M Elle le Gladiator [Import]

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WHAT CAN I SAY?

Rest in Peace Dear Bubbles (1929-July 2, 2007)

two beautiful discs!

Good example of the "Art of Beverly Sills"

Claws

Art of Beverly
Beverly Sills
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Very Best of Beverly Sills

The Great Recordings

Beverly Sills: Made in America

Beverly Sills

Massenet: Manon

ASIN: B000075A7K
Release Date: 2002-11-12

Tracks:

Mignon: Oui, Pour Ce Soir Je Suis Reine Des Fees...Je Suis Titania La Blonde
Manon: Allons! Il Le Faut-Adieu, Notre Petite Table
Manon: Je Marche Sur Tous Les Chemins-Obeissons Quand Leur Voix Appelle
Louise: Depuis Le Jour
Linda Di Chamounix: Ah! Tardai Troppo...O Luce Di Quest'Anima
Lucia Di Lammermoor: Regnava Nel Silenzio...Quando Rapito In Estasi
I Puritani: Fini...Me Lassa!
I Puritani: Vieni, Vieni Fra Queste Braccia
Roberto Devereux: L'amor Suo Mi Fe' Beata
Maria Stuarda: O Nube
Anna Bolena: Cielo A' Miei Lunghi Spasimi-Coppia Iniqua

Tracks:

Les Contes D'Hoffman: Les Oiseau Dans La Charmille
Les Contes D'Hoffman: Elle A Fui, La Tourterelle
Zaide: Ruhe Sanft, Mein Holdes Leben
Der Opernball: Im Chambre Separee
Die Lustige Witwe: Es Lebt' Eine Vilja
The Ballad Of Baby Doe: Gold Is A Fine Thing
Die Tote Stadt: Cluck, Das Mir Verblieb
Daphen: Was Blendet So...Ich Komme...Ich Komme
Sechs Lieder Op.19 No.2: Breit' uber Mein haupt Dein Schwarzes Haar

Customer Reviews:

WHAT CAN I SAY?.......2007-07-05

FOR THOSE WHO WANT A SAMPLER, IT IS THE BEST. YET, IT LEAVES YOU PINING FOR THE ITEMS SILLS NEVER RECORDED IN THEIR ENTIRETY. MORE STRAUSS, MORE OF EVERYTHING. A DEFINITIVE VOICE. HER LUCIA IS UNSURPASSED.

Rest in Peace Dear Bubbles (1929-July 2, 2007).......2007-07-03

I have always loved the flowing, plaintive music of bel canto, and no other singer perhaps captured the synthesis of fioritura and expression so perfectly as Beverly Sills. Callas may have been a supreme dramatist, but Beverly Sills had a better command of the fioritura that skyrocketed her career during the 60s and 70s. It is indeed sad that America has lost one of its national treasures yesterday when Beverly Sills passed away in Manhattan. She truly was one of the greatest. Just listen to her singing any one of Donizetti's three queens and you will know what I mean. She is exemplary not only in Donizetti though. Her Manon is still the best, her Violetta in par with Callas, her Louise the most idiomatic ever recorded, her Fille du Regiment a joy, Linda di Chamounix ecstatic, and Gilda a lesson in the art of light Verdi. She was a supreme painter of characters. Has there ever been a more brilliant Zerbinetta? And how many singers have been able to truly convey the youth of Elvira in Puritani? In Rossini, she was also unparalleled in L'Assedio di Corinto, the role that she made her La Scala debut in. Beverly Sills was one of a great many singers who belonged to a great golden age of singing, and I am thankful that I was born into the right time to hear her glorious work. This CD is a wonderful compilation of the brand of singing that she brought into the lives of many an opera fan for years and years to come.

I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.

two beautiful discs!.......2007-02-18

Beverly Sills not only survived being a child prodigy - a rare enough thing among singing musicians - she triumphed in a big way. Her fertile and beautiful art is wonderfully represented on this double disc set from Deutsche Grammophon. I sense today a resurgence of appreciation for her art, and to call it well deserved is saying the least. The singing's jam packed with pure musicianship, attention to nuance, fidelity to composer and character - in a word, everything requisite to making the operatic art thrive, qualities in short enough supply today among many opera stars, and it makes this package even more attractive. Sills not only understood bel canto art, she accomplished it memorably. Highlights include 'Ah! Tardai troppo...' (Linda di Chamounix), &an unearthly 'Regnava nel silenzio...' (Lucia), which I might prefer to Sutherland's for its committment and munificence. The gone too soon Thomas Schippers conducts a great performance - how that man could possess whatever orchestra and score he worked with. Two arias from I Puritani - especially 'Vieni, vieni fra queste braccia' with the singing of the genius Nicolai Gedda as Arturo, and an opening to Anna Bolena's aria 'Cielo, a' miei lunghi spasimi' that wipes clean every memory of other versions. All that on disc 1! I had forgotten Sills' beautiful pianissimos, singing so musicianly and free of ego - her interpretation is always only her adherence to score and composer, and greater praise cant be given a classical singer. Disc 2 offers a definitive version of Korngold's 'Gluck, das mir verblieb' (Die Tote Stadt) among a number of fine versions out there. The slowest version available and I feel I'm hearing it for the first time, and with a true Viennese (Rudel) conducting! You can put this track alone on repeat and live out the day in freedom! If you dont know Sills' art, or dont remember it well and truly, this set is a fine place to begin what will become transfixion with a musical art that proves itself urgent and inextinguishable! Highest recommendation.

