| Disc: 1 |
| 1. Club Lonely |
| 2. Magic - Cevin Fisher |
| 3. Let Me Be the One - Li'sha, Miguel Migs |
| 4. Find a Way - Hayley, , |
| 5. Try - Danism |
| 6. Been Set Free |
| Disc: 2 |
| 1. For Those That Like to Get Down - Marques Wyatt |
| 2. Ooh I Love It (Love Break) [Full Intention Remix] - The Salsoul Orchestra |
| 3. Celia's Groove - Master Drummers of Burundi, Onionz |
| 4. Delicioso/I Can't Stop - Sandy Rivera |
| 5. Bare Brass |
| 6. Tromba |
| Disc: 3 |
| 1. E Samba [Rasmus Faber's Cançao Danęga Club Mix] - Junior Jack |
| 2. Guitarra G - Banda Sonora Original |
| 3. That Feelin - Groove Foundation |
| 4. Tropical Soundclash - DJ Gregory |
| 5. At Night [Afterlife Remix] - Shakedown |
| 6. Fatal Fatal [Pacha Mix] - DJ Pippi |
Editorial Reviews
Product Description
Defected Records brings you a very special compilation – the latest from their highly acclaimed In The House series, mixed by label head, Simon Dunmore – Defected In The House - Evissa ’04!
Angela has a lovely voice and is lovely to look at. These things are obvious. But one does ask if we have made what you look like more important than what you sound like in opera. I can hear that she sings flat quite a bit. Her rendition of "Depuis le jour" is truly awful. Tremulous, and under pitched singing make it difficult to bear listening to. (If you want to hear a great one check out a young Leontyne Price or Sills) Angela has really great phrasing which makes the under pitched singing all that more of a mystery. Also her low notes, which can be raspy and breathy are very unattractive- as well her transitions between chest & head voice are really glaringly bad. She also slows things down sometimes not out of dramatic effect but when she needs more time to make a "beautiful sound" (something Kiri used to do too.) Which I'm sure the average composer if asked would not be too keen on. Her pronounciation is suspect too. I've heard a tripthong on her Italian vowel u many times. I know, she's from somewhere other than Italy- but so are most opera singers. If one is proclaiming themselves a DIVA then these things should be already taken care of - in my humble opinion- which doesn't matter because she's sold tons of recordings. I listened to the whole CD then admit to having given it away to a friend. Is this the Emperor's clothing or am I the only one that can hear these things? If she had bad phrasing but sang on pitch I would overlook that in view of the loveliness of her voice- but let's face it, these aren't Pendereckian compositions with suggestions for pitches- the composers wrote the pitches indicated for a reason. Sounds like I'm being too harsh? well, I feel the same way about Andrea Boccelli- lovely voice, flat way too much of the time. So now the whole world can hate me for thinking 2 commercial successes don't sing on pitch with the consistency expected at this level.
I know... this isn't helpful because you disagree. It's okay, there may be one person out there who would like an honest opinion even if they disagree, after all, I did cover, in detail, the perfomance and the performer and isn't *that* what these reviews are here for? to help people decide? :)
I do not think she sounded like Callas, whose voice appeared to be stronger and thicker, but less pure and agile than Angela's. Callas always seemed to have some tension in her voice, loud or soft. Gheorghiu can relax or tense up her voice as needed, increasing the dramatic effect, in both her low and higher registers. Finally Angela's lower voice is unmatched in its expressiveness and unstressed purity.
This CD is highly recommended but in order to experience her full artistic talents, including acting, get her DVDs.
"camp".
OK: We all know there is a type of "opera queen" of all sexes and sexual orientations that thrive on bashing
certain singers while lauding others. This is not a war. I resisted Gheroghiu for years due to the hype and
marketing. I have not heard her live, so I don't know if she is out-faching herself by singing damn near
everything alla Callas.
What I DO hear is a rather "ugly" voice (again alla Callas) that is so distinctive as to be instantly recognizable. There is that middle European "keening", rapid vibrato quality that Vishnevskaya had.
What I hear above ALL however, is commitment and passion. There are pitch problems, AGAIN alla Callas, sharp
here, flat there, driven "ugly" sounds: all the hallmarks of the Kunstdiva, of which I think she might be the
reigning example in our time.
The Puccini style here is questionable: let's lay that off on the conductor.
Fleming, Gheorghiu, Netrebko, et al: committed, intelligent, driven women who make the world a better place
in which to live and listen.
Have your favorites, and lay off the others in print.
Ms. Gheorghiu's voice is there as always, with it's dark, round timbre but, as I beleive a fellow reviewer has noted, they sound a bit alike. The usual passion she injects in this music is not entirely present, she somehow sounds uninspired.
Even so, the good outweighs the bad, and that's what makes this an excellent addition to your musical library; there's not a misplaced note anywhere, her gorgeous voice is a delight to the ears, and the musical selection is quite good and interesting, even if she's not up to the challenge of Turandot (at least not yet). For some reason that I don't share, a few people have found the conducting bad, but that's the aspect I pay less attention to, unless it's enormously obvious.
In short, this is a disc fans of Gheorghiu and good singing can't miss.
Vissi D'arte is very good, and In questa Regia is great, very different from how it is usually done, but Tu, Tu, Piccolo Iddio is not good at all and I don't like Quando Me N'vo either, I have heard much better performances of this classic, especially by Anna Netrebko, who is hot on Angela's heels as the next great diva. Watch your back, dear Angela!
Also, the programming on this album is strange, why is Vissi D'arte on a seperate disc...?
For anyone who loves this voice, it would still be a nice recital, but I am disappointed, I expected better.
Anton Coppola's conducting is too slow for my taste most of the time. He seems to love every note Puccini wrote (which is understandable!), but his pacing undermines the drama in some of these selections. He also doesn't get much force out the orchestra when it is needed, such as in Turandot and the Madama Butterfly finale.
EMI's packaging is ridiculous. One aria, "Vissi D'arte" from Tosca, is on a separate disc, billed as a "bonus CD." It is from her earlier recording of the opera conducted by Antonio Pappano. The case is like a hardcover book, which looks nice, but does not fit in typical CD storage spaces.
I will focus on a few that I personally like to hear:In Cecelia Bartoli's selection from 'Cinderella', a very much admired role,she exchanges her early life for a bright future with Prince Charming, and does so with expressive and great joy! I especially liked her in Handel's opera "Rinaldo" in which she stars along with David Daniels, American countertenor. She, in fact could be called the successor to Marilyn Horne,the Mezzo of an earlier generation.
In Horne's aria from Rossini's "Italian in Algiers", she unleashes her formidable 2 octave range as the brave Italian lady unfazed by a mere shipwreck and the prospects of an Algerian harem. MAGNIFICENT!!!!!!!
In my conservatory days I was priveleged to see Kirsten Flagstad 'live' in several Wagnerian operas. Not only was it a sight to hear her, but to see AND hear her was a memorable and totally unforgetable experience. Her voice was BIG and her body (especially as seen in costume)was equally so, but she sang notes that I'm not sure can really be sung anymore (no doubt,that's an exaggeration)but I'm trying to make a point here, so bear with me.
Now the consummate soprano has to be Kathleen Battle; my favorite role is Handel's "Semele" that includes a star-studded cast that also includes Marilyn Horne; just a great listen!!!!
I'm sure this album is not perfect, but I have had many many hours of listening enjoyment, so go for it!!!!!!
An American Icon....I will forever be a loyal fan and admirer!!
This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.
This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.
Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.
Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.
This present recording is from early in the series of Callas/Gobbi/Zeffirelli Tosca's at Covent Garden, dating from Jan 24, 1964. And, to my ears it is a fine recording as it perfectly captures the spirit of those performances. While it is true that both Callas and Gobbi had lost much of their respective vocal splendour by this stage, they are without doubt Tosca and Scarpia and thrillingly bring to light these great characters as set to the music of Puccini. From Callas there are some wobbly high notes but in this particular performance they are kept to a minimum, perhaps 3-4 at most. Throughout, Callas sing excitingly though it is apparent that the power and volume of her voice is reduced. However, it is a fully committed performance from start to finish and her concentration and will power are as evident as is her vocal accomplishments in the role. It's a truly legendary performance. What is interesting is that Callas receives no ovation from the audience on her entrance though there is enthusiastic applause after each act and after her stunning "Vissi d'arte", sung simply and as the prayer that it is.
Some people have well founded concerns about the sound quality of bootleg/private recordings of live performances such as this one. While the sound quality is less that would have been achieved in the studio or even if it had been recorded commercially, it is more than acceptable. Every word and syllable uttered is clear and the orchestra sounds vivid throughout. There are the inevitable sounds of the performers stomping around the stage and plenty of coughing from the audience but you do get a real sense of what it must have been like to be there. Also, the cost is so inexpensive it makes purchasing this set a given as it makes fascinating listening in comparison with the two Callas/Gobbi commercial recordings. True, there is no libretto but most Callas fans will already have at least one copy of the 1953 recording from EMI on CD so they will have a full libretto in a number of languages.
My advice: for Callas and Gobbi fans, grab a copy. It's a fascinating snapshot of a wonderful night in the theatre. For those who want to hear Callas as Tosca, start with the 1953 recording. This one is Callas at the end of her career when the voice was in decline. The first studio recording has her at the very top of her game both vocally and interpretively. This recording is not definitive as that one will always be but it is worth a listen.
Sound: No more than fair.
Documentation: The usual Opera d'Oro offering. No libretto. Short essay on the history of the opera. Short summary of the plot. Track list.
Maria Callas is a very, very great singer who appeared in far too many dismal opera productions.
This is another performance on which I find it difficult to base an objective opinion. I bought it in an attempt to capture Callas in one of her greatest roles in a live setting. Well, that's what I got. Callas is ... Callas, that is to say, she is tremendous. For this particular helping of her greatness, though, you have to give her the benefit of a lot of goodwill. Her mighty conception of Floria Tosca is still present in full force, but in 1964 her execution is not at all what it once had been.
Tito Gobbi is, well ... Gobbi, one of the all-time greats. But 1964 is late for him, too, and behind all his dramatic power and charisma you can all but hear his voice fraying away with each bar.
Then there is Renato Cioni. Ehh, the very thought of that man makes my teeth itch. At some point, Cioni possessed a nice, useful, second-class voice, the sort of thing that is invaluable for a house tenor who eases the load on a star performer. Somewhere along the line, though, he must have become convinced that he, himself, was a star. Now, Pavarotti, born as he was with a tremendous voice, got away on ego and a silly bag of tricks for many years. Cioni, born much lower on the tenorial evolutionary scale, couldn't carry it off for ten seconds. He is the anchor that drags down any performance, even Joan Sutherland's high-flying first recording of "Lucia." Here in "Tosca," Cioni is, alas ... Cioni.
If you want a great "Tosca" with Callas and Gobbi, get the studio recording with diStefano. If you absolutely must have a live Callas/Gobbi "Tosca," this one, at least, is not very expensive and it offers better sound than the live Mexico City version (also on Od'O), although the latter has attractions for those who like audience excitement.
In the normal course of events, I'd give this recording four stars for sub-par Callas and Gobbi, then deduct one or even two stars for the wretched Cioni. However, it appears that, unlikely as it may seem, some people actually have a taste for that man's tenorial whining, so ... four stars.
Defected Records brings you a very special compilation – the latest from their highly acclaimed In The House series, mixed by label head, Simon Dunmore – Defected In The House - Evissa ’04!
This limited edition 3CD set includes an enhanced bonus CD with classic Defected tracks and a CDROM with special features, unique downloads and live footage from Defected Miami ‘04 party.
Carefully selected, the album combines the freshest and newest cuts blended seamlessly with classic tracks – a brilliant mix of the best tunes for the summer of 2004. Funky Retro is the theme for CD1, while CD2 is dominated by Latin and Disco.
Well balanced with elements of soul, jazz and funk throughout, this compilation perfectly sums up the summer vibe that will leave you with a lasting impression throughout the season and then some!
Defected in the House: Evissa 04,Various Artists,Defected,Dance,Dance Music,House Collections,Pop,V/A Compilations
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The Ultimate Puccini Collection
Giacomo Puccini , Herbert von Karajan , Riccardo Chailly , Stephen Barlow , Tullio Serafin , Lorin Maazel , Sir Edward Downes , Giuseppe Patane , Zubin Mehta , Alberto Erede , John Mauceri , Plácido Domingo , José Carreras , Kiri Te Kanawa , John Alldis Choir , Luciano Pavarotti , London Philharmonic Orchestra , Bologna Community Theater Orchestra , Ettore Bastianini , Carlo Bergonzi , Renato Cesari , Fernando Corena , Cesare Siepi , Renata Tebaldi , Gianna D'Angelo , Saint Cecilia Academy Orchestra , Franco Corelli , Alfredo Mariotti , Regine Crespin , Royal Opera House Orchestra Covent Garden , London Symphony Orchestra , Maggio Musicale Fiorentino Orchestra , Rome Opera House Orchestra , Pilar Lorengar , Berlin Philharmonic Brass Ensemble , Mirella Freni , Rolando Panerai , Jussi Bjorling , Leontyne Price , and Vienna Philharmonic Orchestra Manufacturer: Decca ProductGroup: Music Binding: Audio CD  All Works by Puccini
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ASIN: B000007OU1 Release Date: 1998-06-09 |
Tracks:
- Turnadot: Nessun Dorma!
- Gianni Schicchi: O Mio Babbino Caro
- Manon Lescaut: Donna Non Vidi Mai
- La Boheme: Musetta's Waltz Song
- Tosca: Recondita Armonia
- Madame Butterfly: Un Bel Di
- TOSCA: E Lucevan Le Stelle
- La rondine: Il Sogno Di Doretta
- La Boheme: Che Gelida Manina
- La Boheme: Si, Mi Chiamano Mini
- La Boheme: O Soave Fanciulla - Love Duet, Act I
- Ch'ella mi creda libero
- TOSCA: Ah, Quegli Occhi...Qual'occhio Al Mondo - Love Duet, Act I
- TOSCA: Vissi D'Arte
- Madame Butterfly: Vogliatemi Bene - Love Duet, Act I
- La Boheme: Donde Lieta Usci
- Turandot: Signore, Ascolta!
- Turandot: In Questa Reggia
Amazon.com essential recording
Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David HurwitzCustomer Reviews:
Correction to the entry by "sergiocqh".......2005-11-08
Fantastic!.......2003-10-14
HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04
A great listening experience featuring some of the greatest opera performers of all time.
