| 1. Lo So Che Un Giorno |
| 2. Mi So No El Perche |
| 3. Quand Riva 'L Cald |
| 4. A Quel Omm |
| 5. Sent On Po', Gioan, Te Se Ricordet |
| 6. Te Se Ricordet, Gioan, De Me Fradel |
| 7. El Diluvi |
| 8. Che-Cosa Voglion Dire Gli Occhi Tristi |
| 9. Mangia El Carbon E Tira L'ultim Fiaa |
Editorial Reviews
Product Description
Import exclusive release from the Italian political folk act. Ala Bianca. 2004.
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!
This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.
Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.
Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.
Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.
Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.
Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.
Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.
In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.
I listen to the CD everyday and it is always soothing, uplifting and inspiring. I wish I could find another as wonderful.
Most were phantastish but this one is the best.
I listen so often to this CD that it should have grooves.
I never get tired of it.
I recommend this CD highly.
Roswitha
This compilation of Opera's finest moments is positively wonderful!!!!Unquestionably the best buy I have made in Opera Music..No kidding,I have trays full of CDs covering every facet of Opera,but none as beautiful...A full 2 1/2 hours of the best of the best....Heavenly Moments says it ALL...I vote 6 stars!!!!!
The Classical stuff is great but The pop stuff is some of the wrose pop stuff he has even done.
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
Anyway, so since the acting doesn't matter too much on a highlights version I won't get into that. The singing is very good, in fact I think it's probably the best version of Figaro out there. The only exception is in regards to Gundula Janowitz's performance of Dove Sono, which seems to be very ill-suited to her voice. The rest of her part is done beautifully. I also think it's sad that Marcellina's aria was left off, since that is always one of my favorite songs and I will never intentionally buy a recording where it has not been included, but due to how frequently it gets cut, I am not surprised.
Anyway, I recommend the highlights version if you are after something you can listen to in the car and don't want to bother with a full three disc set. For all other purposes I would advise you to track down the full-length recording, which is definitely worth it.
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.
I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.
On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.
All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.
No one brings the great composers to life the way Carlo Bergonzi does.
The balance of material between Gluck and Mozart works surprisingly well. Graham eschews the showy and flashy, yet sings with extraordinary power and passion. The accompaniment is excellent, never getting in the way. The recording is almost perfect.
In short, a pleasurable CD that will improve the quality of your life.
Import exclusive release from the Italian political folk act. Ala Bianca. 2004.
Io So Che Un Giorno,Ivan Della Mea,Ala Bianca,Italian,World Music
Average customer rating: 
|
The Very Best of Beverly Sills
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD  All Works by Donizetti
| Donizetti, Gaetano
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Lehár, Franz
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Massenet
| Massenet, Jules
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Verdi
| Verdi, Giuseppe
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Rossini
| Rossini, Gioacchino
| ( R )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Sills, Beverly
| ( S )
| Featured Performers, A-Z
| Classical
| Styles
| Music
London Philharmonic Orchestra
| ( L )
| Featured Performers, A-Z
| Classical
| Styles
| Music
New York Philharmonic Orchestra
| ( N )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Romances
| Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Donizetti, Gaetano
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Massenet, Jules
| M to P
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Rossini, Gioacchino
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Vocal Works by Verdi
| Verdi, Giuseppe
| U to Z
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Lehar, Franz
| H to L
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
French
| Languages
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
Similar Items:
ASIN: B0006VYELE Release Date: 2005-04-26 |
Tracks:
- Una Voce Poco Fa - Sherrill Milnes
- Dunque Io Son - Sherrill Milnes
- Contro Un Cor - Sherrill Milnes
- Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
- E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
- Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
- Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
- V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
- Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
- Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
- Via, Caro Sposino - Ambrosian Opera Chorus
- Tornami A Dir Che M'ami - Ambrosian Opera Chorus
- La Morale In Tutto Questo - Ambrosian Opera Chorus
Tracks:
- Vilia - Beverly Sills
- Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
- Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
- Libiamo Ne' Lieti Calici - John Alldis Choir
- Un Di Felice, Eterea - John Alldis Choir
- E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
- Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
- Che Fai? - John Alldis Choir
- Addio Del Passato - John Alldis Choir
- Parigi, O Cara - John Alldis Choir
Amazon.com
Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith EislerAlbum Description
Details TBA. EMI. 2005.Customer Reviews:
Beverly Sills - The Best.......2007-04-01
Beverly Sills' highs are breathtaking!.......2006-09-18
THE 2005 OPERA CD OF THE YEAR.......2006-08-19
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!
EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22
Glad To Be The First Review- Beverly Sills Treasury Of Arias.......2005-04-29
Average customer rating:
|
The Great Recordings
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Donizetti
| Donizetti, Gaetano
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Lehár, Franz
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Massenet
| Massenet, Jules
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Meyerbeer
| Meyerbeer, Giacomo
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Offenbach
| Offenbach, Jacques
| ( O )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Strauss
| Strauss, Richard
| ( S )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Verdi
| Verdi, Giuseppe
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Rossini
| Rossini, Gioacchino
| ( R )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Sills, Beverly
| ( S )
| Featured Performers, A-Z
| Classical
| Styles
| Music
London Philharmonic Orchestra
| ( L )
| Featured Performers, A-Z
| Classical
| Styles
| Music
New York Philharmonic Orchestra
| ( N )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Vienna Philharmonic Orchestra
| ( V )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Romances
| Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Modern & 20th Century
| Historical Periods
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Mozart, Wolfgang Amadeus
| M to P
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Rossini, Gioacchino
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
English
| Languages
| Opera & Vocal
| Styles
| Music
French
| Languages
| Opera & Vocal
| Styles
| Music
German
| Languages
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Deutsche Grammophon: Music
| Specialty Stores
| Music
Similar Items:
ASIN: B0001Y4JG6 Release Date: 2004-05-11 |
Tracks:
- Son Vergin Vezzosa - Paul Plishka
- Eccomi... Oh! Quante Volte
- Mira, O Norma
- Santo Di Patria... Allor Che I Forti Corrono... Da Te Questo
- Contro Un Cor Che Accende Amore - Nicolai Gedda
- Che M'apporti? - Ambrosian Opera Chorus
- Quel Sangue Versato Al Cielo S'innalza - Ambrosian Opera Chorus
- Vorrei Spiegarvi, Oh Dio, K.418
- Amor, Op.68 No.5
Tracks:
- Martern Aller Arten
- E Strano! E Strano!
- Ah, Fors'e Lui
- Follie! Follie!
- Sempre Libera
- Ces Murs Silencieux - Pardonnez-moi, Dieu De Toute Puissance - Ambrosian Opera Chorus
- Toi! Vous! - Oui! Je Fus Cruelle Et Coupable! - Ambrosian Opera Chorus
- N'est-ce Plus Ma Main? - Ambrosian Opera Chorus
- Robert, Toi Que J'aime
- Tu Ne Chanteras Plus?
- Chere Enfant Que J'appele
- Meine, Lippen, Die Kusen So Heiss
- Wien, Wien, Nur Du Allein
- Always Through The Changing
Customer Reviews:
RIP, BEVERLY SILLS 1929-2007.......2007-07-03
This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.
Brava Sills!.......2007-02-02
Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.
Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.
Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.
Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.
Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.
Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.
In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.
Sills fits my bill.......2006-03-13
The Great American Soprano.......2005-10-01
My Favorite Woman.......2005-08-05
Average customer rating:
|
Rapture: Opera's Most Heavenly Moments
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Academy of Ancient Music
| ( A )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Berlin Philharmonic Orchestra
| ( B )
| Featured Performers, A-Z
| Classical
| Styles
| Music
London Philharmonic Orchestra
| ( L )
| Featured Performers, A-Z
| Classical
| Styles
| Music
National Philharmonic Orchestra London
| ( N )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Vienna Philharmonic Orchestra
| ( V )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Deutsche Grammophon: Music
| Specialty Stores
| Music
Similar Items:
ASIN: B00006L3K2 Release Date: 2002-10-08 |
Tracks:
- Casta Diva - Renee Fleming
- Barcarolle - Edita Gruberova
- Ebben? Ne Andro Lontana - Maria Chiara
- Intermezzo - Herbert Von Karajan
- Letter Duet - Edith Mathis
- Che Faro Senza Euridice - Grace Bumbry
- Va Pensiero - Giuseppe Sinopoli
- Una Furtiva Lagrima - Gosta Winbergh
- Porgi Amor - Gundula Janowitz
- Humming Chorus - Ambrosian Opera Chorus
- Soave Sia Il Vento - Kiri Te Kanawa
- Overture (Excerpt) - Philharmonia Orchestra
- Un'aura Amorosa - Hans-Peter Blochwitz
- Un Bel Di - Mirella Freni
- Depuis Le Jour - Montserrat Caballe
- La Ci Darem La Mano - Dietrich Fischer-Dieskau
- Quando Le Sere Al Placido - Placido Domingo
- Mir Ist So Wunderbar - Lucia Popp
Tracks:
- Flower Duet - Joan Sutherland
- The Pearl Fishers Duet - Bryn Terfel
- Lascia Ch'io Pianga - Kiri Te Kanawa
- Prelude - Bayerisches Staatsorchestra
- O Silver Moon - Renee Fleming
- When I Am Laid In Earth - Tatiana Troyanos
- Miserere - Placido Domingo
- Vissi D'arte - Mirella Freni
- Intermezzo - Berlin Philharmonic Orchestra
- Softly Awakes My Heart - Grace Bumbry
- Ombra Mai Fu (Largo) - Bryn Terfel
- Pilgrim's Chorus - Chorus Of The Bayreuth Festival
- Ruhe Sanft - Kiri Te Kanawa
- Flower Duet - Teresa Berganza
- Entr'acte - Berlin Philharmonic Orchestra
- Mira O Norma - Marilyn Horne
- Hochsten Heiles Wunder - Chorus Of The German Opera Berlin
Customer Reviews:
Opera for Aficianados as well as Newbies.......2007-06-11
superb! .......2007-05-12
beatiful music.......2007-02-23
I listen to the CD everyday and it is always soothing, uplifting and inspiring. I wish I could find another as wonderful.
