Rival [Enhanced]

1. Quiera Dios

2. Fíjate Mijita

3. Por Si Regresas

4. Me Voy Contigo

5. Otra Vez el Amor

6. Ya No Voy a Llorar

7. Chiquilla Cariñosa

8. Petate Viejo

9. Aquel Inmenso Amor

10. Medallita de Oro

Rival,Ricardo Gutierrez y Rival,Hacienda,Dominican Republic,Latin,Mexican,Regional Mexican,Tropical

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Average customer rating: ...and the rest will continue to follow.... Not your typical P86 CD Weird and I like it... New Taste, Same Great Project 86. Solid

Rival Factions Project 86 Manufacturer: Tooth & Nail Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Christian Rock | Christian & Gospel | Styles | Music Christian Alternative | Christian & Gospel | Styles | Music General | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music General | Rock | Styles | Music Rap Rock | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Messengers Truthless Heroes Songs to Burn Your Bridges By The Physics of Fire Drawing Black Lines ASIN: B000QFAFE0 Release Date: 2007-06-19

Tracks:

1. Evil (A Chorus Of Resistance)
2. Put Your Lips To the TV
3. The Forces Of Radio Have Dropped a Viper Into the Rhythm Section
4. Molotov
5. Slaves To Liberty
6. Pull Me Closer, Violent Dancer
7. Illuminate
8. The Sanctuary Hum
9. Caveman Jam
10. Normandy

Customer Reviews:

...and the rest will continue to follow...........2007-07-03

Project 86. Long time listener, long time review writer. To put it bluntly this band has a butt that just won't quit. The band has taken me through a surge of rabid emotions through their long career. They have surprised me, bored me, and come back to win me over time and time again. I enjoyed "..and the rest will follow" but something was missing. It seemed to pale in comparison to the emotionally charged "Songs to burn your bridges by." Rival Factions took me completely by surprise with its electronically charged synth beats. Andrew's blatantly melodic vocal rhythms. Its almost as if this was the record "truthless heroes" aspired to be. A more accessible sound that didn't sacrifice so many of the bands excellent sounds.

The band is comforable with their new found ability to go almost anywhere at this point. You can always count on Andrews deeply meaningful lyrics which range from political, sarcastic, humerous, and allegorical. With every listen this record is villianously infectious. It's guilt free 80s inspired dark synth metal for the masses as only Project 86 can bring it. The perfect record for new fans. Even for a band on their 6th release.

Not your typical P86 CD.......2007-06-29

First spin around, and I was like "WHAT, WHO, WHERE, WHEN, WHAT (again)"
Second spin around, and I was like "WHAT, HMMMMMMMM"
Thrid spin around, and I was like "YES!!!!!!!!!!!!!!!!!"

All, that I can say is that I love this album. I would put it #2 or #3 in the list. I still love Drawing Black Lines first, and this one is fighting with Music To Burn your Bridges By for second.

All, I know is that I cannot wait to see them in concert again. The energy on the CD is the same as the stage and that is awesome.

Weird and I like it..........2007-06-27

I was surprised like everyone else (no one saw this coming believe me) when I heard some of the new tracks and the samples. After listening to the cd one time through I discovered how creative, catchy and intense the songs were. It was still Project 86, but totally evolved. Things that you hardly hear in other Project albums such as lots of synth, guitar solo's, alternate vocals (lots of singing but also high pitch screeching which I have never heard Andrew Schwab do, awesome).

Here is my appreciation of the songs individually:

Evil 10/10: The first time I heard this songs I thought I was listening to Queens of the Stone Age, and apart from the synth solo it it is reminiscent of their sound. The groovy rythm and atmosphere of this song are wat make it really good. If you listen to it too much, believe me it will not leave your head. What works really well is that in the chorus you hear two vocals: one singing the melody while the other voice shouts the lyrics.