"Ultimate" only if you like your opera "al fresco"!.......2002-06-13
Wonderful Performance but Average Recording Quality.......2002-02-18
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Handel: The Masterworks (Box Set)
Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios
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ASIN: B00062FLI8 Release Date: 2004-11-30 |
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Diva
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B0001E8C0K Release Date: 2004-03-09 |
Tracks:
- Casta Diva
- Una Voce Poco Fa
- Lascia Ch'lo Pianga
- Qui La Voce Sua Soave...Ah! Rendetemi La Speme...Vien, Diletto
- D'amor Sull'ali Rosee
- Werther! Qui M'aurait Dit La Place...Des Cris Joyeux D'enfants
- Je Marche Sur Tous Les Chemins...Obeissons Quand Leur Voix Appelle - Nicolas Rivenq
- Non! Non!...Ah! Je Veux Vivre Dans Le Reve
- L'amour Est Enfant De Boheme
- Carreau, Pique...La Mort! En Vain Pour Eviter Les Responses
- Depuis Le Jour
- Vissi D'arte
- Chi Il Bel Sogno Di Doretta
- O Mio Babbino Caro
Customer Reviews:
I know... it's not helpful if I don't agree with you, but...........2006-10-26
Angela has a lovely voice and is lovely to look at. These things are obvious. But one does ask if we have made what you look like more important than what you sound like in opera. I can hear that she sings flat quite a bit. Her rendition of "Depuis le jour" is truly awful. Tremulous, and under pitched singing make it difficult to bear listening to. (If you want to hear a great one check out a young Leontyne Price or Sills) Angela has really great phrasing which makes the under pitched singing all that more of a mystery. Also her low notes, which can be raspy and breathy are very unattractive- as well her transitions between chest & head voice are really glaringly bad. She also slows things down sometimes not out of dramatic effect but when she needs more time to make a "beautiful sound" (something Kiri used to do too.) Which I'm sure the average composer if asked would not be too keen on. Her pronounciation is suspect too. I've heard a tripthong on her Italian vowel u many times. I know, she's from somewhere other than Italy- but so are most opera singers. If one is proclaiming themselves a DIVA then these things should be already taken care of - in my humble opinion- which doesn't matter because she's sold tons of recordings. I listened to the whole CD then admit to having given it away to a friend. Is this the Emperor's clothing or am I the only one that can hear these things? If she had bad phrasing but sang on pitch I would overlook that in view of the loveliness of her voice- but let's face it, these aren't Pendereckian compositions with suggestions for pitches- the composers wrote the pitches indicated for a reason. Sounds like I'm being too harsh? well, I feel the same way about Andrea Boccelli- lovely voice, flat way too much of the time. So now the whole world can hate me for thinking 2 commercial successes don't sing on pitch with the consistency expected at this level.
I know... this isn't helpful because you disagree. It's okay, there may be one person out there who would like an honest opinion even if they disagree, after all, I did cover, in detail, the perfomance and the performer and isn't *that* what these reviews are here for? to help people decide? :)
A True Diva.......2006-04-15
I do not think she sounded like Callas, whose voice appeared to be stronger and thicker, but less pure and agile than Angela's. Callas always seemed to have some tension in her voice, loud or soft. Gheorghiu can relax or tense up her voice as needed, increasing the dramatic effect, in both her low and higher registers. Finally Angela's lower voice is unmatched in its expressiveness and unstressed purity.
This CD is highly recommended but in order to experience her full artistic talents, including acting, get her DVDs.
Excellent voice!.......2006-02-24
A Diva ? A Copycat.......2005-12-24
UH WILL THE REAL CALLAS PLEASE STAND UP?.......2004-11-22
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Puccini
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Puccini
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ASIN: B0006G9HAC Release Date: 2005-03-01 |
Tracks:
- Un Bel Di Vedremo
- Tu, Tu, Piccolo Iddio
- Addio, Mio Dolce Amor - Chorus Of The Royal Opera House, Covent Garden
- Nel Villaggio D'Edgar - Chorus Of The Royal Opera House, Covent Garden
- Chi Il Sogno Di Doretta
- Si, Mi Chiamano Mimi
- Quando Me N'vo
- Donde Lieta Usci
- L'amore E Un'altra Cosa...Laggiu Nel Soledad
- In Quelle Trine Morbide
- Sola, Perduta, Abbandonata
- Senza Mamma
- O Mio Babbino Caro
- Se Come Voi Piccina Io Fossi
- Signore, Ascolta!
- Tu Che Di Gel Sei Cinta
- In Questa Reggia - Chorus Of The Royal Opera House, Covent Garden
Tracks:
- Vissi D'arte
Amazon.com
It would be difficult to fault the singing of Angela Gheorghiu on these discs (the second, bonus CD contains "Vissi d'arte" from her complete recording of Tosca). She goes through almost the entire Puccini catalog of heroines--Mimi and Musetta, Liu, Butterfly, Manon Lescaut, Liu and Turandot, Lauretta, Suor Angelica, Minnie (from Fanciulla), as well as the gals from La Rondine, Edgar, and Le Villi, and her exquisite, fine-grained, unique sound--with its dusky lower register--is always interesting and beautifully inflected. Her attention to dynamics is admirable, verbally, she seems genuinely involved in each character. The voice can deliver as much power, as in the end of the first Edgar aria, as gentleness, in Suor Angelica's "Senza Mamma" as needed. But somehow she doesn't make any one of the characters entirely her own. This may be a bit picky, but maybe that's the case with recital albums. Let's face it--her voice is irresistible and her husband, Roberto Alagna, adds his bronzed tones to two of the selections. --Robert LevineCustomer Reviews:
Commitment, passion and problems. . . ........2007-01-28
"camp".
OK: We all know there is a type of "opera queen" of all sexes and sexual orientations that thrive on bashing
certain singers while lauding others. This is not a war. I resisted Gheroghiu for years due to the hype and
marketing. I have not heard her live, so I don't know if she is out-faching herself by singing damn near
everything alla Callas.
What I DO hear is a rather "ugly" voice (again alla Callas) that is so distinctive as to be instantly recognizable. There is that middle European "keening", rapid vibrato quality that Vishnevskaya had.
What I hear above ALL however, is commitment and passion. There are pitch problems, AGAIN alla Callas, sharp
here, flat there, driven "ugly" sounds: all the hallmarks of the Kunstdiva, of which I think she might be the
reigning example in our time.
The Puccini style here is questionable: let's lay that off on the conductor.
Fleming, Gheorghiu, Netrebko, et al: committed, intelligent, driven women who make the world a better place
in which to live and listen.
Have your favorites, and lay off the others in print.
Flawed, but nevertheless excellent.......2006-02-04
Ms. Gheorghiu's voice is there as always, with it's dark, round timbre but, as I beleive a fellow reviewer has noted, they sound a bit alike. The usual passion she injects in this music is not entirely present, she somehow sounds uninspired.
Even so, the good outweighs the bad, and that's what makes this an excellent addition to your musical library; there's not a misplaced note anywhere, her gorgeous voice is a delight to the ears, and the musical selection is quite good and interesting, even if she's not up to the challenge of Turandot (at least not yet). For some reason that I don't share, a few people have found the conducting bad, but that's the aspect I pay less attention to, unless it's enormously obvious.
In short, this is a disc fans of Gheorghiu and good singing can't miss.
Disappointing Puccini recital.......2005-12-06
Vissi D'arte is very good, and In questa Regia is great, very different from how it is usually done, but Tu, Tu, Piccolo Iddio is not good at all and I don't like Quando Me N'vo either, I have heard much better performances of this classic, especially by Anna Netrebko, who is hot on Angela's heels as the next great diva. Watch your back, dear Angela!
Also, the programming on this album is strange, why is Vissi D'arte on a seperate disc...?
