Caldera [Original recording remastered] [Import]

Product Description
Digitally Remastered Edition of the Debut Album from the Latin Jazz Funk Group from 1976. The Album was Produced by the Crusaders' Wayne Henderson and was Clearly Influenced by Return to Forever and Weather Report, but They also Incorporated the Funk of Earth Wind and Fire in the Mix. Add a Bit of Latin Spice and You've Got a True Melange of Latin Jazz Fusion that Uniquely Worked Well.

Caldera,Caldera,EMI Int'l,Pop,R&B,R&B/Soul

Average customer rating:

Domingo and Price Are a Winning Ticket
Well, why not?

Verdi: Don Carlos

Manufacturer: Bella Voce Records
ProductGroup: Music
Binding: Audio CD

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Verdi: Rigoletto
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ASIN: B00005TNCL
Release Date: 2001-11-27

Tracks:

Act I: Su, Cacciator! - Chor Del Teatro Alla Scala
Act I: Fontainebleau! Foresta Immensa E Solitaria! - Placido Domingo
Act I: Io La Vidi E Al Suo Sorriso - Placido Domingo
Act I: Oh! Vision Gentile Ver me S'avanza! - Placido Domingo
Act I: Di Qual Amor, Di Quant' Ardor - Placido Domingo
Act I: Al Fedel Ch'ora Viene, O Signora - Placido Domingo
Act I: L'ora Fatale E Suonata! - Placido Domingo
Act I: Inni Di Festa Lieti Echeggiate - Coro Del Teatro Alla Scala
Act I: Il Gloriose Re Di Francia, Il Grande Enrico - Placido Domingo
Act 2, Scene 1: Carlo Il Sommo Imperatore - Giovanni Foiani
Act 2, Scene 1: Al Chiostro Di San Giusto Ove Fini La Vita - Placido Domingo
Act 2, Scene 1: E Lui! Desso! L'Infante! - Renato Bruson
Act 2, Scene 1: Dio, Che Nell'alma Infondere - Renato Bruson
Act 2, Scene 2: Sotto Ai Folti, Immensi Abeti - Maria Fausta Gallamini
Act 2, Scene 2: Nei Giardin Del Bello - Maria Fausta Gallamini
Act 2, Scene 2: La Regina! - Renato Bruson
Act 2, Scene 2: Io Vengo A Domandar Grazia Alla Mia Regina - Placido Domingo

Tracks:

Act 2, Scene 2: Il Re! - Coro Del Teatro Alla Scala
Act 2, Scene 2: Non Piangar, Mia Compagna - Renato Bruson
Act 2, Scene 2: Restate! - Renato Bruson
Act 2, Scene 2: Signor, Di Fiandra Arrivo - Renato Bruson
Act 2, Scene 2: Oso Lo Sguardo Tuo Penetrar Il Mio Soglio - Renato Bruson
Act 3: Quanti Fior E Quante Stelle - Margaret Price
Act 3, Scene 1: A Mezzanotte, Ai Giardin Della Regina - Renato Bruson
Act 3, Scene 1: Al Mio Furor Sfuggite Invano - Renato Bruson
Act 3, Scene 2: Spuntato Ecco Il Di D'esultanza - Renato Bruson
Act 3, Scene 2: Sire, No L'ora Estrema - Renato Bruson
Act 3, Scene 2: Sire! Egli E Tempo Ch'io Viva! - Renato Bruson
Act 4, Scene 1: Ella Giammai M'amo! - Jevgeny Nesterenko
Act 4, Scene 1: Il Grande Inquisitor! - Luigi Roni
Act 4, Scene 1: Nell'ispano Suol Mai L'eresia Domino - Luigi Roni

Tracks:

Act 4, Scene 1: Giustizia! - Renato Bruson
Act 4, Scene 1: Ah! Sii Maledetto, Sospetto Fatale - Renato Bruson
Act 4, Scene 1: Pieta! Perdon! Per La Rea Che Si Pente - Margaret Price
Act 4, Scene 1: O Don Fatale - Jelena Obraztsowa
Act 4, Scene 2: Son Io, Mio Carlo - Renato Bruson
Act 4, Scene 2: Per Me Giunto E Il Di Supremo - Renato Bruson
Act 4, Scene 2: O Carlo, Ascolta - Renato Bruson
Act 4, Scene 2: Carlo, Il Brando Ormai Riprendi - Placido Domingo
Act 5: Tu Che La Vanita - Margaret Price
Act 5: Francia, Nobile Suol, Si Caro Ai Miei Verd'anni! - Margaret Price
Act 5: E Dessa! - Placido Domingo
Act 5: Ma Lassu Ci Vedremo In Un Mondo Migliore - Placido Domingo
Act 5: Si, Per Sempre! - Placido Domingo