Put your lips to the TV 8/10: After the deceptive and cheesy piano intro (did I forget to add that there is a lot of humor on this album and it's not only in the lyrics ;-)) the song kicks off with an old-school guitar riff, followed by a more typical Project 86 verse after which the incredibly catchy chorus grabs you by the throat with beautifully desperate sounding vocals from Schwab. To top it off we hear a solo from Randy that sounds pretty basic but works very well in the song as a bridge.

The Forces of Radio have thrown a viper into the rythem section 10/10: This song is awesome lyrically and musically. The things that stand out on this track are the drums, they build up really well to the different parts of the song and Andrews vocals are the best on the album, including aggressive gnarling and snarling in the verse and gut wrenching vocals in the verse.

Molotov 7/10: This song is good although it is not my favorite on the album. The coolest thing about the song is the 'Truthless Heroes-esque' lyrics that criticize modern culture for being all about the party and less about what counts in life. The keyboards play a big role in this song and are always haunting in the background and sometimes on the foreground. The song has a cool ending with Schwab adding extra vocal layers over the melody giving it a very full sound.

Slaves to Liberty 9/10: The lyrics are incredibly positive and kind of remind me crazily enough of 'Lean on Me' but the rock version haha. Again we have a very retro-rock intro riff. I especially like th driving bass on this one. The best way to listen to it is driving on the highway at full speed, you will not be able to stop. Lots of energy and groovy rythm are the signature of this song.

Pull me closer, Violent Dancer 8/10: Think "My Will Be a Dead Man" but then with synthesizers. The vocals are creepy in this song and the synth effect in the chorus sounds like they ripped it off of a classic horror movie. I love the way the synths and guitar blend into a melancholic and dreamy cocktail. The synths are the highlight of this song all around.

Illuminate 6/10: This song is not bad in fact it's really catchy, but it does not possess the intenseness of the other songs. I wouldn't call it a filler but it is the one song that I'm still not incredibly excited over although it does grow on you.

The Sanctuary Hum 9/10: The verse of this song sounds like something that fits well into the Truthless Heroes era, which I really liked. The opening riff actually reminds me of Projects first cd a little. The vocals first sound like what Schwabs voice evolved to on ...And the rest will follow. The verse has Randy and Schwab dueting to a very mellow and dark background. This song is about abuse, church and truth an explosive mixture but then again Project 86 is never afraid of venting thir opinions. Expecially the lyrics in the chorus are very provacative: "God save us, from your chosen ones" It srips in sarcasm and yearning for justice. Beautiful.

Caveman Jam 10/10: When I first heard the name of this song I thought it was a joke, but when i saw it on the actual tracklisting I freaked. Now a little while later it is my favorite song. The fuzzy guitars, the sarcastic lyrics, the high pitched synth building up just before the chorus and erupting into a sonically eery sound, the rythmically hammering vocals in the verse. I'm not a dancer but I can easily see a room go crazy on this vibe and at the same time I could see a rockers rocking out to it, it's that versatile.

Normandy 8/10: This song is again very different from the other songs. The lyrics are some of the best on the album. It is very melodic and not really in your face. It is a cool closer and very fitting for the album.


Verdict:
If you are a closeminded hardcore fan then don;t buy this, but if you like music and are open to innovation you will like this because it is a product of craftmansship. It is a little on the short side but the catchiness and groove of the songs compensate that. The album on the whole has some outstanding songs on it and despite some songs not being perfect the album is because they fit so well together.
This is retro-rock meets hardcore meets synths meets 80s.

New Taste, Same Great Project 86........2007-06-26

Six albums into their career, and Project 86 show no signs of slowing down. Consistently touring, and putting out new albums every one and a half to two years, you have to admire their work ethic. And yet, with each album, they still come through with sincerity and a sense of importance intact. "Rival Factions" is possibly the band's most experimental and unique album to date, which some might view as them changing their ways to find a home on radio. But to throw around such lofty accusations is a waste of time. You won't find any semblance of emo or noisy metalcore with Project 86's newest. Just a new take on the groove heavy, ultra melodic sound we've come to love from our favorite hardcore Christians.

