trine morbide
- Manon Lescaut: Sola, perduta, abbandonata
Customer Reviews:
The best opera album ever.......2007-01-26
Beautiful Music, Nice price.......2007-01-04
A wonderful collection for a terrific price, super fast shipping too- as always.
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Luciano Pavarotti - Nessun dorma (Arias & Duets)
Luciano Pavarotti , Mirella Freni , and Katia Ricciarelli Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Donizetti
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ASIN: B00004Z32N Release Date: 2001-03-27 |
Tracks:
- La Traviata: Libiamo ne' lieti calici (Brindisi)
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- I lombardi: La mia letizia infondere
- Otello: Gia nella notte densa
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Puccini and Pasta: A Romantic Italian Feast for Your Ears
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ASIN: B0000041FP Release Date: 1996-08-13 |
Tracks:
- Turandot: No One Shall Sleep
- Gianni Schicchi: O My Dear Daddy
- La Boheme: Your Tiny Hand Is Frozen
- La Boheme: They Call Me Mimi
- La Boheme: O Gentle Girl
- La Boheme: Musetta's Waltz Song
- La Boheme: Whence Happily She Came
- La Boheme: Mimi's Farewell
- Manon Lescaut: I Have Never Met A Woman Like Her
- Madame Butterfly: One Fine Day
- The Girl Of The Golden West: Let Her Believe I Am Free
- TOSCA: Strange Harmony
- TOSCA: Love Duet, Act I, Part I
- TOSCA: Love Duet, Act I, Part II
- TOSCA: For Love And Art
- TOSCA: The Stars Were Shining
- La rondine: Doretta's Dream
- Madame Butterfly: Love Duet, Act I, Part II
Customer Reviews:
A great intro for ... opera fans.......2002-02-14
If you're new to opera, you can't go wrong with this album. Puccini was the Spielberg of his time, and his work still has a lot of popular appeal. (It's much easier to like "La Boheme" than Wagner's Ring cycle -- that's for sure!)
If you have a lot of opera already, you probably have most of these songs. Still, if you want them all in one place, this is a worthy buy.
A great introduction to Puccini.......1999-09-23
Delightfully fun album; Opera for YOU!.......1999-04-30
Arrows straight to your heart........1999-03-28
A great first taste of opera's famous arias.......1999-03-04
![Bolivian Baroque [includes DVD] [Hybrid SACD]](http://ec1.images-amazon.com/images/I/318YMFQV0SL.jpg)
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Bolivian Baroque [includes DVD] [Hybrid SACD]
Manufacturer: Channel Classics Nl ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B00079RNEU Release Date: 2005-04-12 |
Customer Reviews:
Bolivian Baroque CD.......2007-02-15
Good quality sound
The DVD is interesting in filling in details of the history, the area and how the CD was produced.
Historicismo y musicalidad.......2006-07-21
Es el resultado de un riguroso trabajo cooperativo entre un musicólogo, Piotr Nawrot, y un conjunto de gran trayectoria profesional, Florilegium Musicum, al cual se añadieron cuatro cantantes provenientes de Bolivia con la intención de aportar cierto "nativismo" a la interpretación. De todos modos, éste rasgo (el nativismo) no llega a vislumbrarse en la interpretación ya que la misma no logra alejarse mucho de una visión europeísta del repertorio.
Las obras presentadas en el disco representan una verdadera novedad, ya que en su mayoría fueron grabadas por primera vez en este proyecto.
Una de las cosas más interesantes es el "plus" o premio final que es el reslutado de una improvisación realizada en los ensayos con sikus, guitarra y bajo.
Se agradece especialmente la incorporación de un DVD en el que se exponen detalles del montaje discográfico y de la investigación que se llevó a cabo para su realización.