Good example of the "Art of Beverly Sills".......2007-01-27

Beverly Sills is one of the most well reputed coloratura sopranos of the past fifty years. This CD illustrates why she has attained such renown. First, it shows the range of her singing. While much of her work focused on Donizetti, Bellini, and Rossini, she sang about fifty roles in her career, before retiring in her late 40s. This 2 CD set provides a sense of the range of her work.

The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.

Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.

The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.

The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.

One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.

All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.

Claws.......2003-11-16

I already wrote a great review of this collection. It is supreme artistry, and I find her high notes rather large and not shrill. My only question is about the cover photo. Those fingers look like something out of Edward Scissorhands or Nightmare on Elm Street! Does anyone else agree with me? Almost seems like someone must have done some false touch-ups to make them look like claws!

Average customer rating:

Marilyn Horne scintillates
One Of The Greatest Voices of All!
Not 100% satisfied with the selections, but what artistry!
Vive Madame Horne !

Just for the Record: The Golden Voice

Manufacturer: Decca
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Binding: Audio CD

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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

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

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

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

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

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

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Perfect for "drop the needle" style tests
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Release Date: 1997-10-14

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L'Elisir d'Amore: 'Una furtiva lagrima' - Tito Schipa
Lucia di Lammermoor: 'Chi mi frena in tal momento...' - Carlo Bergonzi
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Andrea Chenier: 'Come un bel di di maggio' - Ben Heppner
Romeo et Juliette: Juliette's Waltz; 'Je veux vivre' - Ruth Ann Swenson
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Hansel & Gretel: 'Suuse, liebe Susse - Helen Donath
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Cherubin: 'Lorsque vous n'aurez rien' - Dawn Upshaw
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Cosi fan tutte: 'Come scoglio immoto resta' - Leontyne Price
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Madama Butterfly: 'Un bel di' - Leontyne Price
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Dido & Aeneas: 'When I Am Laid In Earth' - Leontyne Price
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Rigoletto: 'Bella figlia dell'amore' - Alfredo Kraus
La Traviata: Brindisi - Montserrat Caballe
La Traviata: 'Di provenza' - Sherrill Milnes
La Traviata: 'Sempre libera' - Eleanor Steber
La Traviata: 'Addio del passato' - Anna Moffo
Il Trovatore: Anvil Chorus - Moscow Classical Chorus & Ensemble
Il Trovatore: 'Di quella pira' - Placido Domingo
Il Trovatore: 'Tacea la notte placido - Leontyne Price
Die Meistersinger von Nurnberg: 'Morgenlicht leuchtend' - Set Svanholm
Die Walkure: Ride Of The Valkyries - Staatskapelle Dresden
Die Walkure: Wotan's Farewell - Lawrence Tibbett
Siegfried: Song Of The Forest Bird - Norma Sharp
Gotterdammerung: 'Starke Scheite schichtet mir dort' - Kirsten Flagstad
Lohengrin: Bridal Chorus - Robert Shaw Chorale
Lohengrin: 'In fernem Land' - Lauritz Melchior
Tannhauser: 'Dich teure Halle' - Waltraud Meler

Customer Reviews:

Not worth buying!.......2007-05-29

I found this recording basically worthless. It contains only very short excerpts of the song. Not enough to get into and enjoy!

Don't waste your money.......2007-01-18

This is the worst purchase I have ever made. It is a truly dreadful piece of work.I was so disgusted with it that I threw it into the trash can.

Perfect for "drop the needle" style tests.......2006-11-19

If you want to hear full recordings of arias, then this disc is not for you. It plays only tidbits of 99 arias. Contrary to the title, this is definitely not the only opera disc you'll ever need. You shouldn't take it seriously. This disc has next to no value for an opera neophyte. But for opera fanatics, there has never been a better test of your knowledge of operatic repertoire and singers. It's a great challenge for opera buffs. Sit down with your opera loving friends for an hour, play this disc, and try to be the first to identify the singer, composer, opera, and piece. If you're a music professor, this disc would make for an awesome pop quiz. Find out how well your students really know their opera repertoire.

A CD with Attention Deficit Disorder.......2006-10-02

I don't know anyone who would enjoy this CD. It will drive opera fans nuts with a hundred exerpts that run about 30 seconds each, then fade out without the singers even finishing a single verse. It's more like an index of arias, or a volume of teasers that hucksters might use to sell opera CDs.

I never realized how much Bernstein's "Glitter and be gay" sounded like Delibes' "Bell Song" until I heard 35 seconds of one, followed 23 seconds of the other.

Maybe the TV show 'Jeopardy' could use this CD. 'What is "Hush little baby don't you..."??'

What a waste of beautiful voices and great music. 38 seconds of Enrico Caruso, followed by 31 seconds of Jussi Bjoerling, followed by 38 seconds of Dawn Upshaw.

My copy is going to go sailing into the wastebasket as soon as I finish this review.