For anyone who loves this voice, it would still be a nice recital, but I am disappointed, I expected better.
Mixed bag.......2005-12-06
Anton Coppola's conducting is too slow for my taste most of the time. He seems to love every note Puccini wrote (which is understandable!), but his pacing undermines the drama in some of these selections. He also doesn't get much force out the orchestra when it is needed, such as in Turandot and the Madama Butterfly finale.
EMI's packaging is ridiculous. One aria, "Vissi D'arte" from Tosca, is on a separate disc, billed as a "bonus CD." It is from her earlier recording of the opera conducted by Antonio Pappano. The case is like a hardcover book, which looks nice, but does not fit in typical CD storage spaces.
Pitch problems and vocal disappointments.......2005-09-27
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ASIN: B0000584Y3 Release Date: 2001-02-06 |
Tracks:
- Gianni Schicchi: O Mio Babbino Caro - Leontyne Price
- La Boheme: Che Gelida Manina - Richard Tucker
- La Boheme: Mi Chiamano Mimi - Montserrat Caballe/Placido Domingo
- Turandot: In Questa Reggia - Birgit Nilsson/Jussi Bjoerling
- Turandot: Nessun Dorma - Ben Heppner
- La Rondine: Ch' il Bel Sogno Di Doretta - Leontyne Price
- Madama Butterfly: Humming Chorus - Rome Opr Chor
- Madama Butterfly: Un Bel Di Vedremo - Anna Moffo
- Tosca: Vissi D'arte - Leontyne Price
- Turandot: Signore, Ascolta! - Angela Gheorghiu
- Tosca: E Lucevan Le Stelle - Jussi Bjoerling
- La Boheme: Donde Lieta Usci - Angela Gheorghiu
- La Boheme: A Mimi, Tu Piu Non Torni - Placido Domingo/Sherrill Milnes
- Suor Angelica: Senza Mamma, O Bimbo, Tu Sei Morto! - Leontyne Price
- Tosca: Dammi I Colori!...Recondita Armonia - Jussi Bjoerling/Fernando Corena
- La Fanciulla Del West: Ch'ella Mi Credi Libero - Placido Domingo
- Turandot: Tu Che Di Gel Sei Cinta - Anna Moffo
- La Boheme: Vecchia Zimarra, Senti - Giorgio Tozzi
- La Boheme: Quando M'en Vo - Leontyne Price
- La Rondine: Ore Dolci E Divine - Anna Moffo/Sylvia Brigham-Dimiziani/Virginia De Notaristefani/Franca Mattiucci
- La Boheme: O Soave Fanciulla - Placido Domingo Montserrat Caballe/Sherrill Milnes
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The Ultimate Divas Album
Gioachino Rossini , Giuseppe Verdi , Alfredo Catalani , Umberto Giordano , Amilcare Ponchielli , Giacomo Puccini , Vincenzo Bellini , Georges Bizet , Wolfgang Amadeus Mozart , Richard Wagner , Modena Community Theater Orchestra , Royal Opera House Orchestra Covent Garden , Monte Carlo National Opera Orchestra , National Philharmonic Orchestra , Saint Cecilia Academy Orchestra , Wiener Philharmoniker , London Symphony Orchestra , London Philharmonic Orchestra , Riccardo Chailly , Sir Georg Solti , Henry Lewis , Fausto Cleva , Fernando Previtali , Herbert von Karajan , Richard Bonynge , Hans Knappertsbusch , Cecilia Bartoli , Renée Fleming , Angela Gheorghiu , Marilyn Horne , Renata Tebaldi , Frank Lopardo , Zinka Milanov , Joan Sutherland , London Symphony Chorus , Leontyne Price , Montserrat Caballé , and John Alldis Choir Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B00000AFR6 Release Date: 1998-09-15 |
Tracks:
- Cinderella: Non Piu Mesta
- L'Italiana in Algeri: Cruda Sorte!
- La Traviata: Follie! Delirio Vano E Questo!...Sempre Libera
- La Wally: Ebben?...Ne Andro Lontana
- Andrea Chenier: La Mamma Morta
- La Gioconda: Suicidio!
- Madame Butterfly: Un Bel Di
- Norma: Casta Diva
- TOSCA: Vissi D'arte
- Othello: Ave Maria
- Carmen: Habanera (L'amour Est Un Oiseau Rebelle)
- The Marriage Of Figaro: Dove sono
- The Marriage Of Figaro: Voi Che Sapeta
- The Magic Flute: Queen Of The Night's Revenge Aria
- The Abduction From The Seraglio: Durch Zartlichkeit Und Schmeicheln
- Die Walkure: Du Bist Der Lenz
- Tristan And Isolde: Isolde's Liebestod
Customer Reviews:
a voice teacher and early music fan.......2007-02-14
I will focus on a few that I personally like to hear:In Cecelia Bartoli's selection from 'Cinderella', a very much admired role,she exchanges her early life for a bright future with Prince Charming, and does so with expressive and great joy! I especially liked her in Handel's opera "Rinaldo" in which she stars along with David Daniels, American countertenor. She, in fact could be called the successor to Marilyn Horne,the Mezzo of an earlier generation.
In Horne's aria from Rossini's "Italian in Algiers", she unleashes her formidable 2 octave range as the brave Italian lady unfazed by a mere shipwreck and the prospects of an Algerian harem. MAGNIFICENT!!!!!!!
In my conservatory days I was priveleged to see Kirsten Flagstad 'live' in several Wagnerian operas. Not only was it a sight to hear her, but to see AND hear her was a memorable and totally unforgetable experience. Her voice was BIG and her body (especially as seen in costume)was equally so, but she sang notes that I'm not sure can really be sung anymore (no doubt,that's an exaggeration)but I'm trying to make a point here, so bear with me.
Now the consummate soprano has to be Kathleen Battle; my favorite role is Handel's "Semele" that includes a star-studded cast that also includes Marilyn Horne; just a great listen!!!!
I'm sure this album is not perfect, but I have had many many hours of listening enjoyment, so go for it!!!!!!
ILL FITTED ARIAS MAKES THIS CD INTERESTING BUT NOT AMAZING.......2004-11-22
Excellent CD, but where is Miss Norman?.......2003-10-10
I must say, I was quite disappointed when I noticed that Jessye Norman was not included in this compilation. She is the Supreme Diva!! If anyone should have been included, it should have been her. Perhaps they will come out with a CD entitled "The Diva: Jessye Norman", as that is the only way they could do her justice. She's in a league of her own.
Buy the CD. You will not be disappointed.
The Best of the Best.......2002-01-26
That said, this is a FANTASTIC compilation CD. It features all (well, a good sampling) of the great sopranos of past and present. All my favorites are here: Bartoli, Fleming, Battle, Kanawa, and of course, Sumi Jo.
The editors were very careful to include arias which display each soprano's strengths and predilections in repertoire - Bartoli has her bubbly Rossini, Sumi Jo her dazzling coloratura in Mozart, and Renee Fleming, with the most heartrending and beautiful version of Desdemona's "Ave Maria" from Verdi's Otello that I have ever heard. I can't help but catch my breath on the last syllable of "prega" - her tone is that innocent and pure. Kiri Te Kanawa, the consummate Countess, also makes an appearance with a very moving "Dove Sono".
This disc is also teaching me to appreciate the greats of yesteryear like Kirsten Flagstad and Birgit Nilsson - the legendary Wagnerian sopranos.