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Bizet: Carmen
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Romances
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ASIN: B000001G4J Release Date: 1983-11-17 |
Tracks:
- Carmen: Prelude - G. Bizet
- Carmen: Act 1 - Introduction : 'Sur la place chacun passe' (Les Soldats, Morales) - G. Bizet
- Carmen: Act 1: 'Que cherchez-vous, la belle?' (Morales, Micaela, Les Soldats) - G. Bizet
- Carmen: Act 1: Marche et Choeur des gamins : 'Avec la garde montante' (Choeur des gamins) - G. Bizet
- Carmen: Act 1: 'Halte! Repos!' - 'Une jolie fille est venue' (Zuniga, Morales, Don Jose, Le lieutenant de la garde descendante) - G. Bizet
- Carmen: Act 1: 'Et la garde descendante' (Choeur des gamins) - G. Bizet
- Carmen: Act 1: Dites-moi, brigadier' (Zuniga, Don Jose) - G. Bizet
- Carmen: Act 1: Choeur et Scene 'La cloche a sonne' (Les jeunes gens, Les soldats) - G. Bizet
- Carmen: Act 1: 'Dans l'air, nous suivons des yeux la fumee' (Les cigarieres, Les jeunes gens) - G. Bizet
- Carmen: Act 1: 'Mais nous ne voyons pas la Carmencita?' (Les soldats, Les jeunes gens) - G. Bizet
- Carmen: Act 1: 'Quand je vous aimerai?' - Havanaise : 'L'amour est un oiseau rebelle' (Carmen) - G. Bizet
- Carmen: Act 1: Scene : 'Carmen, sur tes pas nous nous pressons tous!' Les jeunes gens, Les cigarieres) - G. Bizet
- Carmen: Act 1: 'Monsieur le brigadier?' (Micaela, Don Jose) - Duo : 'Parle-moi de ma mere!' (Don Jose, Micaela) - G. Bizet
- Carmen: Act 1: Votre mere avec moi sortait de la chapelle' (Micaela, Don Jose) - G. Bizet
- Carmen: Act 1: 'Ma mere, je la vois! ...' (Don Jose, Micaela) - G. Bizet
- Carmen: Act 1: 'Tu la verras! Eh bien!' (Don Jose, Micaela) - G. Bizet
- Carmen: Act 1: Choeur : 'Au secours!' (Les cigarieres, Zuniga, Les Soldats) - G. Bizet
- Carmen: Act 1: 'Ah! enfin! un peu de silence!' (Zuniga, Don Jose, Carmen) - G. Bizet
- Carmen: Act 1: Chanson et Melodrame : 'Avez-vous quelque chose a repondre?' (Zuniga) - 'Tra la la la...' (Carmen, Zuniga, Choeur, Un soldat) - G. Bizet
- Carmen: Act 1: 'Vous etes si jeune, seigneur officier' (Carmen, Don Jose) - G. Bizet
- Carmen: Act 1: Chanson et Duo : 'Pres des remparts de Seville' (Carmen, Don Jose) - G. Bizet
- Carmen: Act 1: Final : 'Le lieutenant! Prenez garde...' (Don Jose, Zuniga, Carmen) - G. Bizet
Tracks:
- Carmen: Entr'acte - Georges Bizet
- Carmen: Act 2: Chanson : 'Les tringles des sistres tintaient' (Carmen, Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 2: 'Vous avez quelque chose a nous dire...?' (Zuniga, Pastia, Andres, Frasquita, Carmen) - Georges Bizet
- Carmen: Act 2: Choeur et Ensemble : 'Vivat! vivat le Torero!' (Les amis d'Escamillo, Zuniga, Mercedes, Andres, Frasquita, Pastia) - Georges Bizet
- Carmen: Act 2: Couplets :' Votre toast, je peux vous le rendre' (Escamillo, Choeur) - Georges Bizet
- Carmen: Act 2: 'Messieurs les officiers, je vous en supplie' (Pastia, Zuniga, Escamillo, Carmen, Choeur, Frasquita, Le Dancaire) - Georges Bizet
- Carmen: Act 2: Quintette : 'Nous avons en tete une affaire!' (Le Dancaire, Frasquita, Mercedes, Le Remendado, Carmen) - Georges Bizet
- Carmen: Act 2: 'En voila assez' (Le Dancaire, Carmen, Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 2: Chanson : 'Halte-la! Qui va la?' (Don Jose, Mercedes, Frasquita, Le dancaire, Carmen) - Georges Bizet
- Carmen: Act 2: 'Enfin...Tu as mis le temps!' (Carmen, Don Jose) - Georges Bizet
- Carmen: Act 2: Duo : 'Je vais danser en votre honneur' (Carmen, Don Jose) - Georges Bizet
- Carmen: Act 2: 'La fleur que tu m'avais jetee' (Don Jose) - Georges Bizet
- Carmen: Act 2: 'Non, tu ne m'aimes pas!' (Carmen, Don Jose) - Georges Bizet
- Carmen: Act 2: Final : 'Hola! Carmen! Hola!' (Zuniga, Don Jose, Carmen, Le Remendado, Le Dancaire, Les Bohemiens) - Georges Bizet
- Carmen: Act 2: 'Suis-nous a travers la campagne' (Frasquita, Mercedes, Carmen, Le Dancair, Le Remendado, Les bohemiannes, Les bohemiens) - Georges Bizet
- Carmen: Act 2: Entr'acte - Georges Bizet
- Carmen: Act 3: Scene 1: Introduction : 'Ecoute, compagnon, ecoute!' (Les contrabandiers, Frasquita, Mercedes, Carmen, Don Jose, Le Dancaire, Le Remendado) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Carmen, ne me fuis pas ...' (Don Jose, Carmen) - Georges Bizet
Tracks:
- Carmen: Act 3: Scene 1: Trio : 'Melons! Coupons!' (Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Carreau! Pique!...La Mort!' (Carmen) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Parlez encore, parlez' (Frasquita, Mercedes, Carmen) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Alerte!!!' (Le Dancaire, Carmen, Frasquita, Mercedes, Don Jose) - Morceau d'Ensemble : 'Quant au douanier, c'est notre affaire!' (Frasquita, Mercedes, Carmen, Les bohemiennes, Le Dancaire, Le Remendado, Les bohemiens) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Nous y sommes, petite ...' (Le Guide, Micaela) - Georges Bizet
- Carmen: Act 3: Scene 1: Air : 'Je dis que rien ne m'epouvante' (Micaela) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Mais... je ne me trompe pas...' (Micaela, Escamillo, Don Jose) - Georges Bizet
- Carmen: Act 3: Scene 1: Duo : 'Je suis Escamillo, Torero de Grenade!' (Escamillo, Don Jose) - Georges Bizet