This sucks..........2006-03-31

I should only blame myself for not checking out more reviews... this is a CD filled with short, little snippets of great operas songs... and I mean SHORT, LITTLE snippets of 30 seconds or so, each. Don't buy this CD... it is a complete rip off... and that is saying ALOT since it is only $4.00... Again, my fault for not reading the reviews but I trusted that something called a "Music CD" would actually have complete songs... What else does this company offer? A "Music CD" that only has the intros or applause tracks to great songs...?

Move on to something else... Amazon has a great selection... just not this one.

Rolando Villazon - Gounod · Massenet Arias

Average customer rating:

the way teens are to Britney or Madonna....
Villazon finds his niche...go French
Bad diction, engineering gimmicks besot otherwise noble effort
Bean sings?
A fine romantic interpreter

Rolando Villazon - Gounod · Massenet Arias
Rolando Villazon , Natalie Dessay , and Evelino Pido
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian Opera Arias
Rolando Villazon: Opera Recital
Opera Recital [Includes Bonus DVD]
Verdi: La Traviata
Russian Album

ASIN: B0006IQM5I
Release Date: 2005-01-25

Tracks:

Ah! Tout Est Bien Fini... O Souverain
Enfin, Manon... En Fermant Les Yeux
Oui, Ce Qu'elle M'ordonne... Lorsque L'enfant Revient
L'amour! L'amour!... Ah! Leve-toi, Soleil
Source Dcieuse
Faiblesse De La Race Humaine!... Inspirez-moi, Race Divine
Voix Qui Me Remplissez D'une Ineffable Ivresse
Je Suis L'oiseau
Traduire... Pourquoi Me Riller
Anges Du Paradis
Salut, Tombeau
Salut, Demeure Chaste Et Pure
Je Suis Seul!... Ah! Fuyez, Douce Image
Je Vais La Voir!
Ah! Parais!

Amazon.com

Rolando Villazon's follow-up CD to his sensational debut recital of Italian arias is devoted to music by Gounod and Massenet: some as familiar as Faust's, Romeo's and Des Grieux's arias, some as rare as pieces from Gounod's Polyeucte and La Reine de Saba and Massenet's Roma and Le Mage. But almost more important than the interesting repertoire, familiar or otherwise, is Villazon's handling of the music. In Werther's passionate Act II outburst to God about suicide, which is almost never excerpted, Villazon manages, in four minutes, to create a complete character, with all his neuroses, mania, and desperation--and he caps it with a ringing high B natural which is as beautiful as it is heartfelt. He sings both of Des Grieux's arias with feeling and tenderness (aided in "Le reve" by Natalie Dessay!). An aria from La Reine de Saba turns out to bequite a showpiece, with a drop-dead high C at its close. As singing and as interpreting, this CD is a must-have. Villazon's dark-hued, expressive tone is always used in the service of the music, and following his career will be a joy for all lovers of great tenorizing. --Robert Levine

Customer Reviews:

the way teens are to Britney or Madonna...........2007-01-04

Villazon brings out the teenybopper in me. I could wear the grooves out!~just as I did with my early heros at 12 and 13 years of age. Seriously, his sound, phrasing and timbre are transcendent and ethereal. May the music never end.

Villazon finds his niche...go French.......2006-02-25

Rather than beefing up his voice for the big (money-paying) Italian roles that are one size too large for him, Rolando Villazon naturally excels in these roles from Gounod and Massenet. The narrow French vowels add a needed edge and vibrancy to his voice, the placement of the music in the head tones brings out Villazon's best timbre, and he seems temperamentally suited to refined heros. In fact, it's remarkable to hear the transformaiton here when comparing him in the recent DG La Traviata, where his Alfredo was convincing but hard work. French opera is rhtorical and poetic rather than visceral and passionate. I think Villazon fits that mold, as nearly eery aria here domonstrates.

Bad diction, engineering gimmicks besot otherwise noble effort.......2006-02-02

A tenor very quickly on the rise, this is Villazon's second recital disc, one devoted to arias by Gounod and Massenet, all in sets of three, three for Massenet, and two for Gounod. While still showing great promise, some concerns that were mildly serious with the first disc are even more so, in the French repertoire, in part because diction comes up so short here.

"O souverain" from Le Cid continues to show Villazon's command of line and squeezed but adequately forceful upper register, so that the volume boosts from the control room are really unnecessary. Diction here is already an issue, as many `u' vowels get dipthonged, especially when Villazon's sound is placed back for added weight and volume. `La reve' from Massenet's Manon is comfortably floated, with support from Natalie Dessay as Manon enhancing the intimacy of feeling to this number. Would Villazon been able to sing the short aria by Alain (who appears to the heroine at first to perhaps be little more than an apparition - shades of Frau ohne schatten perhaps? - in almost a chamber opera), from Massenet's Griselidis (track 8), at least as softly and lightly, as both the music and dramatic situation require, this could have also been very successful. He instead turns the ABA shape of this mere chanson inside out and makes a wreck of it.

The less often excerpted "Lorsque enfant" from Werther closes out the first Massenet set, as does "Pourquoi me reveiller" the second. Villazon's identification with the distraught main character of this opera is abundantly clear in both. He capitalizes well on the quixotic emotions and dreamy tendencies of the distraught main character especially well in the first selection, and he is also less intruded upon by the producers or sound engineers there as well.