PLEASE don't listen to the previous reviewer - Kathleen Battle does not "fall flat" on Durch Zärtlichkeit. Only a beautiful soubrette like hers could pull off a challenging aria like that, and she does it marvelously (as usual ;)
BUY THIS CD!
beautiful!.......2002-01-18
Kathleen "The Great" Battle(my personal fav) just steals the show. Her delicate vocals can carry any wary listener into the pearly gates of heaven (bravo, bravo, encore, encore).
Montserrat Caballe, Dame Sutherland and Leontyne Price are also featured.
This part is a new edition to my review: There is a reviewer somewhere on this or the next page who called the GREAT BATTLE an insult! I'm shocked at this and you should be as well! BATTLE does NOT go flat..infact her entire performance was magnificent. So take that!
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Weekend Favourites-Weekend Classics - Puccini Favorites
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ASIN: B00000420L Release Date: 1993-05-11 |
Tracks:
- La Boheme: Si, mi chiamano mimi
- La Boheme: O soave fanciulla
- Gianni Schicchi: O mio babbino caro
- La Fanciulla del West: Ch'ella mi creda
- Madama Butterfly: Vogliatemi bene
- Madama Butterfly: Un bel di vedremo
- Madama Butterfly: Humming chorus
- Manon Lescaut: In quelle trine morbide
- La rondine: Chi il bel sogno di doretta
- TOSCA: Tre sbirri... te deum
- TOSCA: Vissi D'Arte
- TOSCA: E Lucevan le stelle
- Suor Angelica: Senza Mamma
- Turandot: Signore, Ascolta!... non piangere, Liui... Ah! Per l'ultima volta!
- Turandot: Nessun Dorma
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The Essential Leontyne Price
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ASIN: B000003FWD Release Date: 1996-08-13 |
Tracks:
- Aida: Act I: Ritorna vincitor!
- Aida: Act I: E l'amor mio?
- Aida: Act I: I sacri nomi di padre, d'amante
- Aida: Act III: Qui Radames verra!
- Aida: Act III: O patria mia
- Un Ballo in Maschera: Act II: (Prelude)
- Un Ballo in Maschera: Act II: Ecco l'orrido campo
- Un Ballo in Maschera: Act II: Ma dall'arido stelo divulsa
- Un Ballo in Maschera: Act III: A tal colpa e nulla il pianto
- Un Ballo in Maschera: Act III: Morro, ma prima in grazia
- Il Trovatore: Act I: Che piu t'arresti?
- Il Trovatore: Act I: Tacea la notte placida
- Il Trovatore: Act I: Di tale amor che dirsi
- Il Trovatore: Act IV: Siam giunti
- Il Trovatore: Act IV: D'amor sull'ali rosee
- Ernani: Act I: Surta e la notte
- Ernani: Act I: Ernani! Ernani, involami
- Ernani: Act I: Tutto sprezzo che d'Ernani
- La forza del destino: Act II: Son giunta! Grazie, o Dio!
- La forza del destino: Act II: Madre, madre, pietosa Vergine
- La forza del destino: Act II: La Vergine degli angeli
- La forza del destino: Act IV: Pace, pace, mio Dio
Tracks:
- Cosi fan tutte: Act I: Come scoglio immoto resta
- Madama Butterfly: Act II: Piangi? Perche?; Un bel di vedremo
- Madama Butterfly: Act III: Tu? tu? piccolo Iddio!
- TOSCA: Act II: Vissi d'arte
- Manon Lescaut: Act II: In quelle trine morbide
- Manon Lescaut: Act IV: Sola, perduta, abbandonata
- Dialogues des Carmelites: Act III: Mes filles, voila que s'acheve
- Don Giovanni: Act I: Don Ottavio, son morta!
- Don Giovanni: Act I: Or sai chi l'onore
- Don Giovanni: Act II: Crudele? Ah, no, mio bene!
- Don Giovanni: Act II: Non mi dir
- Turandot: Act I: Signore, ascolta!
- Turandot: Act III: Tu che di gel sei cinta
- Ariadne auf Naxos: Es gibt ein Reich
- Antony And Cleopatra: Act III: Give me my robe
Tracks:
- Otello: Era piu calmo?
- Otello: Mia madre aveva una povera ancella (Willow Song)
- Otello: Ave Maria
- Fidelio: Act I: Abscheulicher! Wo eilst du hin?
- Suor Angelica: Senza mamma, o bimbo, tu sei morto!
- Carmen: L'amour est un oiseau rebelle (Habanera)
- La Traviata: Act I: E strano, e strano !
- La Traviata: Act I: Ah, fors' e lui
- La Traviata: Act I: Sempre libera
- Le nozze di Figaro: Act III: E Susanna non vien!
- Le nozze di Figaro: Act III: Dove sono
- Die Agyptische Helena: Act II: Awakening Scene
- La rondine: Ore dolci e divine
- Salome: Finale
Tracks:
- Eugene Onegin: Act II: Puskai pogibnu ya
- Eugene Onegin: Act II: Ya k vam pishu
- Eugene Onegin: Act II: Net, nikomu na svete
- Eugene Onegin: Act II: No tak i byt'!
- La rondine: Act I: Chi il bel sogno di Doretta
- VANESSA: Act I: He Has Come, He Has Come!
- VANESSA: Act I: Do Not Utter A Word
- Carmen: Act I: Pres des remparts de Seville (Seguidilla)
- Manon: Act II: Allons! il le faut!
- Manon: Act II: Adieu, notre petite table
- Macbeth: Act IV: Sleepwalking Scene: Vegliammo invan due notti
- Macbeth: Act IV: Sleepwalking Scene: Una macchia e qui tuttora
- La Boheme: Act IIII: Addio. Donde lieta usci (Mimi's Addio)
- Die Frau ohne Schatten: Act II: Empress's Awakening Scene
- Dido and Aeneas: Act III: Thy Hand, Belinda!
- Dido and Aeneas: Act III: When I Am Laid In Earth
- Don Carlo: Act V: Tu che le vanita conoscesti del mondo
Tracks:
- Otello: Act I: Gia nella notte
- Otello: Act I: Quando narravi
- Otello: Act I: Venga la morte!
- Cosi fan tutte: Act I: Ah, guarda, sorella
- Madama Butterfly: Act I: Bimba, bimba, non piangere
- Madama Butterfly: Act I: Bimba dagli occhi
- Madama Butterfly: Act I: Vogliatemi bene
- Requiem: Recordare
- Porgy And Bess: Act II: Bess, You Is My Woman
- Norma: Act III: Me chiami, o Norma
- Norma: Act III: Mira, o Norma
- Ernani: Act II: Tu, perfida!
- Ernani: Act II: Ah, morir, potessi adesso
- Cosi fan tutte: Act II: Sorella, cosa dici?
- Cosi fan tutte: Act II: Prendero quel brunettino
- Aida: Act IV: La fatal pietra sovra me si chiuse
- Aida: Act IV: Presago il core della tua condanna
- Aida: Act IV: Vedi? Di morte l'angelo
- Aida: Act IV: O terra, addio
Tracks:
- Un Ballo in Maschera: Act II: Teco io sto!
- Aida: Act III: Ciel! mio padre!
- Aida: Act III: Rivedrai le forest imbalsamate
- Aida: Act III: In armi ora si desta il popol nostro
- Aida: Act III: Padre! a costoro schiava non sono
- Requiem: Angus Dei
- Manon Lescaut: Act I: Oh, saro la piu bella!; Tu, tu, amore?