- Carmen: Act 3: Scene 1: Final : 'Hola! hola! Jose!' (Carmen, Escamillo, Le Dancaire, Les contrebandiers, Les contrebandiers) - Georges Bizet
- Carmen: Act 3: Scene 1: 'Halte! quelqu'un est la qui cherche a se cacher!' (Le Remendado, Carmen, Le Dancaire, Don Jose, Micaela, Frasquita, Mercedes, Les contrebandieres, Les contrebandieres, Escamillo) - Georges Bizet
- Carmen: Act 3: Scene 1: Entr'acte - Georges Bizet
- Carmen: Act 3: Scene 2: Choeur : 'A dos cuartos!' (Les marchandes, Les marchands, Zuniga, Une Marchande, Andres, Un Bohemien) - Georges Bizet
- Carmen: Act 3: Scene 2: 'Qu' avez-vous fait de la Carmencita?' (Zuniga, Frasquita, Andres, Mercedes) - Choeur et Scene : 'Les voici! les voici!' (Les enfants, Choeur) - Georges Bizet
- Carmen: Act 3: Scene 2: 'Si tu m'aimes, Carmen ...' (Escamillo, Carmen, Quatre alquazils, Frasquita, Mercedes) - Georges Bizet
- Carmen: Act 3: Scene 2: Duo Final : 'C'est toi!' - 'C'est moi!' (Carmen, Don Jose, Choeur) - Georges Bizet
Amazon.com
If you're going to start with one opera, make it Carmen. It's full of memorable melodies, fascinating situations, and gripping drama. Herbert von Karajan and his colleagues give a polished account that revels in the beauty and color of the score. --Ted LibbeyAmazon.com
This is another one of those Herbert von Karajan dissections, in which every separate scene in the opera appears to be the only scene: it's all so intensely led, with each instrument audible, every tempo change made (although for the most part, this is a very slow outing), and every dynamic notation observed. A pity, too, since with a less-obsessed conductor, Agnes Baltsa's gutsy Carmen wouldn't seem so underlined and José Carreras's Don José, recorded after his prime, wouldn't be so clearly after his prime. He's ardent--indeed, almost hysterical--but the voice is under severe pressure even without the slow-motion leadership. José van Dam seems indomitable as Escamillo, but Katia Ricciarelli forces wearily and eventually sounds bored. Bizet would be puzzled; listeners should stick to Callas. --Robert LevineCustomer Reviews:
Karajan's 2nd Carmen: His Best. Powerful!!!!.......2006-03-09
There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.
Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.
Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.
From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.
Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.
Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.
Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.
Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.
A Carmen with a double cast.......2005-10-11
The singers in this album are as perfect as you'll ever want them to be. Baltsa is the best Carmen ever in my opinion; both flirtatious and a firework. After hearing her seductive "Pres de ramparts de Seville" it's no wonder Don José is irresistibly drawn to her. Even I have the same reaction to her singing as Don José. For some unknown reason; while I'm listening to the phrase "Mon officier n'est pas un capitaine" I can't stop myself from taking a deep breath of "contentment" (you know, the way you would do if someone declared his undying love for you...) and this is something that never fails to happen whenever I listen to this aria. The strange thing though is that you'll hear Don José doing the exact same thing at the exact same time. The first time I heard this it was almost unbelievable. Listen to this aria and you'll probably understand what I'm talking about.
Ricciarelli's Michaela is the sweetest one I've ever heard. If I was Don José I would really be having a hard time deciding which one of the women to choose. (But of course, no man goes for "sweet" when he can get "steamy hot" instead...) The duets between Michaela and Don José are just as sweet and tender as the duets between Carmen and Don José are full of sensual tension.
The Don José in the voice of Carreras is from my point of view the most perfect one. He can sound like the naïve and shy young soldier falling madly in love for the first time and also like the madman Don José ends up as in the final act. And speaking of the final act; the last 10-15 minutes of this opera are worth the price of the opera alone. Don José alters between begging and threatening to get Carmen back while Carmen herself refuses everything he says or does. The tension escalates every minute and ends when Don José finally kills Carmen. And I'm getting goose-flesh all over when he's crying "Ma Carmen, adorée". His singing throughout the entire opera is outstanding. I love the duets with Ricciarelli and Baltsa in addition to the famous and wonderful rendition of "La fleur que tu m'avais jetée". This aria ends up like the most gentle and tender love song. Thank you, Carreras and Karajan for that moment!
The rest of the cast are really good as well; we have José van Dam doing a fine job as the toreador Escamillo and Frasquita and Mercédès are portrayed by Christine Barbaux and Jane Berbié. So although the French actors are horrible (with the exception of Michaela) the singers make it worthwhile.