It is quite curious how the control room follows the tenor up a crescendo on a line that closes out the first section of the excerpt here from Massenet's Roi de Lahore, featuring a hero (from Hindu myth) that bound to certain stipulations, has literally returned from the dead. Not quite as ostentatious as Massenet's near remake of Lohengrin, Esclarmonde (but with female protagonist instead), it is one of Massenet's most colorful scores. It has only been recorded complete once commercially, with Joan Sutherland, Luis Lima, and appearing only ten minutes apart, James Morris, and for the part of General unfortunately eliminated from this scene here, John Tomlinson, along with one other cut to Villazon's part. It would've been more valuable to have all this complete instead of one or two other arias. He captures the incipiently worried tone of Alim well, but his coloring up the vowel sounds makes it seem that he has come from a place as remote from French culture as where the opera takes place.

Most successful of the Gounod selections are two of the three rarities. The first is Source delicieuse from Polyeucte, based on the Corneille play. It opens very well with a minute of orchestral cortege. It perhaps has only been recorded once before and well, by Roberto Alagna ten years ago; Villazon conveys the heroism of the piece somewhat well, if not as securely as Alagna. Anges du paradis from Mireille (which Mirella Freni championed and recorded complete for EMI), is third, perhaps a study for Ah leve toi, soleil (Romeo), several years down the road. The second Gounod rarity on this disc is "Inspirez-moi, race divine," said to be a Caruso favorite, from Reine de Saba. Its text indicates King Solomon's prize hired builder, Adoniram, to be a very confident, if mildly haughty chap. Villazon's interpretation seems to portray a hero that constantly has to look behind his back, with all the incipiently yet controllably vibrato ridden throb and backphrasing Villazon engages in here. The high C at the end, however, is convincing. Such device as in the above, also accents and colors most phrasing in the tomb scene from Romeo et Juliette.

"Ah! leve toi soleil" opens the first Gounod set, and is sung with the right ardor, conventionally marked by tiny captured scoops, coming off phrases. Villazon's entrance and two later lines catch for having placed so far back in the throat, and intonation gets momentarily derailed. "Salut, demeure" from Gounod's Faust quickly becomes expressively leaden and monochrome.

Recitative and the beginning of the aria, "Ah! fuyez" from Manon begin well nuanced enough, and for the aria, truly softly as a change from so much else on this disc, but all-purpose bench pressing and volume boosts intrude before long. That leaves two truly atmospheric selections from two Massenet rarities, to close this recital - first, an aria from Roma, Massenet's swan song for the lyric theater and "Ah! parais" from Le Mage, opera with plot line similar to that of Verdi's Aida, following. The melody, introduced by the cellos at the outset for the latter, somewhat takes after "Pays merveilleux" from Meyerbeer's Africaine, but in more voluptuous color, such as in Thais, and Villazon and Pido both capitalize well on its opulence. Pido's work, on numerous other numbers on this disc, seems heavy, lumbering, cloying, or just simply out of his idiom, so to speak.

Word has it that Villazon, while not having a big voice, is dramatically exciting on stage and probably more immediately engaged with the content of what he is singing. How this picked up a major award from Gramophone, for the specific problems this disc has, and over two more qualified nominations (Ciofi/Di Donato Handel Duets and a Florez album) is mystifying. So much digression here is over the very specific demands that French opera makes on singers. There's much reason for hope for this tenor, but this disc, for two-thirds of it, does little to help fulfill it.

Bean sings?.......2006-01-05

A friend lent me Villazon's debut album as an introduction to the man. I loved it - but this is the one I have bought. If, like me, you have tired of the comparisons between Villazon and others (esp Domingo) fear not, this artist is an original. I must confess that on seeing the cover I wondered if Brit comedian Rowan Atkinson (Mr. Bean / Black Adder - now there's a new comarison!) had strayed into the wrong studio, but a few tracks into either disc and you'll know you're listening to the real thing. True, he has baritonish notes in the lower register, and an easy reach for the upper notes but I honestly have not heard anyone quite like him before. His is a warm voice with an early maturity that should ensure he has a long career ahead of him. His diction is excellent, without the staccato enunciation or lack of French interpretation abilities that mar lesser singers' performances. Such vocal ease makes the sung word seem as natural as the spoken word is to us lesser mortals. That his song selection moves away from the 'usual suspects' of the tenor repertoire is to his great advantage; he knows what suits him and he brings each piece to new life. The overly familiar tracks of which there are thankfully few serve only to highlight through comparison to those we know Villazon's unique timbre and interpretation. This collection includes inspired music choices, incomparable renditions, marvellous orchestration and leaves the listener keenly anticipating his next release. The recording and production are impeccable (worth ***** in their category). It does not get much better than that. Atkinson may make you laugh (or not) - Villazon will make you smile and keep you feeling that way.

A fine romantic interpreter.......2005-12-20

If not quite a poet in the manner of, say, Edmond Clément, Rolando Villazón is a first rate romantic interpreter. His French is surprisingly good and he really understands how this school of writing needs to be lived and phrased, so that he doesn't summarily yell through all phrases like some "Italian" second-rater: he shades and molds the music in the elegant style of great French tenors of a bygone era: Clément, Franz, Dalmorès, Beyle, Vaguet, Scaremberg, D' Arkor, Thill...