Customer Reviews:

Domingo and Price Are a Winning Ticket.......2004-06-05

Domingo sounds glorious on this live recording, which has excellent sound by the way--no irritating audience coughs or distracting cast member stage tromps and clomps--,and Price is even more luscious. Margaret Price was a Mozartian soprano who grew into the Verdi, Strauss, and Wagner reps. and is saddly underrated these days, yet the voice here is ravishingly beautiful, even throughout the range, top notes unfurling like bright banners against a summertime sky. She has the voice of a queen as is fitting for her role as Elisabetta. Listen to the love duet between Don Carlos and his future step-mother in Act I (this is the 5 act Italian language version) and remain unmoved if you can. While the set comes with no libretto, for the price, this truly is a best buy. And if you already own the Giulini recording of Domingo and Caballe, you need no other libretto anyway. The Eboli of Obraztsova is a little wild vocally, the runs aren't as clean as they should be, intonation is approximate in places, but she has the necessary b-flats and the crowd goes mad after her first aria (one would do well to listen to either Olga Borodina's Veil Aria on Haitink's Philips set or Baltsa's on Karajan's EMI for better examples of Verdian line and style). If you love Don Carlo as much as I, don't hesitate to add this to your library, and if you've always wanted a copy but found the 3-cd studio sets too expensive, this is the one to get.

Well, why not?.......2002-03-29

This is very good recording of Don Carlo, not the best one, but still an interesting one. First of all, it is "live", so it may be interesting only to the fans of the opera. During the 1977-78 season there were two live "Carlo" recordings from Scala and both are conducted by Abbado. So far nice. They both feature Yelena Obraztsova as Eboli. Even nicer. Yevgeniy Nestrenko and Luigi Roni sing in both. On the first - the Inquisitor and the Monk, on the second (this one) they move up to the King and Inquisitor respectively. In the other recording, also available here at a much higher price the King is sung by Ghiaurov. One recording of his Philip should be in every music lover's collection, but he had many, so that may disqualify the other above mentioned recording - the most expensive one.

And so, the cast.
Don Carlo - Placido Domingo.
On this recording he sounds better than on his studio version with Abbado made several years later. The reason is of course the text. Even if the Spanish tenor is fluent in French, Italian is still more comfortable for him. The voice is powerfull and his unique ability to sing as a lyric tenor at one moment as a dramatic one in the next works very well in the role of Carlo. But, of course he is nasal and sometimes does not show enough commitment in the dramatic moments.

Elisabetta - Margaret Price
A fine Mozartian soprano, singing fine, but not making a very big impression.

Philipp II - Yevgeniy Nesterenko
As said above, the role of the king suits him better than the part of the Inquisitor. He has a powerfull bass-baritone, with good high notes and audible low ones. His half-declamatory style is not loved by some listeners, but it works very well in the great monologue and in the following confrontation with the Inquisitor. He has sung Philipp in the Bolshoi for some years, but never recorded it commercially.

Di Posa - Renato Bruson
What more can you ask for? The best baritone-brilliante since Taddei, a sencetive artist with high notes and a big "meaty" voice. Perfect.

Eboli - Yelena Obraztsova
If anything is more perfect than Bruson - it's the great Soviet mezzo. She was often partnered with Nesterenko in many operas (including this one) in the Bolshoi and their combination was uniqe. Especially in such works as "Aida" or "Khovanschina". Her Eboli is sung tenderly and with many nice nuances, but "Don fatale" is sung in an almost baritonal way - unbelievable.

Inquisitor - Luigi Roni
He is a bass. He sings loudly. That's what matters.

I may also add, that Giovani Foiani is a very good Monk.