- Cosi fan tutte: Act I: Soave sia il vento
- Porgy And Bess: Act II: I Loves You, Porgy
- Aida: Act II: Silenzio! Aida verso noi s'avanza
- Aida: Act II: Fu la sorte dell'armi
- Aida: Act II: Pieta ti prenda del mio dolor
- Aida: Act II: Alla prompa che s'appresta
- Il Trovatore: Act IV: Udiste?
- Il Trovatore: Act IV: Mira, di acerbe lagrime
- Il Trovatore: Act IV: Vivra! Contende il giubilo
- Madama Butterfly: Act II: Scuoti quella fronda di ciliegio (Flower Duet)
- Carmen: Act IV: C'est toi! - C'est moi!
- Carmen: Act IV: Ou vas-tu? - Laisse-moi!
Tracks:
- Les nuits d'ete, Op.7: Villanelle
- Les nuits d'ete, Op.7: Le spectre de la rose
- Les nuits d'ete, Op.7: Sur les lagunes
- Les nuits d'ete, Op.7: Absence
- Les nuits d'ete, Op.7: Au cimetiere (Clair de lune)
- Les nuits d'ete, Op.7: L'ile inconnue
- Four Last Songs: Fruhling
- Four Last Songs: September
- Four Last Songs: Beim Schlafengehen
- Four Last Songs: Im Abendrot
- Clair de lune, Op.46, No.2: Clair de lune
- Notre amour, Op.23, No.2: Notre amour
- Au cimetiere, Op.51, No.2: Au cimetiere
- Au bord de l'eau, Op.8, No.1: Au bord de l'eau
- No.1, Cinq melodies de Venise, Op.58: Mandoline
- Main dominee par le coeur
- Miroirs brulants No.2: Je nommerai ton front
- Miroirs brulants No.1: Tu vois le feu du soir
- Ce doux petit visage
Tracks:
- Knoxville: Summer Of 1915, Op.24: Knoxville: Summer Of 1915
- Frauenliebe und -leben, op.42: Seit ich ihn gesehen
- Frauenliebe und -leben, op.42: Er, der Herrlichste von allen
- Frauenliebe und -leben, op.42: Ich kann's nicht fassen
- Frauenliebe und -leben, op.42: Du Ring an meinem Finger
- Frauenliebe und -leben, op.42: Helft mir, ihr Schwestern
- Frauenliebe und -leben, op.42: Susser Freund, du blickest
- Frauenliebe und -leben, op.42: An meinem Herzen, an meiner Brust
- Frauenliebe und -leben, op.42: Nun hast du mir den ersten Schmerz getan
- Widmung (No.1, Myrthen, Op.25): Widmung
- Mignon (No.28, Liederalbum fur die Jugend, Op.79): Mignon
- Volksliedchen, Op.51, No.2: Volksliedchen
- Schone Wiege meiner Leiden (No.5, Liederkreis, Op.24): Schone Wiege meiner Leiden
- Er ist's (No.23, Liederalbum fur die Jugend, Op.79): Er ist's
- Heiss mich nicht reden (No.5, Lieder und Gesand aus Wilhelm Meister)
- Lust der Sturmnacht, Op.35, No.1: Lust der Sturmnacht
- Allerseelen, Op.10, No.8: Allerseelen
- Schlagende Herzen
- Freundliche Vision, Op.48, No.1: Freundliche Vision
- Wie sollten wir geheim, Op.19, No.4: Wie sollten wir geheim
- Der Gartner (Morike-Lieder No.17)
- Lebe wohl (Morike-Lieder No.36)
- Morgentau (From An Old Songbook)
- Geh, Geliebter, geh jetzt (Spanisches Liederbuch No.34)
Tracks:
- Ev'ry Time I Feel The Spirit - Various Artists
- Let Us Break Bread Together On Our Knees - Various Artists
- His Name So Sweet - Various Artists
- 'Roun' About De Mountain - Various Artists
- Swing Low, Sweet Chariot - Various Artists
- Sit Down, Servant - Various Artists
- Were You There - Various Artists
- He's Got The Whole World In His Hands - Various Artists
- Deep River - Various Artists
- Honor! Honor! - Various Artists
- My Soul's Been Anchored In De Lord - Various Artists
- On Ma Journey - Various Artists
- A City Called Heaven - Various Artists
- Ride On, King Jesus - Various Artists
- I Wish I Knew How It Would Feel To Be Free - Various Artists
- Sinner, Please Don't Let This Harvest Pass - Various Artists
- Sweet Little Jesus Boy - Various Artists
- There Is A Balm In Gilead - Various Artists
- Let Us Cheer The Weary Traveler - Various Artists
- Ev'ry Time I Feel The Spirit - Various Artists
- My Way Is Cloudy - Various Artists
- Nobody Knows The Touble I've Seen - Various Artists
- I Couldn't Hear Nobody Pray - Various Artists
Tracks:
- Holy, Holy, Holy
- Lead, Kindly Light
- Blessed Assurance
- Ave Maria
- What A Friend We Have In Jesus
- Amazing Grace
- The Lord's Prayer
- Pass Me Not, O Gentle Saviour
- The Church's One Foundation
- Bless This House
- I Need Thee Every Hour
- Fairest Lord Jesus
- I Wonder As I Wander
- Ave Maria
- Porgy And Bess: Summertime
- America The Beautiful
- Lift Ev'ry Voice And Sing
- A Mighty Fortress Is Our God
- Battle Hymn Of The Republic
Tracks:
- Chants tziganes, Op. 103: He Zigeuner
- Chants tziganes, Op. 103: Hochgeturmte Rimaflut
- Chants tziganes, Op. 103: Wisst ihr, wann mein Kindchen
- Chants tziganes, Op. 103: Lieber Gott, du weisst
- Chants tziganes, Op. 103: Brauner Bursche
- Chants tziganes, Op. 103: Roselein dreie in der Reihe
- Chants tziganes, Op. 103: Kommt dir manchmal in den Sinn
- Chants tziganes, Op. 103: Rote Abendwolken
- Adriana Lecouvreur: Act I: Io son l'umile ancella
- This Little Light O'Mine
- Interview With Leontyne Price By John Pfeiffer
Amazon.com
This 11-CD set, one might say jokingly, contains all the music ever written for the soprano voice and a bit for mezzo as well. And indeed, it's a staggering collection: In addition to her great Verdi heroines (the two Leonoras, Aida, Amelia, and Elvira in Ernani), Price is heard in her Puccini roles--Manon Lescaut, Butterfly, Tosca--and at least two dozen other roles, most of which she never sang on stage. Here are her heroic, secure Leonore in Fidelio, Strauss's high-flying Egyptian Helen, Purcell's Dido, Barber's Cleopatra, Bellini's Norma, Ariadne, Verdi's Violetta and Desdemona, Bizet's Carmen, Mozart's Countess, and Fiordiligi. Some are, naturally, more successful than others; almost none are embarrassing (Carmen comes close). In addition, she sings songs by Schubert, Schumann, and Strauss--none of them as well as say, Janet Baker or Elisabeth Schwarzkopf, and Barber's Knoxville, etc.--quite beautifully. Berlioz's Les Nuits d'été is not very good, but a group of spirituals is. In all, however, this is an amazing display by one of the century's greatest sopranos. There may be no new depths plumbed here, but the singing is a knockout. --Robert LevineCustomer Reviews:
A Long Time Coming..........2006-03-30
An American Icon....I will forever be a loyal fan and admirer!!