Polished, propulsive, utterly charmless.......2005-09-24
A casual opera fan LOVES this version of Carmen.......2005-06-07
That being said, this Carmen remains tied for first among my operas.
Maybe there's a better version out there (Abbado/Bergazon/Domingo? Plasson/Georghiu(sp?/Alagna?), but you can't go wrong with this version.
Stunning Carmen.......2004-05-28
I for one don't mind von Karajan's bombastic orchestration and tempi here, I think it's very appropriate. I absolutely love this recording and I'm sure you'll never regret buying it.
Average customer rating:
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John McLaughlin: Concerto for Guitar & Orchestra "The Mediterranean"
Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
| Concertos
| Forms & Genres
| Classical
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Guitar
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ASIN: B0000026Y6 Release Date: 1990-02-09 |
Tracks:
- Concerto for Guitar & Orchestra 'The Mediterranean': I. Rhythmic
- Concerto for Guitar & Orchestra 'The Mediterranean': II. Slow & Sad
- Concerto for Guitar & Orchestra 'The Mediterranean': III. Animato
- Duos for Guitar & Piano: Brise de Coeur
- Duos for Guitar & Piano: Montana
- Duos for Guitar & Piano: Two Sisters
- Duos for Guitar & Piano: Until Such Time
- Duos for Guitar & Piano: Zakir
Customer Reviews:
Where's the soloist?.......2003-11-08
Wow.......2003-08-07
very impressive work by mclaughlin.......2000-02-08
A marvellous piece of music.......1999-07-21
Average customer rating:
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Symphonic Dances & Songs from West Side Story
Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Bernstein
| Bernstein, Leonard
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ASIN: B0000026XK Release Date: 1989-06-19 |
Tracks:
- Symphonic Dances From 'West Side Story': Overture
- Symphonic Dances From 'West Side Story': Scherzando
- Symphonic Dances From 'West Side Story': Blues
- Symphonic Dances From 'West Side Story': Somewhere
- Symphonic Dances From 'West Side Story': Scherzo - Andante Con Moto; Vivace Il Legero
- Symphonic Dances From 'West Side Story': Mambo
- Symphonic Dances From 'West Side Story': Cha-Cha
- Symphonic Dances From 'West Side Story': Cool
- Symphonic Dances From 'West Side Story': The Rumble
- Symphonic Dances From 'West Side Story': I Have a Love - Finale
- Songs From 'West Side Story': Something's Coming
- Songs From 'West Side Story': Maria
- Songs From 'West Side Story': America
- Songs From 'West Side Story': Jet Song
- Songs From 'West Side Story': One Hand, One Heart
- Songs From 'West Side Story': I Feel Pretty
- Songs From 'West Side Story': Tonight
- Songs From 'West Side Story': A Boy Like That; I Have a Love
Customer Reviews:
Like West Side Story? Like the Piano? This is for You!.......2006-06-08
1. Overture: Short, but engaging. Gets your attention. ***
2. Scherzando: Sweet and snazzy. It's basically the prologue. ***
3. Blues: Enthralling take on the piano. Great percussions. ***
4. Somewhere: Beautiful and rich. A real tear-jerker. *****
5. Scherzo: A fun song. Great performance by both sisters. ***
6. Mambo: Fantastic! Upbeat and wild, this is my all-time favorite. *****
7. Cha-Cha: Sweet. This song always sounds great on a piano. (Or two in this case!) ****
8. Cool: Awesome! The Labeques play this piece with a jazz flair. *****
9. Rumble: This is the rumble, every note right on key. ***
10. I Have a Love (Finale): Beautiful...get your hanky out for this one. ****
11. Something's Coming: Never one of my favorites, but the Labeques do a good job, as always. ***
12. Maria: Strong and passionate. Beautiful piano playing by both sisters. ****
13. America: Starts off high and upbeat. Awesome high-voltage playing. Powerful! *****
14. Jet Song: Upbeat and rocky, the Labeques boogie woogie this one. ****
15. One Hand, One Heart: Not as powerful as the others, but wonderful all the same. ****
16. I Feel Pretty: Again, not one of my favorites, but Kostal turned this one into a sweet, music box composition. At first, actually, the Labeques didn't want to include I Feel Pretty, but in the end were pleased by Kostal's Chopin-like arrangement. ***
17. Tonight: Enthralling! Sends shivers up my spine. Amazing music. *****
18. A Boy Like That/I Have a Love: Amazing, passionate. Very, very passionate. *****
Overall, this CD is a five star all the way. Lenny would be proud.