Best Opera CD ever.......2007-02-16
Most were phantastish but this one is the best.
I listen so often to this CD that it should have grooves.
I never get tired of it.
I recommend this CD highly.
Roswitha
Rapture.......2007-01-24
This compilation of Opera's finest moments is positively wonderful!!!!Unquestionably the best buy I have made in Opera Music..No kidding,I have trays full of CDs covering every facet of Opera,but none as beautiful...A full 2 1/2 hours of the best of the best....Heavenly Moments says it ALL...I vote 6 stars!!!!!
Average customer rating:
|
Encore
Russell Watson , and Leonard Bernstein Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Leoncavallo
| Leoncavallo, Ruggiero
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
General
| Soundtracks
| Styles
| Music
The Decca Records Store
| Specialty Stores
| Music
Similar Items:
ASIN: B00006JI9W Release Date: 2002-10-01 |
Tracks:
- Va, Pensiero (Verdi)
- Volare
- The Prayer
- 'O Sole Mio
- Ave Maria
- Mattinata (Leoncavallo)
- You Are So Beautiful
- Somewhere
- Che Gelida Manina (Puccini)
- E Lucevan Le Stelle (Puccini)
- Magic Of Love
- Catch The Tears
- Is Nothing Sacred?
- Bohemian Rhapsody
- Celeste Aida (Verdi)
- Where My Heart Will Take Me (from "Enterprise")
Amazon.com
Following up on the release of his debut CD, The Voice, Russell Watson is back with Encore, another mix of opera favorites and popular songs. By now Watson has become virtually a household name--he sells out large concert venues and remains on the top-seller charts. On Encore, we find Puccini and Verdi sharing the billing with Lulu and Lionel Ritchie on the CD's 16 tracks, which range from the much-loved Bach-Gounod "Ave Maria" to "Where My Heart Will Take Me," the theme for Enterprise (the latest Star Trek TV series). Indeed, a more fitting title might have been The Voices, since Watson explores opera, sacred works, film, television themes, and pop songs. The orchestral arrangements on tracks such as "Va, Pensiero" may not win him any fans from the opera contingency, but Watson reveals a captivating sound on pop ballads, including "You Are So Beautiful" and "Somewhere." If you enjoyed The Voice, you're certain to want an encore. --Rebecca AgnewCustomer Reviews:
awsome CD.......2007-06-09
Versatile Singer.......2007-03-30
il divo ancora music.......2006-11-10
Amazing..........2006-05-05
His wrost CD.......2005-01-12
The Classical stuff is great but The pop stuff is some of the wrose pop stuff he has even done.
![Mozart: The Marriage of Figaro / Pace, de Carolis, Frontali, Morandi [Highlights]](http://ec1.images-amazon.com/images/I/318BQ8QH5CL.jpg)
Average customer rating:
|
Mozart: The Marriage of Figaro / Pace, de Carolis, Frontali, Morandi [Highlights]
Wolfgang Amadeus Mozart , Hungarian State Opera Orchestra , Pier Giorgio Morandi , Patrizia Pace , Natale de Carolis , Donato di Stefano , Ingrid Kertesi , Roberto Frontali , Denes Gulyas , Tamas Bator , and Jozsef Mukk Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
| Cantatas
| Romances
German
| Languages
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
$6.99 and Under
| Classical Music Blowout
| Stores
| Music
All Classical Music Blowout
| Classical Music Blowout
| Stores
| Music
Mozart, Wolfgang Amadeus
| ( M )
| Composers, A-Z
| Classical Music Blowout
| Stores
| Music
Opera & Vocal
| Classical Music Blowout
| Stores
| Music
Similar Items:
ASIN: B00004NK2F Release Date: 2000-03-14 |
Tracks:
- Overture
- Cinque, Dieci...