Tracks:

L'Inverno E Lungo! La Vita E Dura!
Sentite La? La Tromba Suona!
Fontainebleau! Foresta Immensa
Io La Vidi E Al Suo Sorriso
Il Suon Del Corno Alfin Nel Bosco Tace.
Che Mai Fate Voi?
Di Qual Amor, Di Quant'ardor
Al Fedel Ch'ora Viene, O Signora
L'Ira Fatale E Suonata!
Il Glorioso Re Di Francia
Carlo, Il Sommo Imperatore
Al Chiostro Di San Giusto
E Lui!... Desso... L'Infante!
Dio, Che Nell'alma Infondere
Sotto Ai Folti, Immensi Abeti
Nel Giardin-Del Bello Saracin Ostello
La Regina!
Che Mai Si Fa Nel Suol Francese
Carlo, Ch'e Sol-Il Nostro Amore
Io Vengo A Domandar
Perduto Ben, Mio Sol Tesor
Sotto Il Mio Pie Si Dischiuda La Terra

Tracks:

Il Re!
Non Pianger, Mia Compagna
Restate!
O Signor, Di Fiandra Arrivo
Quest'e La Pace Che Voi Date Al Mondo?
Oso Lo Sguardo Tuo Penetrar
Introduzione
Quanti Fior E Quante Stelle
Deh! Vieni A Me!
A Mezzanotte Ai Giardin Della Regina
Al Mio Furor Sfuggite Invano.
Trema Per Te, Falso Figluiolo
Carlo, Se Mai Su Te Fogli Importanti
Spuntato Ecco Il Di D'Esultanza
Oh La Porta Sacra Del Tempio!
Qui Carlo! O Ciel!
Sire/Egli E Tempo Ch'io Viva.
O Ciel! Tu! Rodrigo!
Introduzione
Ella Giammai M'Amo!...

Tracks:

Il Grande Inquisitor!
Nell'ispano Suol Mai L'Eresia Domino
No, Giammai!
Giustizia! O Sire.
Ben Lo Sapete, Un Di Promessa
Soccorso Alla Regina!
Ah! Si Maledetto, Sospetto Fatale
Pieta! Perdon!... Per La Rea Che Si Pente
O Don Fatale, O Don Crudel
Son Io, Mio Carlo.
Per Me Giunto E Il Di Supremo
Che Parli Tu Di Morte?
O Carlo, Ascolta, La Madre T'Aspetta
Io Morro, Ma Lieto In Core
Carlo Il Brando Ormai Riprendi
Chi Rende A Me Quell'uom?
Ciel! Suona A Stormo!
Introduzione
Tu Che Le Vanita Conoscesti Del Mondo
E' Dessa!... Un Detto, Un Sol
Vago Sogno M'Arrise...
Ma Lassu Ci Vedremo
Si, Per Sempre!

Customer Reviews:

My favorite recording of Don Carlo.......2007-02-14

Don Carlo is one of the most difficult operas to stage successfully. The opera was one of Verdi's most magnificently orchestrated scores, and the shift in moods and moments definitely behold a challenge for any conductor as one needs to be melancholic, graceful, seductive, elegant, elegiac, and full of panache when leading the orchestra in this massive masterpiece. Spanning at least three hours, even when shortened to the Milanese four act version, it is perhaps Verdi's longest opera. The Five-act version is even better, and with that first act added, it has the potential to reach Wagnerian lengths minus the extended moments due to Verdi's dramatic genius. The opera requires five excellent singers with gigantic voices (six, if you include the Grand Inquisitor as a lead role)--Don Carlo, Elisabetta, Rodrigo de Posa, Filippo II, and Eboli. The vocal writing is extremely difficult due to the number of players sawing in the orchestra pit, but when a magnificent cast carries off a performance, Don Carlo is grand opera at its finest.

I reviewed a studio recording earlier with Solti as conductor and Tebaldi and Bergonzi spearheading a magnificent cast that includes Grace Bumbry (magnificent!) and Nicolai Ghiaurov. While I heap much praise on that recording for its magnificent colors and the titanic singing coming from the cast, I think Don Carlo is even more exciting when executed well in the theater. However, due to the difficulties of finding a perfect cast to sing the five main roles, the opera has had several nights of misses at the theater. There are four live performances of Don Carlo which I particularly admire...an Opera d'Oro recording with Caballe, Domingo, and Cossotto, an Abbado recording from 1978 with Domingo and Margaret Price, the French EMI release with Alagna, Mattila, and Pappano, and this...perhaps the best Don Carlo ever released.