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Puccini - Turandot / Ricciarelli · Domingo · Hendricks · Raimondi · Wiener Phil. · Karajan
Giacomo Puccini , Herbert von Karajan , Plácido Domingo , Katia Ricciarelli , Wiener Philharmoniker , Wiener Sängerknaben , Chor der Wiener Staatsoper , Barbara Hendricks , Piero di Parma, Gottfried Hornik Ruggero Raimondi , and Heinz Zednik, Siegmund Nimsgern Francisco Araiza Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Puccini
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ASIN: B000001G9X Release Date: 1990-10-25 |
Tracks:
- Turandot: Act I: Un Mandarino: 'Popolo di Pechino!' - Vienna State Opera Chorus
- Turandot: Act I: Le guardie imperiali: 'Indietro, cani!' (Liu) - Vienna State Opera Chorus
- Turandot: Act I: Calaf: 'Padre! Mio padre!' (Calaf, Liu, Timur) - Vienna State Opera Chorus
- Turandot: Act I: Gli uomini: 'Gira la cote' (Calaf, Liu) - Vienna State Opera Chorus
- Turandot: Act I: La folla: 'Perche tarda la luna?' - Vienna State Opera Chorus
- Turandot: Act I: Ragazzi: 'La, sui monti dell'Est' - Vienna State Opera Chorus
- Turandot: Act I: La folla: 'O giovinetto! Grazia!' (Calaf) - Vienna State Opera Chorus
- Turandot: Act I: La folla: 'La grazia, Principessa!' - Calaf: 'O divina bellezza' (Calaf) - Vienna State Opera Chorus
- Turandot: Act I: Timur: 'Figlio, che fai?' (Timur, Calaf, Liu) - Vienna State Opera Chorus
- Turandot: Act I: Ping, Pong, Pang: 'Fermo! Che fai?' (Calaf) - Vienna State Opera Chorus
- Turandot: Act I: Le ancelle di Turandot: 'Silenzio, ola!' (Calaf, Timur) - Vienna State Opera Chorus
- Turandot: Act I: Pang, Pong, Ping: 'Notte senza lumicino' (Calaf, Timur) - Vienna State Opera Chorus
- Turandot: Act I: Liu: 'Signore, ascolta!' (Liu) - Vienna State Opera Chorus
- Turandot: Act I: Calaf: 'Non piangere, Liu!' (Calaf, Liu, Timur) - Vienna State Opera Chorus
- Turandot: Act I: Timur: 'Ah! Per L'ultima volta!' (Timur, Liu, Calaf) - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Ping: 'Ola, Pang!' - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Ping: 'O China, che or sussulti' - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Ping: 'Ho una casa nell'Honan' - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Ping, Pong, Pang: 'O mondo pieno di pazzi innamorati!' - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Ping, Pong, Pang: 'Addio, amore, addio, razza - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Ping, Pong, Pang: 'Non v'e in China per nostra fortuna' - Vienna State Opera Chorus
- Turandot: Act II: Scene One: Pong: 'Udite trombe! Altro che pace' - Vienna State Opera Chorus
- Turandot: Act II: Scene Two: La folla: 'Gravi, enormi ed imponenti' - Vienna State Opera Chorus
- Turandot: Act II: Scene Two: L'Imperatore: 'Un giuramento atroce mi costringe' (Calaf) - Vienna State Opera Chorus
- Turandot: Act II: Scene Two: La folla: 'Diecimila anni al nostro Imperatore!' - Vienna State Opera Chorus
- Turandot: Act II: Scene Two: Il Mandarino: 'Popolo di Pechino!' - Vienna State Opera Chorus
Tracks:
- Turandot: Act II: Scene Two: Turandot: 'In questa Reggia' (Turandot) - G. Puccini
- Turandot: Act II: Scene Two: Turandot: 'O, Principi, che a lunghe carovane' (Turandot, Calaf) - G. Puccini
- Turandot: Act II: Scene Two: The First Riddle - Turandot: 'Straniero, ascolta' (Turandot) - G. Puccini
- Turandot: Act II: Scene Two: The First Answer - Calaf: 'Si! Rinasce!' (Calaf) - G. Puccini
- Turandot: Act II: Scene Two: The Second Riddle - Turandot: 'Guizza al pari di fiamma' (Turandot, Liu) - G. Puccini
- Turandot: Act II: Scene Two: The Second Answer - Calaf: 'Si, Principessa!' (Calaf) - G. Puccini
- Turandot: Act II: Scene Two: The Third Riddle - Turandot: 'Gelo che ti da foco' (Turandot) - G. Puccini
- Turandot: Act II: Scene Two: The Third Answer - Calaf: 'La mia vittoria' (Calaf) - G. Puccini
- Turandot: Act II: Scene Two: Turandot: 'Figlio del Cielo!' (Turandot) - G. Puccini
- Turandot: Act II: Scene Two: Calaf: 'No, no, Principessa altera' (Calaf) - G. Puccini
- Turandot: Act II: Scene Two: La folla: 'Ai tuoi piedi ci prostriam' (La folla) - G. Puccini
- Turandot: Act III: Scene One: Gli araldi: 'Cosi comanda Turandot' (Gli araldi) - G. Puccini
- Turandot: Act III: Scene One: Calaf: 'Nessun dorma!' (Calaf) - G. Puccini
- Turandot: Act III: Scene One: Ping, Pong, Pang: 'Tu che guardi le stelle' (Ping) - G. Puccini
- Turandot: Act III: Scene One: Ping: 'Straniero, tu non sai' (Ping) - G. Puccini
- Turandot: Act III: Scene One: Ping: 'Principessa divina!' (Ping) - G. Puccini
- Turandot: Act III: Scene One: Liu: 'Signor, non parlero!' (Liu) - G. Puccini
- Turandot: Act III: Scene One: Turandot: 'Chi pose tanta forza nel tuo cuore?' (Turandot) - G. Puccini
- Turandot: Act III: Scene One: Turandot: 'Strappatele il segreto!' (Turandot) - G. Puccini