Just like the damned record companies to give us a mere CD of Rolando Villazón's lovely art, whilst recording the above "Italian" second-rater in every complete French rôle under the sun!

Villazón's voice itself is more like a Spanish tenor's in timbre, none too pellucid, but a manly, resonant instrument of middle weight, which he never forces.

I don't know who Evelino Pido is, or how he got through school with that name, but he is a damned sight better than the much-touted Pappano (as in EMI's horrible latest Manon.) There are no metronomic run-throughs [RUIN-throughs!] on this disk.

If you adore Gounod and Massenet as I do, this CD will be very good news indeed to you.

Average customer rating:

Superlative collection
Great value for the money
Great for the money and a good starter on opera....
Amazing Value

100 Best Opera Classics

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

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Classical | Imports | Stores | Music

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Similar Items:

The Most Famous Opera Arias
Best Classics 100
The Most Famous Opera Duets
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The #1 Opera Album

ASIN: B0007QOERC
Release Date: 2007-05-14

Tracks:

Voi Che Sepate - Teresa Berganza
Porgi Amor - Heather Harper
Deh, Vieni Alla Finestra - Thomas Allen
Batti, Batti, O Bel Masetto - Elizabeth Gale
Der Holle Rache - Edda Moser
O Isis Und Osiris - Cornelius Hauptmann
Temerari...Come Scoglio - Elisabeth Schwarzkopf
La Calunnia E Un Venticello - Ruggero Raimondi
Nei Giardin Del Bello - Ambrosian Opera Chorus
Casta Diva - Maria Callas
Se Quel Guerrier...Celeste Aida - Franco Corelli
Tenesta La Promessa...Addio Del Passato - Beverly Sills
Niun Mi Tema - Jon Vickers
Un Bel Di Vedremo - Renata Scotto
E Lucevan Le Stelle - Placido Domingo
Si, Mi Chiamano Mimi - Mirella Freni
In Quelle Trine Morbide - Montserrat Caballe
Signore, Ascolta - Kiri Te Kanawa
Recitar...Vesti La Giubba - Jose Carreras
Amor Ti Vieta Di Non Amor - Roberto Alagna

Tracks:

Le Veau D'Or Est Toujours Debout - Boris Christoff
Ou Va La Jeune Hindoue? - Mady Mesple
L'Amour, L'Amour...Ah! Leve-Toi, Soleil - Alfredo Kraus
Allons! Le Faut...Adieu Notre Petite Table - Ileana Cotrubas
Toute Mon Ame Est La Pourquoi Me Reveiller - Nicolai Gedda
Quand La Flamme De L'Amour - Jose Van Dam
L'Amour Est Un Oiseau Rebelle - Victoria De Los Angeles
A Cette Voix...Je Crois Entendre Encore - Alain Vanzo
Une Puce Gentille - Gabriel Bacquier
Je Vais Mourir...Adieu, Fiere Cite - Regine Crespin
Mon Coeur S'Ouvre A Ta Voix - Rita Gorr
Wie Todesahnung...O Du Mein Holder Abenstern - Dietrich Fischer-Dieskau
Johohoe! Traft Ihr Das Schiff Im Meere An? - Anja Silja
In Fernem Land - Chor Der Wiener Staatsoper
Heil Dir, Sonne! - Siegfried Jerusalem
Mild Und Leise - Helga Dernesch

Tracks:

Che Faro Senza Euridice? - Agnes Baltsa
Der Vogelfanger Bin Ich Ja - Walter Berry
Finch'Han Dal Vino - Nicolai Ghiaurov
E Susanna Non Vien!...Dove Sono - Barbara Hendricks
Abscheulicher! - Christa Ludwig
Ne M'Abandonne Pas, Espoir De La Vengeance...Asile Hereditaire - Nicolai Gedda
Largo Al Factotum - Tito Gobbi
Ella Giammai M'Amo! - Ruggero Raimondi
La Donna E Mobile - Alfredo Kraus
Di Quella Pira - Franco Corelli
Esultate! - James McCracken
Dio! Mi Potevi Scagliar - Placido Domingo
Vissi D'Arte, Vissi D'Amore - Maria Callas
In Questa Reggia - Ghena Dimitrova
Tanto Amore - Janine Micheau
O Mio Babbino Caro - Montserrat Caballe
Ed Anche Beppe Amo - Luciano Pavarotti
Poveri Fiori - Maria Callas
Come Un Bel Di Di Maggio - Roberto Alagna

Tracks:

Les Grands Seigneurs...Ah! Je Ris De Me Voir Si Belle - Victoria De Los Angeles
Marie, Avec L'Enfant Jesus - Jules Bastin
Heureux Petit Berger - Janine Micheau
Connais-Tu Le Pays - Jane Rhodes
Elle Ne Croyait Pas Dans Sa Candeur - Nicolai Gedda
Votre Toast, Je Peux Vous Le Rendre...Toreador - Victoria De Los Angeles
Les Oiseaux Dans La Charmille - Mady Mesple
Maintenant, Chantons...Devant La Maison De Celui Qui D'Adore - Gerard Souzay
Depuis Le Jour - Beverly Sills
Da Geht Er Hin - Elisabeth Schwarzkopf
Einsam In Truben Tagen - Regine Crespin
Dich, Teure Halle - Hildegard Behrens
Leb Wohl, Du Kuhnes, Herrliches Kind - Dietrich Fischer-Dieskau
Hojotoho! Hojotoho! - Ute Walther