- Bravo, Signor Padrone!
- Se Vuol Ballare, Signor Contino
- La Vendetta
- Non So Piu Cosa Son
- Non Piu Andrai
- Porgi Amor
- Voi, Che Sapete
- Venite, Inginocchiatevi
- Susanna, Or Via Sortite?
- Hai Gia Vinta Causa!
- Vedro, Mentr'io Sospiro
- Riconosci In Questo Amplesso
- E Susanna Non Vien!
- Dove Sono I Bei Momenti?
- Sull'aria...
- Tutto E Disposto
- Aprite Un Po' Quegl'occhi
- Giunse Al Fin Il Momento
- Deh Vieni Non Tardar
- Pace, Pace, Mio Dolce Tesoro!
- Final Scene: Gente! Gente!
Customer Reviews:
Best Cherubino..........2007-05-06
wonderful music.......2006-06-20
Close Your Eyes and Listen.......2006-05-28
Terrific value, beautiful quality........2004-04-16
Exceptional recording.......2003-09-29
Average customer rating:
|
Very Best of
Placido Domingo Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
General
| Classical
| Styles
| Music
London Philharmonic Orchestra
| ( L )
| Featured Performers, A-Z
| Classical
| Styles
| Music
National Philharmonic Orchestra London
| ( N )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Paris Symphony Orchestra
| ( P )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Similar Items:
ASIN: B000083GOJ Release Date: 2003-04-22 |
Tracks:
- Ill Mio Tesoro
- Un'aura Amorosa
- Dies Bildnis Ist Bezaubernd Schon
- La Ci Darem La Mano
- Vani Sono I Lamenti...Svegliatevi Nel Core
- Pays Merveilleux...O Paradis
- Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
- Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
- None But The Lonley Heart
- Lensky's Aria
- Donna, Non Vidi Mai (Manon Lescauy Act, II)
- Ah, Manon, Mi Tradisce
- Dammi I Colori...Recondita Armonia
- E Lucevan Le Stelle (Tosca, Act III)
- Ch'ella Mi Creda (La Fanciulla Del West, Act III)
- Dai Campi, Dai Prati (Mefistofele, Act I)
- Virgini Muse...Quando Al Soave Anelito
- O Sink Hernieder, Nacht Der Liebe
- Was Am Besten Er Kann...Hoho! Hohei!
Tracks:
- Se Quel Guerrier Io Fossi!...Celeste Aida
- Su, Profetessa...Di Tu Se Fedele
- Forse La Soglia Attinse...Ma Se M'e Forza Perderti
- O Tu Che In Seno Agli Angeli
- Su, Cacciator...Fontainebleau!...
- Niun Mi Tema
- Ach, Wie So Herrlich Zu Schau'n
- Sckenkt Man Sich Rosen In Tirol
- Gern Hab'ich Die Frau'n Gekusst
- O Vaterland...Da Geh'ich Zu Maxim
- Dein Ist Mein Ganzes Herz
- Mi Aldea
- Cancion Del Sembrador
- No Puede Ser
- Serenata
- Copillas De Belen
- Coplas Del Pastor Enamorado
- En Aranjues Con Tu Amor
- Jealousy Tango
- La Golondina
Amazon.com
Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith EislerCustomer Reviews:
A great introduction to the art of Placido Domingo.......2007-07-04
This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:
"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.
From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.
From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.
And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.
Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.
Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.
Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.
Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.
So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.
This is really the best........2007-05-16
If you like Placido at all, you must have this CD........2005-04-06
Rare And Great Domingo Classics.......2005-03-08
He is a great force in opera.
Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......