There are several reasons for me to recommend this Don Carlo as an essential set to anyone's library. First and foremost, I don't think there has been a better Verdi conductor since Claudio Abbado, with the exception of Serafin and Muti, of course. The drive and the poetry that ignites the passion in this opera is all there, and Abbado during this evening has a synthesis of the best of Giulini, Karajan, Muti, Solti, and Serafin combined. The cast is nothing short of magnificent. I believe Mirella Freni is perhaps the best soprano to take on the part of Elisabetta. Her youthful and beautiful tone, control of dynamics, and sensitive and perfect phrasing make her the ideal queen, heads and shoulders above Tebaldi and Caballe. Her vocal acting is regal, and her legato is superb. She is partnered by the Carlo of Jose Carreras, perhaps the most sensitive and poetic singer to have sung the part onstage. His voice is splendid too, possessing a lovely-legato-Italianate quality and a musicality that neither Domingo, Pavarotti, Vickers, nor Corelli ever had. His passionate singing makes him a stronger contender over Carlo Bergonzi (who in my opinion still has the perfect voice for the role despite his rare lack of involvement). His friend, Rodrigo de Posa, is taken by Piero Cappuccilli, perhaps one of the greatest Verdi baritones of all time. His singing here is fueled by the atmosphere of La Scala, and never before have I heard a more effective Posa. He is even better than Milnes and Fischer-Dieskau. Nicolai Ghiaurov is the king, and this recording is the one that perhaps finds him at the peak of his vocal production and understanding of the role. His third-act monologue, his conversations with Posa and Carlo, and the chilling scene with the sonorous Inquisitor of Nesterenko, is perhaps one of the many highlights of this disc. A reference performance for a Filippo who took this assumption to several great performances (recorded and live) all over the world. There are some people who say that the weak link in this cast is the Eboli of Obraztsova. I think she gives it an aggressive lustiness that gives her princess a character that so many mezzos can ruin with their bland singing of this beautifully done demented role.

In short, this is a Don Carlo that combines the best elements of grand opera in what is perhaps one of the most exciting nights at La Scala. My recommendation? Buy it!

Pleasant performance.......2005-09-16

The primary reason for having this recording is because it is as complete a performance of Don Carlo as you are going to find. This is either good or bad depending upon your on ideas of how it should be performed. I want the 5 act version myself, but adding on the numerous sections that Verdi himself cut makes the opera overly long and ungainly in my opinion.

As a performance I do not find that it has the vitality of many other recordings. It seems to drag and lose momentum in many sections. The singers are good but not outstanding. Both Carreras and Ghiaurov are first rate and if you want Carreras, get this one and not the Karajan. I don't find either Freni's or Cappuccilli's voices or characterizations to be anything special - there are many finer recordings of these parts to be found elsewhere. Personally, I enjoyed Obratsova - nice voice and singing. Nesterenko is the least interesting and least effective of any Inquisitor I've ever heard.

For my tastes, the studio recordings of Don Carlo under Solti and Giulini remain my prime choices along with the video of the French version under Pappano.

A (qualified) success.......2000-09-06

I like this recording, but it is far from flawless or "absolute perfection". To temper Mr Ettinger's effusiveness... The recorded sound is in stereo but uncomfortably dry. The stage mikes are close up on singers, not the ideal perspective, and little if any hall ambience cushions the voices, presumably because La Scala was packed and its natural reverberation absorbed by the audience. Freni is near-perfectly cast as Elisabetta, both vocally and histrionically. Carreras, always the firebrand, sings mostly "forte", but relentlessly loud is eventually fatiguing. Be that as it may, he is still among the most thrilling Carlos. You can get Ghiaurov many times over as Philip, so he is not a deciding factor in obtaining this set. Suffice to say, he owns this role (in the absence of Christoff). Cappuccilli's Rodrigo is not a stand-out, but neither is he objectionable. He is always musical, solid, and stylish. OTOH, Obratsova is somewhat objectionable in that her Eboli is definitely NOT "sexy" (remember, she's supposed to be a courtesan) and her Italian is somewhat curdled. Likewise Nesterenko's diction. Nevertheless, his Inquisitor is acceptable if undistinguished. Other pluses: I insist on having the Fontainebleau Act, and this performance has it. When shorn of Act 1, the opera is maimed because musical references heard in later acts to the sublime love duet of the opening scene are without point of origin. You get a hint of Rapture, without having had full exposure to it - the lovers' first meeting out on the grounds of the castle - and lacking that experience (in cut versions), you cannot fully savor its memory. Furthermore, this production contains ALL of the Act 5 love-duet (frequently cut of its exhilarating "Go to Glory" section), and this too is ESSENTIAL Verdi, without which the opera is rendered even more skeletal. Abbado's conducting is alert and much more involved than his soporific studio French-language integral (DGG). In short, I like this performance as a viable alternative, with additional "frissons" because Live, to the complete 5-act Giulini recording (EMI).