Tracks:

Non Piu Andrai - Thomas Allen
La Ci Darem La Mano - Graziella Sciutti
Duo: Pa-Pa-Pa - Andreas Schmidt
Soave Sia Il Vento - Delores Ziegler
Mira, O Norma - Maria Callas
Il Dolce Suono - Edita Gruberova
Com'e Gentil - Alfredo Kraus
Una Voce Poco Fa - Maria Callas
Libiamo Ne' Lieti Calici - Alfredo Kraus
Gualtier Malde!...Caro Nome - Michele Pertusi
Ritorna Vincitor - Birgit Nilsson
Ave Maria - Katia Ricciarelli
Nessun Dorma - Franco Corelli
Che Gelida Manina - Nicolai Gedda
Ebben? Ne Andro Lontana - Barbara Hendricks

Tracks:

Mes Amis, Ecoutez L'Histoire - Nicolai Gedda
Mieux Vaut Mourir...Amour Sacre De La Patrie - Alfredo Kraus
Ah! Je Veux Vivre Dans Ce Reve - Mady Mesple
Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee - Henry Legay
Suis-Je Gentille Ainsi?...Je Marche Sur Tous Les Chemins - June Anderson
Belle Nuit, O Nuit D'Amour - Jessye Norman
La Fleur Que Tu M'Avais Jetee - Jose Carreras
C'est Toi!...Au Fond Du Temple Saint - John Aler
Werther, Werther, Qui M'Aurait Dit...Ces Lettres! - Tatiana Troyanos
Viens, Mallika - Mady Mesple
Ah! Je Suis Seule Enfin...Dis-Moi Que Je Suis Belle - Beverly Sills
Alerte, Alerte!...Anges Purs, Anges Radieux - Nicolai Ghiaurov
Boris's Farewell - Boris Christoff
Schreckensschwur! - Gary Lakes
Die 'Selige Morgentraum-Deutweise'...Selig, Wie Die Sonne - Peter Schreier
Was Am Besten er Kann...Nothung! Nothung! - Siegfried Jerusalem

Customer Reviews:

Superlative collection.......2006-10-11

A collection of 100 individual arias and ensembles from the EMI catalogue of complete works recorded between 1955 and 2003. It includes selections from operas by Italian, Austrian, German, Russian and French composers. The French composers are especially well represented unlike most such anthologies. And there are several more obscure contributions, such as an aria from Catalani's La Wally. A well-judged balance of musical periods and styles, and the very best singers of the last half of the last century. And remarkably, the whole collection of 6 CDS, over 7 hours of music, is being sold for the cost of only 1 CD !

Great value for the money.......2006-04-23

This is simply the best collection of opera arias that I have seen. It's not 100% in that there are a few well-known arias that are not here, but what is here is simply a treasure. The organization is a bit strange, but there's some logic. For example, Disk 6 is mostly from French operas. A seemingly endless amount of glorious music. Just fabulous. You won't be disappointed.

Great for the money and a good starter on opera...........2006-01-07

This cd is a splendid collection of songs, and the price is unbeatable; I have but a few minor complaints about the overall product. The cd would have been much more enjoyable if they had put the music in some sort of order, rather than jumping around from artist to artist sporatically. My only other complaint would be that they could have chosen some better vocalists to play some of the songs. For example, in CD 6, track 3: Romeo et Juliette, the singer was not nearly as strong and definative as she should have been and I've definately heard in various other versions that were way better than this. This disappointed me greatly. But even with these few small complaints, this collection is still great and the price is amazing. It includes MOST of the famous opera pieces, as well some great songs that are often overlooked such as the beautiful song from Wagner's Die Meistersinger von Nurnberg (CD 6, track 16) along with others.

Amazing Value.......2005-08-23

I am so impressed by this collection that I must share my joy at getting so many beautiful arias, duets, et al in one collection. It captures many of the great operatic voices in stellar performances spanning the last 50 years. If you are enchanted by beautiful operatic highlights, removed from their operatic storylines, this set is for you. Hours of gorgeous music for practically pennies!

Average customer rating:

Wonderful, but just SOME of the very best of Nicolai Gedda
Excellent compilation
Nicolai Gedda . . . the 4th tenor

The Very Best of Nicolai Gedda
Nicolai Gedda , Adolphe Adam , Ludwig van Beethoven , Vincenzo Bellini , Hector Berlioz , Georges Bizet , Gaetano Donizetti , Friedrich von Flotow , Mikhail Glinka , and Karl Goldmark
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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The Very Best of Alfredo Kraus
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Nicolai Gedda - French and Russian Arias & Songs
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ASIN: B0000A1WP3
Release Date: 2003-09-02

Tracks:

Pourquoi Me Reveiller
Instant Charmant...En Ferment Les Yeux
L'Amour, L'Amour!...Ah! Leve-Toi Soleil
Une Heure Encore...La Gloire Etait Ma Seule Idole
Va, Pour Kleinzach!
Zurga, Quand Tous Deux...Au Fond Du Temple Saint
A Cette Voix...Je Crois Entendre Encore
La Fluer Que Tu M'Avais Jetee
Mes Amis, Ecoutez L'Histoire
Elle Ne Croyait Pas Dans Sa Candeur Naive
Asile Hereditaire - Ambrosian Opera Chorus
Quanto E Bella
Una Furtiva Lagrima
Fra Poco A Me Ricovero
Prendi: L'Anel Ti Dono
Di' Tu Se Fedele
La Donna E Mobile
Donna Non Vidi Mai