A real Bobby Dazzler.......2004-02-19
Average customer rating:
|
Mozart: Le Nozze di Figaro (Highlights)
Gundula Janowitz , Barbara Vogel , Klaus Hirte , Patricia Johnson , Martin Vantin , Erwin Wohlfahrt , and Chor und Orchester der Deutschen Oper Berlin Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
| Cantatas
| Romances
German
| Languages
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
Janowitz, Gundula
| Divas
| Opera & Vocal
| Styles
| Music
Troyanos, Tatiana
| Divas
| Opera & Vocal
| Styles
| Music
CDs $7 - $10
| Operas
| Opera & Vocal
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Operas
| Opera & Vocal
| Today's Deals in Music
| Formats
| Music
Deutsche Grammophon: Music
| Specialty Stores
| Music
Similar Items:
ASIN: B000001GDO Release Date: 1990-05-16 |
Tracks:
- Le nozze di Figaro - The Marriage of Figaro: Overture
- Le nozze di Figaro - The Marriage of Figaro: Act 1: Duettino: 'Se a caso Madama la notte ti chiama' - Figaro, Susanna
- Le nozze di Figaro - The Marriage of Figaro: Act 1: Cavatina: 'Se vuol ballare signor Contino' - Figaro
- Le nozze di Figaro - The Marriage of Figaro: Act 1: Aria: 'La vendetta, oh, la vendetta' - Bartolo
- Le nozze di Figaro - The Marriage of Figaro: Act 1: Aria: 'Non s piu cosa son, cosa faccio' - Cherubino
- Le nozze di Figaro - The Marriage of Figaro: Act 1: Aria: 'Non piu andrai farfallone amoroso' - Figaro
- Le nozze di Figaro - The Marriage of Figaro: Act 2: Cavatina: 'Porgi amor' - Contessa
- Le nozze di Figaro - The Marriage of Figaro: Act 2: Canazona: 'Voi che sapete' - Cherubino
- Le nozze di Figaro - The Marriage of Figaro: Act 2: Aria: 'Venite, inginocchiatevi' - Susanna
- Le nozze di Figaro - The Marriage of Figaro: Act 3: Act III: Aria: 'Vedro, mentr'io sospiro' - Conte
- Le nozze di Figaro - The Marriage of Figaro: Act 3: Recitativo: 'E Susanna non vien!' - Contessa
- Le nozze di Figaro - The Marriage of Figaro: Act 3: Aria: 'Dove sono i bei momenti' - Contessa
- Le nozze di Figaro - The Marriage of Figaro: Act 3: Duettino: 'Che soave zeffietto' - Susanna, Contessa
- Le nozze di Figaro - The Marriage of Figaro: Act 4: Aria: 'L'ho perduta' - Barbarina
- Le nozze di Figaro - The Marriage of Figaro: Act 4: Aria: 'Aprite un po' quegli occhi' - Figaro
- Le nozze di Figaro - The Marriage of Figaro: Act 4: Recitativo: 'Giunse alfin il momento' - Susanna
- Le nozze di Figaro - The Marriage of Figaro: Act 4: Aria 'Deh vieni, non tardar' - Susanna
- Le nozze di Figaro - The Marriage of Figaro: Finale: 'Gente, Gente, all'armi, all'armi' - Conte,Tutti
Customer Reviews:
I got it for the same reason...........2006-03-07
Where's the full-length version?.......2003-05-03
Anyway, so since the acting doesn't matter too much on a highlights version I won't get into that. The singing is very good, in fact I think it's probably the best version of Figaro out there. The only exception is in regards to Gundula Janowitz's performance of Dove Sono, which seems to be very ill-suited to her voice. The rest of her part is done beautifully. I also think it's sad that Marcellina's aria was left off, since that is always one of my favorite songs and I will never intentionally buy a recording where it has not been included, but due to how frequently it gets cut, I am not surprised.
Anyway, I recommend the highlights version if you are after something you can listen to in the car and don't want to bother with a full three disc set. For all other purposes I would advise you to track down the full-length recording, which is definitely worth it.
"Che belle voci!".......2002-06-26
Great opera.......2001-08-18
amazing.......2000-12-30
Average customer rating:
|
Just for the Record: The Golden Voice
Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Bernstein
| Bernstein, Leonard
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Copland
| Copland, Aaron
| ( C )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Donizetti
| Donizetti, Gaetano
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Foster, Stephen
| ( F )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Gluck
| Gluck, Christoph W.