La Clarissima

absolute perfection!.......2000-02-26

This is a rare occurrence when even the critics agree - this IS the best Don Carlo available. First, the score: it is the five-act version, which includes all the music Verdi wrote for this opera, except for the ballet which does not really add to the action and can be found on other CDs. While the composer was later satisfied with the four-act abridged "action-packed" version and even wrote that it would be "more practical [...] and better from artistic point of view", we the fans want to hear as much of our favorite composer as possible. Those agreeing with Verdi's statement can find a fantastic recording with many of the same principals under Karajan's baton on EMI. But they would sorely miss the Fontainebleau scene. This is a live recording but one hardly notices it, the sound is very well balanced, there are no annoying coughs, and the clarity is exceptional. Claudio Abbado revels in orchestral beauty of the score, but never does his orchestra overwhelm the singers. Those looking for um-pa-pa style of conducting will not find it here; the broad and colorful palette, highlighted by warm strings and clear wind sound is a marvel.

The principal and even supporting roles are brilliantly cast; it seems as each artist was "born" to sing his or her particular role. José Carreras is a powerful, heroic, simply dashing Don Carlos, his natural gift for romantic singing setting him strikingly apart (and above) even from such greats as Corelli and Vickers. We have come to expect the ethereal beauty of Carreras's love duets, and it will come as a surprise to many that his fortissimo notes are that strong, particularly without the benefit of studio settings. They are clear and ringing, engagingly projected forward, yet never loosing that splendid glowing timbre that characterizes all of his singing. He is accompanied by artists of equal vocal grace and appeal. Mirella Freni's angelic voice can take commanding and regal overtones, and at the same time she comes across as subtle and vulnerable heroine, a very sympathetic character. No wonder Ms. Freni could be so wonderful as Verdi's most beloved leading lady - Aida. Lately, several recordings and performances featured a spinto soprano as Elisabetta. I am not the one to say what's right or wrong, but to me only a voice such as Freni's (or Caballé's) can be effective in the final duet, interrupted by Philips's thunderous "Si, per sempre! " Speaking of Philip, this set has the best one that ever was - Nicolai Ghiaurov. I am a huge fan of the Bulgarian bass who prefers to stay away from spotlight, and after listening to his breathtaking "Ella giammai m'amò" you will be too, I am certain. Following the beautifully played introduction, he opens one of the best basso arias slower than usual, emphasizing the lyrical aspects of it, truly immersed in King's sincere love for Elisabetta and his sincere sorrow; but then he is all grim resolve and relentless fury, subsiding again into hurt and regret. I had to listen to it several times over - it's spellbinding. Baritone Piero Cappuccilli is one of the finest masters of Verdian line; his legato passages are flawless and his powerful voice is ideal for heroic Rodrigo. He has a show-stopping death scene, which he delivers with impeccable style, no gasps, no snarling, just warm, beautiful, heartbreaking sound. He and Carreras deliver a fantastic Friendship duet, readily resembling the one of Merrill and Bjorling. Elena Obraztsova, a Bolshoi Star, got lots of applause during this performance. For one, she has the highly spirited Bolero and then it's off to "O don fatale". Her Eboli is very unusual, almost masculine is sound, with powerful chest resonance, no vulnerability or even doubt there. She clearly brings out Eboli's "bad side" so to speak. A more charming Eboli can be found on Karajan's set - Agnes Baltsa, and Giulini's - Verett. But for strong, darkly seductive portrayal turn to Obraztsova. Finally Evgeny Nesterenko, another Bolshoi star, is cast here as the Grand Inquisitor. He is a very fine bass, no doubt, but he has to sing opposite Ghiaurov and he just does not seem as all-powerful as Philip describes him to Rodrigo. On recordings now not available, this role was taken up by Martti Talvela, and the ocean of sound he and Ghiaurov awoke together literally shook the house down. Interestingly, in 1985 Claudio Abbado cast Ghiaurov in this role for his DG recording of French version. Having said all that, I think Nesterenko is a solid commanding Inquisitor still, with wonderful breath span and booming low F.