Her Best Album.......2006-01-01
This collection is overwhelming. Leontyne Price proves herself to be a masterful artist of diverse repertoire. Pity she didn't really sing these on stage because she would have put Maria Callas and all the reigning divas before and after her to shame. Listen to her remarkable, unsurpassed Mozart repertoire. This she did sing in opera houses, probably because Mozart does not require a true lyrico-spinto heavyness and smaller opera houses can accomodate Mozartian voices that do not often rise above the staff/orchestra. She sang exquisite Fiordiligis at the Met. The arias from Cosi Fan Tutte here - Soave sia il vento, O Guarda Sorelle and the fiendishly difficult vocal showcase "Come Scoglio" with its vertiginious scales are all fine samples of Miss Price's artistry. She sang Susanna and Donna Anna with beauty and bravura. The Salome excerpt is quite thrilling. She would have made a terrific Salome but the role is quite difficult and it would have surely killed her voice. Leontyne Price was the number one Verdi soprano. Every opera cognoscente will tell you that. When you hear the excerpts from Verdi operas here - Lady Macbeth's Sleepwalking Scene, Aida's arias, Leonora's arias from Trovatore and Leonora's arias from Forza Del Destino, particularly La Virgine Del Angeli and the ravishing Pace Pace Mio Dio- are the best renditions of Verdi soprano singing. Anyone who wants to study how to sing in the letter-to-letter Verdi lyrico spinto style should hear these arias. A voice like Leontyne cannot be easily imitated. Maria Callas's own voice can be imitated as Romanian diva Angela Gheorghiu has proven. Leontyne was in a class of her own, a voice that is both dramatic and beautiful to hear. However, most people find fault in her lack of dramatic interpretation. I say they're not hearing hard enough. Yes, there is excessive beauty in her singing but she understood that the opera heroines should sound beautiful because they are beautiful and though I never saw her on stage, from the recordings I hear she sounds dramatic and character-driven enough for me to be satisfied. For a devoted fan of Leontyne Price, this album is the Holy Grail. She sings the most beautiful Norma, Madame Butterfly, Tosca, Aida, Violetta, Madame Lidoin, Suor Angelica, Susanna, Dona Ana, Gilda, Fiordiligi, Desdemona and countless other heroines. The last cd is a collection of Gospel, spirituals and patriotic songs. These "American", non-opera selections find her in beautiful voice and she is actually paying tribute to her roots. She was not only African-American, but a Southerner from Mississippi. Her voice must have been heavenly to hear in Church! This is the album that made me love Leontyne.
Price At Her Peak.......2005-05-02
This album contains arias from operas that I didn't even know she performed- La Traviata (yes, Leontyne Price as Violetta is a moving and powerful interpretation, executed with sublime beauty. She finds herself the equal to Callas in the role- for Callas had a big voice for a role that calls for the "dying" effect. Thus, Price, like Callas, could sing roles that call for beauty and not just dramatic vigor. It's unfortunate that unlike the stars that were rising in her time- Joan Sutherland, Beverly Sills and Montserrat Caballe- Price never mastered the bel canto repertoire - Rossini, Donizetti, Bellini (although she sang a sensational Norma, excerpts are found in this recording). But her strongest suit was Verdi. She had the voice Verdi was looking for in a soprano- rich, dramatic, beautiful, able to fill up the lines with smoky and velvety hues and a gleaming high top. Check out her Amelia in Un Ballo In Maschera, her Leonora in Trovatore, her Leonora in La Forza Del Destino. Of course, her greatest role, her signature role, and one which she connected with on a personal/ancestral level was that of Aida. The first selections in this recording are from that masterpiece. As Aida, she was at her best. It was easy for her somehow, when most other sopranos tackle the role with difficulty. She conveys grace, nobility, passion and spirituality in the role of the tragic Ethiopian princess.
Further roles she excelled in that are on this recording is Desdemona in Otello, which she sung opposite Placido Domingo. Their masterful voices blend together harmonically and gloriously in the Act 1 Love Duet. She's quite the ground-breaking artist. Most Violettas in Traviata or Desdemona in Otello are Caucasian lyric soprano (Desdemona was white, Otello was black, that was Shakespeare's intention) but in opera, race does not matter and Leontyne Price's voice made her a star in a time when it was incredibly difficult for a black woman to sing opera. From the start of the century, opera was always associated with white Europeans and later on Americans. But Leontyne Price followed the inspirational example of the gutsy contralto Marian Anderson, who suffered a lot of rejection in opera due to skin color in pre-Civil Rights Movement 30's, 40's and 50's. Finally in the late 50's, Anderson, after a lifetime of singing only in private concerts and recitals, debuted at the Met as Ulrica in Un Ballo. Leontyne Price immediately picked up where she left- singing all the soprano diva roles typically associated with white singers - especially Tosca. Her Tosca is second to her Aida. As Tosca, she encompasses the diva who dies for love in the most thrilling way.
Other than Tosca, Puccini heroines were just as magnificent vehicles for her voice. She sang Madame Butterfly to great acclaim. I dont know how she did it but she suddenly ceased to be herself and became the frail, naive, lovesick Japanese Geisha. Softness and fragility is also mixed with the maturity of a woman in love, with passion and dramatic vocal color. She sang La Rondine with equal success, though this role is more along the lines of Violetta/Traviata. She sang Suor Angelica, she sang in modern works such as Barber's Antony and Cleopatra- in that infamous Zefferelli production- she sang Gershwin's Porgy and Bess, she sang in Dialoge of the Carmelites. All these are on here, along with her Baroque specialties- Dido in Dido and Aeneas. Her Mozart voice is also the best I've heard, really, even with a more dramatic and beautiful charm than other singers I've heard. She sang the acrobatic role of Fiordiligi in Cosi Fan Tutte, both Dona Ana and Donva Elvira in Don Giovanni. I prefer her as Dona Ana, she is all fire, despair, intensity and repressed desire, but she sings a hysterical and lovesick Elvira with a passion as well. She even sang the Countess in Le Nozze Di Figaro. But the sky was the limit to Price. She even sang, in a Jessie Norman way, the Wagner role of Isolde. Her "Liebestod" is the greatest I've heard since Birgit Nilsson, with a passion that stemmed from her religious Gospel heart.
This is a great album and I recommend it to any fan of Price and any fan of opera in general. If you have never heard Price and want to start somewhere, start with this one. This one or the Prima Donna Collection.
of course world class.......2000-08-14
the greatest american soprano of the 20th century.......1999-12-12
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Puccini: Opera Arias
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ASIN: B0000D1FLK Release Date: 2003-10-14 |
Tracks:
- Che Gelida Manina
- Si. Mi Chiamano Mimi
- O Soave Fanciulla
- Quando M'en Vo'
- O Mio Babbino Caro
- Ch'ella Mi Creda Libero E Lontano
- Senza Mamma
- Chi Il Bel Sogno Di Doretta (Doretta's Dream Song)
- Recondita Armonia
- Vissi D'arte, Vissi D'amore
- E Lucevan Le Stelle
- Vogliatemi Bene
- Un Bel Di Vedremo
- Una Nave Da Guerra...Scuoti Quelle Fronda
- Coro A Bocca Chiusa (Humming Chorus)
- In Quelle Trine Morbide
- Non Piangere Liu
- Tu Che Di Gel Sei Cinta
- Nessun Dorma!