| ( G )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Handel
| Handel, George Frideric
| ( H )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Meyerbeer
| Meyerbeer, Giacomo
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Ponchielli
| Ponchielli, Amilcare
| ( P )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Saint-Saëns, Camille
| ( S )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Schubert
| Schubert, Franz
| ( S )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Robert Schumann
| Schumann, Robert
| ( S )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Thomas
| Thomas, Ambroise
| ( T )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Verdi
| Verdi, Giuseppe
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Wagner
| Wagner, Richard
| ( W )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Rossini
| Rossini, Gioacchino
| ( R )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Horne, Marilyn
| ( H )
| Featured Performers, A-Z
| Classical
| Styles
| Music
London Philharmonic Orchestra
| ( L )
| Featured Performers, A-Z
| Classical
| Styles
| Music
National Philharmonic Orchestra London
| ( N )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Vienna Philharmonic Orchestra
| ( V )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Theatrical, Incidental & Program Music
| Forms & Genres
| Classical
| Styles
| Music
Romances
| Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Baroque (c.1600-1750)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Modern & 20th Century
| Historical Periods
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Bellini, Vincenzo
| A to B
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Bernstein, Leonard
| A to B
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Donizetti, Gaetano
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Gluck, Christoph W.
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Copland, Aaron
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Foster, Stephen
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Handel, George Frideric
| H to L
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Meyerbeer, Giacomo
| M to P
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Ponchielli, Amilcare
| M to P
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Rossini, Gioacchino
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Saint-Saens, Camille
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Schubert, Franz
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Schumann, Robert
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Thomas, Ambroise
| Q to T
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Vocal Works by Verdi
| Verdi, Giuseppe
| U to Z
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
French
| Languages
| Opera & Vocal
| Styles
| Music
German
| Languages
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Oratorios
| Opera & Vocal
| Styles
| Music
Folk Songs
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Musical Theater
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Oratorios
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
General
| Folk
| Styles
| Music
The Decca Records Store
| Specialty Stores
| Music
Similar Items:
ASIN: B0000TAYR0 Release Date: 2003-11-11 |
Tracks:
- L'amour Est Un Oiseau Rebelle (Habanera)
- Mon Coeur S'ouvre A Ta Voix
- Eccomi Al Fine In Babilonia
- Cruda Sorte!
- Hence, Iris, Hence Away
- Dove Sei, Amato Bene?
- Che Disse! Che Ascoltai!
- Addio, Addio O Miei Sospiri
- O Pretres De Baal... O Toi, Qui M'abandonne
- Elle Est La! Pres De Lui!
- Mura Felici
- Tanti Affetti
Tracks:
- Superbo Di Me Stesso
- Il Segreto Per Esser Felici - London Symphony Chorus
- Mi Chiami, O Norma!
- Deh! Con Te, Con Te Li Prendi
- Mira, O Norma
- Si, Fino All'ore Estreme
- Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
- Non Son Tuo Figlio? - Luciano Pavarotti
- Mal Reggendo - Luciano Pavarotti
- E Un Anatema! - Renata Tebaldi
- Nacht Und Traume, D 827
- Abendlied
- Traume
- Jesus De Nazareth
- Shenandoah
- I Bought Me A Cat
- The Lord's Prayer
- Somewhere
- At The River (Lowry)
- Jeannie With The Light Brown Hair
Customer Reviews:
Marilyn Horne scintillates.......2007-05-20
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
One Of The Greatest Voices of All!.......2006-01-29
Not 100% satisfied with the selections, but what artistry!.......2004-11-03
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
Vive Madame Horne !.......2004-01-09
Average customer rating:
|
Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
Giuseppe Verdi , Giacomo Puccini , Ruggiero Leoncavallo , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Herbert von Karajan , Georg Solti , Rafael Kubelik , Nello Santi , Gianandrea Gavazzeni , Lamberto Gardelli , Sir John Pritchard , Carlo Bergonzi , Renata Tebaldi , Ettore Bastianini , Fiorenza Cossotto , Enzo Sordello , Dietrich Fischer-Dieskau , Tugomir Franc , Renata Scotto , Libero Arbace , Fernando Corena , Birgit Nilsson , Giulietta Simionato , Sylvia Stahlman , Joan Sutherland , Dora Carral , and Piero de Palma Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Leoncavallo
| Leoncavallo, Ruggiero
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Mascagni
| Mascagni, Pietro
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Ponchielli
| Ponchielli, Amilcare