Overall, this is more than just impressive recording. Despite the fact that it's live, it's the very best. Maybe it can be surpassed in the future, I am certainly looking forward to that, but it has not been equaled as of yet in terms of drama, vocal luster, and absolute dedicated and affectionate involvement from all the artists.

Caldera
Average customer rating:

Not as good as "Sky Islands" but worth buying.

Great South American Jazzrock

Latin Jazz Rock fusion at its best

at last !!!

I agree

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

General | Jazz | Styles | Music
Jazz Fusion | Jazz | Styles | Music
General | R&B | Styles | Music
General | Soul | R&B | Styles | Music
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Light the Light

ASIN: B0002E45VE
Release Date: 2005-12-22

Tracks:

Guanacaste
Coastin'
Exaltation
Synesthesia
Out Of The Blue
El Juguete

Album Details

Digitally Remastered Edition of the Debut Album from the Latin Jazz Funk Group from 1976. The Album was Produced by the Crusaders' Wayne Henderson and was Clearly Influenced by Return to Forever and Weather Report, but They also Incorporated the Funk of Earth Wind and Fire in the Mix. Add a Bit of Latin Spice and You've Got a True Melange of Latin Jazz Fusion that Uniquely Worked Well.

Customer Reviews:

Not as good as "Sky Islands" but worth buying........2007-07-25

Caldera, a so-called latin group, had deeply embedded brazilian and african musical roots that created beautiful melodies. Their introductory album was a very good start, but lacks the nuances of "Sky Island."

For diehard fans, get "Caldera" but, for the rest of us, please, please have someone, anyone, transfer "Sky Island" to compact disc. My turntable needle is now, basically, scratching my favorite Caldera album.

Great South American Jazzrock.......2007-02-01

Yes!
Good to see this album has made it to cd.
I used to listen to it in the 70's when it came out along with their other two releases "sky islands"(my favorite!) and another one which title I have forgotten.I enjoy the high level of virtuosity of these players,something you don't get to hear so often anymore.They are right up there with all the big names.
This one here is the more funky and jazzrocky one compared to "sky islands" which is definetly more brazilian influenced and somewhat deeper.
But they are all extremly good and unique and I just hope that the other ones will also become available on cd soon.
Also check out "Opa",another south american outfit from around that time centered around the singer Ruben Rada and the keyboard player Hugo Fatturoso."Magic Time"is the one you are looking for with guests Airto and Flora Purim.Very Good!

Latin Jazz Rock fusion at its best.......2006-05-14

Great stuff for 70s fusion affectionados - Please release not only Sky Islands - my fav was DREAMER

at last !!!.......2005-10-29

I love Caldera since my college days.... true, how come SKY ISLANDS is not included????

I agree.......2005-09-02

I agree with the first reviewer. This is quality music. I listened to this group all the time growing up and I need Sky Islands on CD. I have it in mint condition on an Album, but the quality is not the same. This group made alot of wonderful music and it should be appreciated.

Average customer rating:

Sunshine and Sins
Caldera
Manufacturer: brp! productions
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
ASIN: B000CA82OY
Release Date: 2005-08-16

Tracks:

Freedom
Death
Photosynthesis
Tribute to J.J.
Sex
Instrument-Panel Confessional
Lucille's Song

Verdi: Don Carlo (Complete Opera) / Carreras

Average customer rating:

Pleasant performance

Verdi: Don Carlo (Complete Opera) / Carreras
Jose Carreras , Freni , Elena Obraztsova , and Piero Cappuccilli
Manufacturer: Legato Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Opera & Vocal | Box Sets | Stores | Music
ASIN: B0000019XQ
Release Date: 1997-11-18

Customer Reviews:

Pleasant performance.......2005-09-16