- Turandot: Act III: Scene One: Liu: 'Tu che di gel sei cinta' (Liu) - G. Puccini
- Turandot: Act III: Scene One: Timur: 'Liu! Sorgi!' (Timur) - G. Puccini
- Turandot: Act III: Scene One: Timur: 'Liu, bonta! Liu, dolcezza!' (Timur) - G. Puccini
- Turandot: Act III: Scene One: Calaf: 'Principessa di morte!' (Calaf) - G. Puccini
- Turandot: Act III: Scene One: Turandot: 'Che e mai di me?' (Turandot) - G. Puccini
- Turandot: Act III: Scene One: Calaf: 'La tua gloria risplende nell'incanto' (Calaf) - G. Puccini
- Turandot: Act III: Scene One: Turandot: 'Piu grande vittoria non voler!' (Turandot) - G. Puccini
- Turandot: Act III: Scene One: Turandot: 'So il tuo nome!' (Turandot) - G. Puccini
- Turandot: Act III: Scene Two: La folla: 'Diecimila anni al nostro Imperatore!' (La folla) - G. Puccini
- Turandot: Act III: Scene Two: Turandot: 'Padre augusto' (Turandot) - G. Puccini
Amazon.com
Is it possible to have a great Turandot recording without a great Turandot? This recording almost convinces you that's the case. Whatever one makes of this fairy tale about a Chinese princess who beheads failed suitors, the score is among Puccini's most sophisticated and forward looking, and never has that been more apparent in Herbert von Karajan's interpretation. The opera unfolds in a magical blanket of orchestral sound (sumptuously rendered by Deutsche Grammophon's engineers), full of details even the most seasoned Turandot admirers might've missed. Plácido Domingo as Calef and Barbara Hendricks as Liu are ideal casting. But Karajan's tendency to cast light voices got the best of him: lyric soprano Katia Ricciarelli isn't commanding enough on any level to be considered adequate in the title role. --David Patrick StearnsCustomer Reviews:
A superb addition to the glorious Mehta recording.......2007-07-12
Similarly, the two greatest recordings of Turandot are often considered Zubin Mehta's 1974 masterwork with Dame Joan Sutherland, Luciano Pavarotti, Montserrat Caballé, Nicolai Ghiaurov, and Tom Krause and this 1982 coup de maître. Mehta's recording is one massive, exotic, Oriental explosion of sound and melody; the music of Puccini's swan song rushes over the listener like a tidal wave of ardor and violence. Karajan's approach is, as one might expect from him in the latter portion of his career, more calculated and stylistically refined; his interpretation draws out like a blade - slowly, but constantly ameliorating. Neither approach is necessarily "correct," for Mehta's is perfect in the sense that it is consistently overwhelming and rapturous, while Karajan's swells consistently in increased exquisiteness and grandeur.
As he matured, Karajan began to place greater emphasis on the orchestral quality of his operatic recordings, rather than the vocal presence; thus, as the orchestra was projected more directly in his later recordings, the soloists became less distinct, and the chorus was often inaudible. (His grandiose but flawed 1979 recording of Don Carlo is an example.) Thus, one striking difference in this recording is the spectacular quality and clarity of the choral passages. The Wiener Staatsopernchor is often treated like an old battle-axe, though it ranks with the Chorus of the Royal Opera House, Covent Garden, and the John Alldis Choir as one of the finest choruses on the planet. Chorus master Roberto Benaglio excels, driving the voices through "Gira la cote, gira, gira," which begins with a grinding, calculating pulse and descends into a frenzied, murderous mass. "Perchè tarda la luna?" is measurelessly surreal; the voices seem to echo from a vast distance, as though they were beckoning through a thin veil of strings and shadowy, mysterious moonlight and clouds. "O giovinetto! Grazia, grazia!" is also sublime as the populace's bloodthirstiness plummets into a guttural remorsefulness at the appearance of the adolescent, strikingly handsome Prince of Persia. (How can one not bask in the genius of the moment when the basses murmur "Principessa! Grazia, grazia," begging vainly for the pardon of the damned prince, while Karajan sparks growls from the brass, accentuating their unutterable fear?) "Non indugiare!" (the chorus of the shades) is frighteningly real and threatening with its mistiness and the terrified peeps from the flutes; "Così comanda Turandot," the opening chorus of the heralds in Act III, is also wonderfully atmospheric with the harbingers rumbling like arcane sentinels, posted atop some unknowable pylon in the ancient past. The Wiener Sängerknaben are also superb in their dainty Act I chorus ("Là sui monti dell'Est"); the voices of the young boys seem like the whimsical chatter of seraphim, while the pulse of sepulchral bells and gongs accentuate their dreamy tone.