| ( P )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Puccini
| Puccini, Giacomo
| ( P )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Verdi
| Verdi, Giuseppe
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Bergonzi, Carlo
| ( B )
| Featured Performers, A-Z
| Classical
| Styles
| Music
Vienna Philharmonic Orchestra
| ( V )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
General
| Pop
| Styles
| Music
General
| R&B
| Styles
| Music
The Decca Records Store
| Specialty Stores
| Music
Similar Items:
ASIN: B00004C8TH Release Date: 2001-06-12 |
Tracks:
- La Boheme: Che Gelida Manina - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
- La Boheme: O Soave Fanciulla - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
- La Boheme: Mimi E Tanto Malata - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
- La Boheme: Dunque E Proprio Finita! - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
- La Boheme: In Un Coupe?... O Mimi, Tu Piu Non Torni - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
- Madama Butterfly: Dovunque Al Mondo - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
- Madama Butterfly: Vogliatemi Bene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
- Madama Butterfly: Io So Che Alle Sue Pene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
- Madama Butterfly: Addio, Fiorito Asil - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
- Cavalleria Rusticana: Ah! Io Vedi, Che Hai Tu Detto? - Carlo Bergonzi/Fiorenza Cossotto
- Pagliacci: Recitar!... Vesti La Giubba - Carlo Bergonzi
- Don Carlo: Dio, Che Nell'alma Infondere - Carlo Bergonzi/Dietrich Fischer-Dieskau/Tugomir Franc/Chor Of The ROHCG
- Rigoletto: Questa O Quella - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
- Rigoletto: Ella Mi Fu Rapita! - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
- Rigoletto: Parmi Veder Le Lagrime - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
- Rigoletto: Possente Amor Mi Chiama - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
- Rigoletto: La Donna E Mobile - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
- Rigoletto: Bella Figlia Dell'amore - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
- Otello: Dio! Mi Potevi Scagliar - Carlo Bergonzi
Tracks:
- Un Ballo In Maschera: La Rivedra Nell'estasi - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
- Un Ballo In Maschera: Di' Tu Se Fedele - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
- Un Ballo In Maschera: E' Scherzo Od E Follia - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
- Un Ballo In Maschera: Teco Io Sto - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
- Un Ballo In Maschera: Forse La Soglia Attinse - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
- Un Ballo In Maschera: Ma Se M'e Forza Perderti - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
- Tosca: E Lucevan Le Stelle - Carlo Bergonzi
- Manon Lescaut: Donna Non Vidi Mai - Carlo Bergonzi
- Aida: Se Quel Guerrier Io Fossie!... Celeste Aida - Carlo Bergonzi/Renata Tebaldi
- Aida: Pur Ti Riveggo, Mia Dolce Aida - Carlo Bergonzi/Renata Tebaldi
- La Gioconda: Cielo E Mar! - Carlo Bergonzi
- La Traviata: Un Di Felice, Eterea - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
- La Traviata: Lunge Da Lei - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
- La Traviata: De' Miei Bollenti Spiriti - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
- La Traviata: O Mio Rimorso! - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
- La Traviata: Parigi, O Cara - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
- Il Trovatore: Deserto Sulla Terra - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
- Il Trovatore: Ah! Si, Ben Mio - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
- Il Trovatore: Di Quella Pira - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
- Adriana Lecouvreur: La Dolcissima Effigie - Carlo Bergonzi
- Adriana Lecouvreur: L'anima Ho Stanca - Carlo Bergonzi
Customer Reviews:
Complete Solti/Bergonzi Ballo Released.......2007-04-24
Another dazzled listener.......2006-12-12
Sublime indeed.......2006-05-31
If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.
I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.
On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.
All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.
The sublime vocal artist.......2003-08-15
Blown away!.......2003-01-20
No one brings the great composers to life the way Carlo Bergonzi does.
Buy this album!
Average customer rating: 
|
Susan Graham - Mozart & Gluck Arias ~ Il tenero momento
Wolfgang Amadeus Mozart , Christoph Willibald Gluck , Susan Graham , Harry Bicket , and Orchestra of the Age of Enlightenment Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Gluck
| Gluck, Christoph W.
| ( G )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Arias
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
| Cantatas
| Romances
German
| Languages
| Opera & Vocal
| Styles
| Music
Similar Items:
ASIN: B000056BEZ Release Date: 2001-02-06 |
Tracks:
- Paride Ed Elena: Oh, Del Mio Dolce Ardor
- Le Nozze Di Figaro: Non So Piu Cosa Son, Cosa Faccio
- La Clemenza Di Tito: Parto, Ma Tu, Ben Mio
- Iphigenie En Tauride: Non, Je N'espere Plus... O Toi Qui Prolongeas Mes Jours
- Iphigenie En Tauride: O Malheureuse Iphigenie!