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Puccini: Tosca
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ASIN: B000000UOD Release Date: 1997-09-16 |
Tracks:
- TOSCA: Act I: Ah! Finalmente! (Angelotti) - G. Puccini
- TOSCA: Act I: E sempre lava! (Sagrestano) - G. Puccini
- TOSCA: Act I: Dammi i colori ... Recondita armonia (Cavaradossi) - G. Puccini
- TOSCA: Act I: Voi! Cavaradossi! (Angelotti) - G. Puccini
- TOSCA: Act I: Mario! Mario! Mario! (Tosca) - G. Puccini
- TOSCA: Act I: E buona la mia Tosca (Cavaradossi) - G. Puccini
- TOSCA: Act I: Sommo giubilo, Eccellenza (Sagrestano) - G. Puccini
- TOSCA: Act I: Un tal baccano in chiesa! (Scarpia) - G. Puccini
- TOSCA: Act I: Or tutto e chiaro (Scarpia) - G. Puccini
- TOSCA: Act I: Tre sbirri, una carozza (Scarpia) - G. Puccini
Tracks:
- TOSCA: Act II: Tosca e un buon falco (Scarpia) - Puccini
- TOSCA: Act II: Ha pui forte sapore (Scarpia) - Puccini
- TOSCA: Act II: O galantuono, come ando la caccia (Scarpia) - Puccini
- TOSCA: Act II: Ov'e Angelotti? (Scarpia) - Puccini
- TOSCA: Act II: Sciarrone, che dice il Cavalier? (Scarpia) - Puccini
- TOSCA: Act II: Orsu, Tosca, parlate (Scarpia) - Puccini
- TOSCA: Act II: Floria ... Amore (Cavaradossi, Tosca) - Puccini
- TOSCA: Act II: Vittoria! Vittoria!b(Cavaradossi) - Puccini
- TOSCA: Act II: Quanto? (Tosca) - Puccini
- TOSCA: Act II: Vissi d'arte (Tosca) - Puccini
- TOSCA: Act II: Chi e la (Scarpia) - Puccini
- TOSCA: Act II: Io tenni la promessa (Scarpia) - Puccini
- TOSCA: Act III: Io de' sospiri (Un pastore) - Puccini
- TOSCA: Act III: Mario Cavaradossi? (Carceriere) - Puccini
- TOSCA: Act III: E lucevan le stelle (Cavaradossi) - Puccini
- TOSCA: Act III: Ah! Franchigia a Floria Tosca (Cavaradossi) - Puccini
- TOSCA: Act III: O dolci mani (Cavaradossi) - Puccini
- TOSCA: Act III: Come e lunga l'attesta! (Tosca) - Puccini
- TOSCA: Act III: Presto, su! Mario (Tosca) - Puccini
Amazon.com
This performance--one of several from January 1964--marked Maria Callas's return to the stage after a period of vocal restudy and hard work. To be sure, there are problems. The very highest notes tend to go wildly astray, flapping in the wind like flags, losing and regaining the pitch. But how many of them are there? Ten? Twenty? Taken in context, it's a mere handful (albeit a highly audible handful), and the performance as a whole does not suffer from them. In short, Callas is otherwise brilliant, acting with her voice to beat the band, and presenting us with a great portrait of Tosca the diva and Tosca the woman. Tito Gobbi, her frequent partner in this opera, is stunning as Scarpia, the incarnation of evil. Renato Cioni's Cavaradossi is unsubtle and forgettable, and he mewls enough to make himself a nuisance. Cillario's leadership is tight and sympathetic. This release is welcomed, even if you already own a Callas Tosca with the legend in fresher voice. --Robert LevineCustomer Reviews:
Callas & Gobbi...a thrilling team at Covent Garden, 1964.......2007-06-02
This present recording is from early in the series of Callas/Gobbi/Zeffirelli Tosca's at Covent Garden, dating from Jan 24, 1964. And, to my ears it is a fine recording as it perfectly captures the spirit of those performances. While it is true that both Callas and Gobbi had lost much of their respective vocal splendour by this stage, they are without doubt Tosca and Scarpia and thrillingly bring to light these great characters as set to the music of Puccini. From Callas there are some wobbly high notes but in this particular performance they are kept to a minimum, perhaps 3-4 at most. Throughout, Callas sing excitingly though it is apparent that the power and volume of her voice is reduced. However, it is a fully committed performance from start to finish and her concentration and will power are as evident as is her vocal accomplishments in the role. It's a truly legendary performance. What is interesting is that Callas receives no ovation from the audience on her entrance though there is enthusiastic applause after each act and after her stunning "Vissi d'arte", sung simply and as the prayer that it is.
Some people have well founded concerns about the sound quality of bootleg/private recordings of live performances such as this one. While the sound quality is less that would have been achieved in the studio or even if it had been recorded commercially, it is more than acceptable. Every word and syllable uttered is clear and the orchestra sounds vivid throughout. There are the inevitable sounds of the performers stomping around the stage and plenty of coughing from the audience but you do get a real sense of what it must have been like to be there. Also, the cost is so inexpensive it makes purchasing this set a given as it makes fascinating listening in comparison with the two Callas/Gobbi commercial recordings. True, there is no libretto but most Callas fans will already have at least one copy of the 1953 recording from EMI on CD so they will have a full libretto in a number of languages.
My advice: for Callas and Gobbi fans, grab a copy. It's a fascinating snapshot of a wonderful night in the theatre. For those who want to hear Callas as Tosca, start with the 1953 recording. This one is Callas at the end of her career when the voice was in decline. The first studio recording has her at the very top of her game both vocally and interpretively. This recording is not definitive as that one will always be but it is worth a listen.
For Callas and Gobbi junkies only. Warning: Cioni alert!.......2005-10-02
Sound: No more than fair.
Documentation: The usual Opera d'Oro offering. No libretto. Short essay on the history of the opera. Short summary of the plot. Track list.
Maria Callas is a very, very great singer who appeared in far too many dismal opera productions.
This is another performance on which I find it difficult to base an objective opinion. I bought it in an attempt to capture Callas in one of her greatest roles in a live setting. Well, that's what I got. Callas is ... Callas, that is to say, she is tremendous. For this particular helping of her greatness, though, you have to give her the benefit of a lot of goodwill. Her mighty conception of Floria Tosca is still present in full force, but in 1964 her execution is not at all what it once had been.
Tito Gobbi is, well ... Gobbi, one of the all-time greats. But 1964 is late for him, too, and behind all his dramatic power and charisma you can all but hear his voice fraying away with each bar.
Then there is Renato Cioni. Ehh, the very thought of that man makes my teeth itch. At some point, Cioni possessed a nice, useful, second-class voice, the sort of thing that is invaluable for a house tenor who eases the load on a star performer. Somewhere along the line, though, he must have become convinced that he, himself, was a star. Now, Pavarotti, born as he was with a tremendous voice, got away on ego and a silly bag of tricks for many years. Cioni, born much lower on the tenorial evolutionary scale, couldn't carry it off for ten seconds. He is the anchor that drags down any performance, even Joan Sutherland's high-flying first recording of "Lucia." Here in "Tosca," Cioni is, alas ... Cioni.
If you want a great "Tosca" with Callas and Gobbi, get the studio recording with diStefano. If you absolutely must have a live Callas/Gobbi "Tosca," this one, at least, is not very expensive and it offers better sound than the live Mexico City version (also on Od'O), although the latter has attractions for those who like audience excitement.
In the normal course of events, I'd give this recording four stars for sub-par Callas and Gobbi, then deduct one or even two stars for the wretched Cioni. However, it appears that, unlikely as it may seem, some people actually have a taste for that man's tenorial whining, so ... four stars.
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