Tracks:

Il Mio Tesoro
Dies Bildnis Ist Bezaubernd Schon
Ach, So Fromm
In Fernem Land
Magische Tone
Kuda, Kuda, Kuda Vi Udalilis (Lenski's Aria)
Dimitri! Tsaryevich! Dimitri!
Souvenir
O Moonlight Night
At The Ball
Don Juan's Serenade
O Cease Thy Singing, Maiden Fair
How Fair This Spot
Adelaide Op. 46
Heimliche Aufforderung, Op. 27, No. 3
Strandchen, Op. 17, No. 2
Als Flotter Geist...Ja, Das Alles Auf Ehr'
Gern Hab' Ich Die Frau'n Gekusst
Dein Ist Mein Ganzes Herz

Customer Reviews:

Wonderful, but just SOME of the very best of Nicolai Gedda.......2005-07-03

This is but a subset of the glorious recorded singing by Nicolai Gedda; however, it is a good sampler of the repertoire that made him legendary. And, at least a couple of the tracks ("Asile Hereditaire" and Lenski's aria) seem to be his best recordings of those particular works. Gedda is a member of a small circle of famed tenors noted for disciplined and artistic vocal production. He could find and consistently produce the "ping" we all love to hear. And, that was necessarily accompanied by flawless breath control. He holds the last note of the rousing "Hereditaire" for approximately eleven seconds! Onward! Ho! The emotion and delicate treatment he showed in Lenski's aria is a high-water mark. I can not imagine it being done better.

I first heard him in a recording of La Boheme (with Freni) in 1975 and have heard him in person both in Faust (1976) and in recital (1981). Whether on stage or in recording, Gedda is remarkable and consistent. If you are new to opera or are younger and addicted to the stars of today (and some of them are very good too), you should hear Gedda. It will raise your definition for what it takes to be a great tenor. Go find a recording of Fritz Wunderlich too.

Excellent compilation.......2005-01-30

Beautiful, easy lyric tenor; also great diction and phrasing -- a good example to any tenor on how this rep. should be sung.

Nicolai Gedda . . . the 4th tenor.......2004-06-13

Those of you who know the three tenors should look into this incredibly versatile singer. The first time I heard this remarkable tenor sing was from a recording of Mozart's Magic Flute. From then on I became an avid fan. This recording highlights how Gedda could go from singing lyric repertoire, to the bigger and more difficult French and Bel Canto and even tackling Russian and operetta. Any aspiring tenor and dedicated opera fan would do well to own this CD set.

The Ultimate Aria Collection ~ A Passion for Opera

Average customer rating:

OPERA HEAVEN
Incredibly Beautiful . . .
Ultimate Aria
Ultimate indeed

The Ultimate Aria Collection ~ A Passion for Opera
Georges Bizet , Giuseppe Verdi , Giacomo Puccini , Gaetano Donizetti , Ruggero Leoncavallo , Gioachino Rossini , Gustave Charpentier , Leo Delibes , Vincenzo Bellini , Christoph Willibald Gluck , Pietro Mascagni , Wolfgang Amadeus Mozart , Francesco Cilea , Edouard Lalo , Camille Saint-Saens , Arrigo Boito , George Frideric Handel , Alfredo Catalani , Amilcare Ponchielli , Charles Gounod , Jules Massenet , Ambroise Thomas , Fritz Wunderlich , Rome Opera Theater Orchestra & Chorus , Maria Callas , Elisabeth Schwarzkopf , Orchestra e Coro del Teatro alla Scala , Wiener Philharmoniker , Orchestre de Paris , Carlo Maria Giulini , Tullio Serafin , Sir Charles Mackerras , Francesco Molinari-Pradelli , Riccardo Muti , and Leone Magiera
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | 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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
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The Most Famous Opera Arias
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Aria: A Passion for Opera
Aria II: A Passion for Opera
Rapture: Opera's Most Heavenly Moments

ASIN: B000009OQL
Release Date: 1998-08-11

Tracks:

Carmen: Quand je vous aimerai? ...L'amour (Habanera)
I Pagliacci: Recitar!... Vesti la giubba
Madama Butterfly: Un bel di vedremo
L'Elisir d'Amore: Una furtiva lagrima
Nabucco: Va pensiero (Chorus Of The Hebrew Slaves)
Gianni Schicchi: O mio babbino caro
Rigoletto: La dona e mobile
The Barber Of Seville: Largo al factotum
Louise: Depuis le jour
Lakme: Flower Duet
Turandot: Nessun dorma
Norma: Casta diva
Gianni Schicchi: A vete torto!
TOSCA: Vissi d'arte
TOSCA: E lucevan le stelle
La rondine: Chi il bel sogno di Doretta
Il Trovatore: Di quella pira

Tracks:

L'Elisir d'Amore: Quanto e bella, quanto e cara!
Orphee et Eurydice: J'ai perdu mon Eurydice
La Boheme: Che gelida manina
La Boheme: Si, mi chimano Mimi
La Traviata: Di Provenza il mar
L'amico Fritz: O amore, o bella luce del core
Le nozze di Figaro: Voi che sapete
TOSCA: Recondita armonia
Adriana Lecouvreur: Ecco, respiro appena...lo son l'umile ancella
Le Roi d'Ys: Puisqu'on ne peut... Vainement, ma bien-aimee
Samson et Dalila: Mon coeur s'ouvre a'ta voix
Mefistofele: Dai campi, dai prati
Manon Lescaut: In quelle trine morbide
Serse: Ombra mai fu
Turandot: Signore, ascolta
Manon Lescaut: Donna non vidi mai
La Wally: Ebben? ne ando lontana
La Gioconda: Cielo e mar

Tracks:

Aida: Se quel guerriero io fossi...Celeste Aida
Romeo Et Juliet: L'amour, l'amour...Ah, leve-toi soleil
Mefistofele: L'altra notte in fondo al mare
Werther: Toute mon ame est la...Pourqui me reveiller
Barber Of Seville: Una voce poco fa
Cosi Fan Tutti: Un aura amorosa
Le Villi: Se como voi piccina
Un Balle en Maschera: `Se come voi piccina`
Carmen: La fleur que tu m'avais jette
La forza del destino: Pace, pace mio Dio
Adriana Lecouvreur: L'anima ho stanca
La Gioconda: Suicidio
Don Giovanni: Dalla sua pace
La Traviata: De' miei bolenti spiriti
La nozzi di Figaro: Porgi amor
Turandot: Non piangere, Liu
Mignon: Elle ne croyait pas dans sa candeur naive

Amazon.com

Put together in evident haste, this collection is nevertheless a surefire, appetite-whetting starter kit both for the budding operaphile and for the simply intimidated. The samplings include some of the greatest voices from EMI's vaults: here you'll find the polar opposites Callas and Caballe, the golden wonder of Wunderlich and early Carreras, and a host of other singers who've made their stamp on this century. Emphasis is on the soprano and tenor range, while the lower voices are given short shrift, and the selections cleave predictably to standard Italian and French repertory (with an occasional surprise, such as an aria from Lalo's Le Roi d'Ys). Still, the nearly three and a half hours of music represented will make a ready convert of anyone who hasn't experienced the specially heightened, time-stopping expressivity--beyond the power of mere song--that is the aria's function and will likely spark a desire to explore the larger operatic context in several cases. And though the lack of a booklet with texts or at least bios of the artists is frustrating, this is a good place to begin for an overview of the mesmeric power extraordinary voices can wield. --Thomas May

Customer Reviews:

OPERA HEAVEN.......2002-12-13

Probely this is a good buy for someone who is gest getting into the world of OPERA.Still a very good purchaes with fimiluar songs.

Incredibly Beautiful . . ........2001-10-27

If you love opera - this collection of some of the lovliest arias ever sung by artists from Caballe to Freni, from Delibes to Puccini - will inspire you. It is a wonderful gift for friends or for yourself.

Ultimate Aria.......2001-08-03

In my small operetic mind, this set of Cd's has completely captured me for the Opera. I was a young and upcoming musician in my youth. I'v been around the block "as it were" with the Classics. This collection is indeed, the benchmark upon which all others would hope to aspire.

Congradulations EMI for an incredible vision of the greatest opeatic moments recorded.

Gosh what's next?

Ralph Hassman

Ultimate indeed.......2000-08-02

If you don't like the idea of buying whole operas, or if you're a newcomer to opera - this is an extremely good collection / introduction, worth every single cent. The collection features many of the worlds greatest singers, giving their interpretations of some of the world's greatest arias. The compilation itself is very tasteful and covers a wide range from Handel to early 20th century composers. You won't miss any important stuff from the history of opera, except maybe Wagner and the most modern operas - I'll come back to that fact later. The compilers have actually put some lesser known, although no less beautiful, arias here, that oftenly are neglected on ordinary opera-collections, why the name `ultimate collection' is more than correct in that aspect.

EMI have a enormous archive to pick their recordings from, and that of course makes it easy to find first rate interpretations of all the arias included in this collection, and I do think that almost all of the arias are wonderfully sung here. It may be possible to find better performances of single numbers here and there, but I've not yet heard a more complete, wellmatched, and so thrillingly sung collection.

Well then, is there nothing wrong with this compilation? You might find it a little odd that there are so many soloarias and so few duets, terzettos a.s.o, especially since the drama in operas oftenly is greater in numbers with more than one singer. You might also wish that some of the recordings had been a little more modern (most of these recordings were made during the 50's, 60's & 70's) giving place to younger performers that still are singing on the stages, but those are minor objections when the over all quality is so high.

The maybe strongest objection to this collection is that there is not one single part from any of Wagner's operas, and not any number sung in german, nor is there any parts from modern or russian operas. That may be a miss if you're interested in Wagner, russian and modern opera - on the other hand I think you should watch Wagners, russian and modern operas before listening to recordings of them - and if you've seen them and liked them you will probably buy the whole opera anyway. Therefor I still think that this is a extremely strong and complete compilation - the best I've run into so far. Easy to listen to, ye