Birgit Nilsson's Turandot was recognized for her virginal steeliness and unattainable, torturously mocking eroticism. Dame Joan Sutherland's personification was equally aloof and, with her delicate coloratura timbre, more vocally enticing. Katia Ricciarelli's performance is not as instantly inviting as either of the aforementioned two. The first thought that is likely to run through the listener's head is bewilderment as to why Karajan would cast such an inadequate singer in such a demanding and necessarily intimidating role. However, repeated listening will hopefully communicate differently. Ricciarelli's Turandot may eventually be recognized as a brittle, tormented little woman, whose ornamental beauty is disguised behind a cracked aegis of rancor; with this in mind, her vocal inadequacy actually adds to the role a level of dimension which Nilsson and Sutherland would not (nor, in all actuality, could not) have grasped.
In her performance of "In questa reggia," Ricciarelli's Turandot sounds as though she may have stepped out of a color print; she is friable and emotionally emaciated in spite of her nearly indescribable pulchritude. In the "Riddle Scene" ("Straniero, ascolta: `Nella cupa notte vola un fantasma iridescente'...`Guizza al pari di fiamma'...`Gelo che ti dà foco'"), Ricciarelli redeems herself to an extent; the slight whininess of her voice adds a superbly grating, unnerving aura to the grim, ghastly proceedings. One can almost imagine Calaf's imminent frustration and, when the third riddle goes briefly unsolved, horrible panic. Ricciarelli and Domingo also shine brilliantly in their final duet ("Principessa di morte!" ... "Che è mai di me?" ... "Del primo pianto"). Her weakness works to her supreme benefit; she is lame putty in the tenor's hands. It is in this moment that her performance can truly be understood and, unless one is so stringently enamored with Birgit Nilsson or Eva Marton, respected. One can rejoice in the instant that she has discovered the true nature of love; one sees, rather than the death of a man-hating empress, the birth of a glorious, passionate woman.
The dilemma over the worthiness of Ricciarelli's performance does not extend to Plácido Domingo's interpretation of Calaf. The bright-eyed, adventurous, picaresque Tartar prince has been crafted by every leading tenor from Jussi Björling to Franco Corelli (considered the greatest by many) to Luciano Pavarotti (also considered the greatest with equal fervency). Domingo's performance is no exception to vocal robustness, though his characteristic depth became, by 1982, both a sensuous blessing and a vexatious curse. For example, he truly bombs during his outcry of "No, no, Principessa altera"; the maturity in his voice appears like a grotesque abscess. (The editing is also quite poor, which leaves the listener with the impression that he required numerous attempts to fashion his presumably passionate ejaculation as best as he was able.) However, with the consummate tenor aria "Nessun dorma," Domingo is sensually introspective; he captures what Pavarotti and Corelli failed to project. As Calaf, the Spanish legend seems to whisper his serenade to himself, rather than beckoning to all of Peking.
Even if one decides to cast one's gaze to the sunny side of the street in reference to Ricciarelli's controversial performance in the title role, one must still wonder why Calaf would choose a hellcat princess over Barbara Hendrick's beguiling Liù. Caballé, Freni, Scotto, and Vishnevskaya have all yielded excellent interpretations of the noble slave girl, but Hendricks surpasses them all. Her compassionate plea in Act I ("Signore, ascolta!") is so delicately lovely that the listener is likely to overlook the powerful emotion and bravado of the performance. Hendricks also sings with breathtaking pathos and conviction in her Act III confession and suicide ("Tanto amore segreto, e inconfessato" ... "Tu che di gel sei cinta"). She is truly pitiable and heart-warming as the loyal, love-stricken slave girl who commits the ultimate sacrifice for her disrespected and unrequited affection.
Ruggero Raimondi's bass-baritone voice will never compare with the basso cannon of Nicolai Ghiaurov. Ghiaurov managed to transform the dull, decrepit Tartar king Timur into a Mongolian Mefistofele. Raimondi, however, makes a noble effort to portray the old deposed monarch realistically; he lyrically mutters and whispers his lines, creating an unutterably dolorous and morose character. One must have a frozen heart to endure without a bitter tear his oblivious pleading ("Liù! Liù! Sorgi! Sorgi!") and furious outburst ("Ah! Delitto orrendo!") as the old king who has lost his most tender-hearted and devoted servant. Piero de Palma could easily be considered the greatest Italian character tenor ever to perform on the operatic stage. Every seemingly minute role (from Gastone in La Traviata and Borsa Matteo in Rigoletto to Spoletta in Tosca and Goro in Madama Butterfly) has been gifted with de Palma's petite, witty tone. During his brief Act II monologue ("Un giuramento atroce mi costringe"), de Palma's frail, anemic Emperor Altoum beckons from afar like the voice of the Past or of Destiny itself. He is totally different in juxtaposition to Sir Peter Pears's pompous, aristocratic, autonomous monarch who leered down at Calaf from a cushioned pedestal.