- Iphigenie En Tauride: Non, Ect Affreux Devoir... Je T'implore Et Je Tremble
- Le Nozze Di Figaro: Voi Che Sapete
- La Clemenza Di Tito: Deh, Per Questo Istante Solo
- Orphee Et Eurydice: Qu'entends-je? Qu'a-t-il Dit?... Amour, Viens Rendre A Mon Ame
- Idomeneo: Non Ho Colpa
- Orphee Et Eurydice: J'ai Perdu Mon Eurydice
- Lucio Silla: Dunque Sperar Poss'io... Il Tenero Momento
Amazon.com
The "tender moment" of this collection's title comes from a stunning scene in an opera Mozart wrote as a teenager, Lucio Silla. It refers to the heightening of sensitivity and expectation that love, above all else, instills. But the Mozart example (with which the album ends) might also be taken as a metonym for the way in which the most powerful emotions, including love in all its guises, from ardor to lament, can intensify the moment. It's a process that opera itself tries to replicate through the wonderful alchemy of music, text, and character. In her second recording for Erato (following the extraordinary Ned Rorem anthology), American mezzo-soprano Susan Graham focuses on the "tender moment" as depicted by Mozart and Gluck. These two masters of opera aren't often paired, though each in his highly distinct, individual way insisted on elevating the genre beyond the level of frivolous entertainment and display that the century they shared found so tempting. Graham's program of six scenes from each suggests some striking moments of common ground in terms of the larger classical aesthetic, though the success of the whole enterprise is mixed. Certainly, Graham makes a case for the radiant beauty of Mozart's opera seria writing (her own operatic debut was in Lucio Silla), which still tends to be undervalued--as though it were simply a case of the composer being enchained by excessive genre "conventions." There's a magical balance between form and content, substance and decoration in "Parto" from La Clemenza di Tito (notable enough for Antony Pay's melting basset clarinet obbligato), and in the lengthiest selection (the last one, from Lucio Silla), though Graham here exposes the instability of her lowest register.But to whatever extent Mozart and Gluck might intersect in sensibility, the latter conjures a remarkably different universe when he depicts love's loss and abandon. Somehow the scenes from Iphigénie and, especially, Orphée et Eurydice (in its French version here) don't register as stylistically different enough and they lack that strange, altogether Gluckian combination of objective purity with emotional extremity. And as Mozart's adolescent Cherubino, the kind of intensity that Graham conveys so convincingly on stage comes across a tad too contrived. On disc alone, not all of the selections can capture the spell Graham typically casts in live performance through her combination of singing, "emotional intelligence," and stage presence. Still, it's an intelligent program, and Graham has proved to be a winning exponent of period performance style (as in 2000's superb Alicina). The match here with the Orchestra of the Age of Enlightenment is a happy one. --Thomas May
Customer Reviews:
Wonderful Voice, Great Selection.......2007-01-10
The balance of material between Gluck and Mozart works surprisingly well. Graham eschews the showy and flashy, yet sings with extraordinary power and passion. The accompaniment is excellent, never getting in the way. The recording is almost perfect.
In short, a pleasurable CD that will improve the quality of your life.
Extremely competent but not a permanent addition.......2004-12-16
An album that is very dear to my heart.......2002-07-22
The Orchestra of the Age of Enlightenment is fabulous, expressive and colourful - you'd never want to hear this music on modern instruments again after hearing them! Susan Graham's voice is expressive and has much pathos - without ever becoming melodramatic.
The repertoire is well selected and there is a very tasteful blend of known and less well known arias. I hope that Ms Graham makes another CD with the OAE again soon! I could stand another disc like this one!
This disc is also the perfect disc to buy with the Cecilia Bartoli Gluck disc. Ms Bartoli tackles Gluck's earlier opera seria arias - while Ms Graham mainly delves into the later reform opera arias - as well as some Mozart. I cherish both discs.
Please consider this CD for your collection.
Bland & Sleepy.......2002-01-02
For a study in opposites, try Ewa Podles in the same repertoire and buckle yourself in for the ride.
Another American Singer That Shines.......2001-12-23
International Music:
- Kanou
- Karlmarxstrasse [Import]
- Ki.Se.Ki V.1 Internal [Limited Edition] [Import]
- Ki.Se.Ki V.2 External [Limited Edition] [Import]
- Kimini Juicewo Katteageru Heart Mark [CD-single] [Import]
- L'elefante E La Farfalla [Import]
- Latinamente [Import]
- Le Cinema de Serge Gainsbourg: Musique de Films, 1959-1990 [Box set] [Import]
- Ma Chanson D'Enfance [Import]
- Made in Italy [Import]