Gottfried Hornik, Heinz Zednik, and Francisco Araiza provide lyrical (and slightly but wonderfully caricatured) comic relief as the three ministers Ping, Pang, and Pong. Hornik, a well-rounded character baritone, possesses a fairly light voice which blends nicely with Zednik's immediately recognizable, nasally sharp tone and Araiza's warm, Rossinian register. They fuse majestically in their Act II trio ("Ho una casa nell'Honan") as the listener is immersed in a gloriously serene, Oriental world of glittering ponds, immaculate mediation gardens, and bamboo. The part of the Mandarin may seem menial, but both Mehta's Sabin Markov and Karajan's Siegmund Nimsgern bring something singular to the role. Markov's rather severe Slavic voice adds a searing tension to the opening proclamation ("Popolo di Pekino!"); Nimsgern is diabolical with a terrible Neidlingerian intensity.
Even if one has loved at length the aforementioned Zubin Mehta recording, one should still give heed to this remarkable work. In some ways, it is indeed inferior; the exquisite beauty of Katia Ricciarelli's lyric voice cannot, in numerous instances, hide her irritating inadequacy. Nonetheless, one should not deny oneself the taste of this marvelous achievement, one of the last of Herbert von Karajan's gargantuan career.
A spellbinding performance, but you have to be patient with Ricciarelli.......2006-07-25
What this means is that all the thrills come when Ricciarelli is offstage and all the spills when she isn't. The Amazon reviewer is wrong to call hers a lyric soprano--she was dramatic enough for Aida and Tosca. It just hapens that Turandot is especially grueling, even for a good Italian dramatic soprano--the music lies so high and exposed that there's not a moment to rest or a style that fakes its way through.
Also, I wouldn't blame the casting on Karajan's penchant for light voices. In 1981 there was a fearful shortage of sopranos who could manage Tosca, Aida, and the two Leonoras. What to do without a Tebaldi, Price, Callas, Milanov, or Nilsson? Desperate opera houses and recording companies turned to "inappropriate" voices like Freni, Scotto and Ricciarelli. In many cases they turned in superb portrayals. However, even in a famine year Turandot was too big a stretch. Unfortunately, the situation has grown worse ever since.
A Toned-Down Turandot.......2006-01-10
THE STRAUSSIAN SOUND IN A PUCCINI'S OPERA.......2002-02-06
I prefer the voice of Domingo but the technic of Corelli, whose Calaf is unbeateable. Of course, "Nessun Dorma" is better with the voice of Pavarotti, but Domingo's and Corelli's interpretation of the full score are the best in the history of contemporary recording.
La Bella TURANDOT.......2001-07-04
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Debussy, Ravel: Complete Works for Piano Duet and Two Pianos
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Waltzes
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ASIN: B0007RA7AY Release Date: 2005-05-24 |
Tracks:
- I. En Bateau
- II. Cortege
- III. Menuet
- IV. Ballet
- Marche Ecossaise Sur Un Theme Populaire
- I. Pour Invoquer Pan
- II. Pour Un Tombeau Sans Nom
- III. Pour Que La Nuit Soit Propice
- IV. Pour La Danseuse Aux Crotales
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- VI. Pour Remercier La Pluie Au Matin
- Lindaraja
- I. Avec Emportement
- II. Lent - Sombre
- III. Scherzando
- Prelude A L'apres-Midi D'un Faune
- I. Nuages
- II. Fetes
- II. Entre-Cloches
Tracks:
- I. Pavane De La Belle Au Bois Dormant
- II. Petit Poucet
- III. Laideronnette, Imperatrice Des Pagodes
- IV. Les Entretiens De La Belle Et De La Bete
- V. Le Jardin Feerique
- Frontispice: For Two Pianos And One Hand
- Mouvement De Vaise Viennoise
- I. Prelude A La Nuit
- II. Malaguena
- III. Habanera
- IV. Feria
- I. L'Escarpolette
- II. La Toupie
- III. La Poupee
- IV. Les Chevaux De Bois
- V. Le Volant
- VI. Trompette Et Tambour
- VII. Les Bulles De Savon
- VIII. Les Quatre Coins
- IX. Colin-Maillard
- X. Saute-Mouton
- XI. Petit Mari, Petite Femme!
- XII. Le Bal
- L'Apprenti Sorcier
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Superlative Performances.......2007-03-07
![Bolivian Baroque Vol. 2 [Hybrid SACD]](http://ec1.images-amazon.com/images/I/21LWMFO0WdL.jpg)
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Bolivian Baroque Vol. 2 [Hybrid SACD]
Manufacturer: Channel Classics Nl ProductGroup: Music Binding: Audio CD Locatelli, Pietro Antonio
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ASIN: B000JBWWLA Release Date: 2006-11-14 |
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- Allegro Assai
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