If "Truthless Heroes" or "Songs To Burn Your Bridges By" weren't enough indication, Project 86 are truly the most politically charged Christian band on the scene today, and aren't afraid to stand out from the pack. The great thing about this album and each one before, is that even if you don't follow their faith (I don't) you can still appreciate their message and understand the fire that drives them. From the suggestive packaging to the blistering "Slaves To Liberty," Project 86 have yet to ease up on the themes established early on in their career. If anything, it's at least more exciting than 2005's "...And The Rest Will Follow," which felt like a Project 86 re-run.

Longtime fans may feel turned off at first by the slight change of style for this album. Fact of the matter, the songs are much catchier than before and capitalize on the grooves that used to give way to some of the band's heaviest moments. "Pull Me Closer, Violent Dancer" is a stunning example of how they make a new style work gloriously in their favor. For the moments that the band shifts gears into 80's gothic-dance inspired territory, they still don't let up their signature sound, cryptic lyrics and infectious hooks. Take a listen to the synths on "Illuminate," and yet tell me this isn't just as good as what they've been doing their whole career. It puts a new spin on a tried and true sound. The only thing that truly hurts this album is that it is but a mere thirty five minutes long. It makes for one breezy listen, which is good because it's going to take a few for you to appreciate it, but one can't help but feel that the album ends just as it's getting good. But then again, you know they'll be back in another year and a half with another album, so all is well.

Solid.......2007-06-23

All and all a solid effort. This is much more lyrical than their last two. In the songs that actually had a screamo part, the voice could have been replaced with regular singing and would have been marketable by the Newboys. This is in definite contrast to "...And the Rest Will Follow" where the screamo style was needed to complete the feel. The lyric content is in line with the rest of their albums. Right now, after three listens, I put it at my fourth favorite.
Great packaging and freebee with the pre-order. On a production note, there are a few times on the album where there volume steps down for no apparent reason.
It feels sort of like they might have tried to go more commercial (although I consider that a grave accusation). But it could be the group working with different ideas. Personally, I am hoping their next effort feels more like Follow or Bridges.
Buy it, you won't regret it.

Average customer rating:

Handel: The Masterworks (Box Set) Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Concerto Grossi | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Trio Sonatas | Sonatas | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music Recorder | Reeds & Winds | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Handel, George Frideric | ( H ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Brilliant Classics | Amazon.com Label Stores | Stores | Music Similar Items: Vivaldi: The Masterworks (Box Set) Haydn: The Masterworks [Box Set] Mendelssohn: The Masterworks [Box Set] Dvorák: The Masterworks [Box Set] Schubert: The Masterworks [Box Set] ASIN: B00062FLI8 Release Date: 2004-11-30

Average customer rating:

Paper Rival Paper Rival Manufacturer: Photo Finish ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music ASIN: B000RGSOLY Release Date: 2007-07-10

Tracks:

1. Alabama
2. You're Right
3. Home is Right Out Your Window
4. A Fox in the Garden
5. Pacing the Cage

Album Description

This debut 5-song EP from Nashville's Paper Rival contains a remade version of "Alabama", which was featured on their self-released "Thieves EP". It also includes one track from their forthcoming album expected in October, and three songs unavailable anyplace else, including a cover of Bruce Cockburn's "Pacing The Cage".

Average customer rating: Very Good Wonderful and Expressive Great Listening Music Beautiful Wonderful!!!!!!

Por Amor Manufacturer: Atlantic / Wea ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Latin Pop | Latin Music | Styles | Music General | Opera & Vocal | Styles | Music Lara, Agustin | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Domingo, Placido | ( D ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Domingo, Placido | ( D ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: De Mi Alma Latina, Vol. 2 De Mi Alma Latina 100 years of Mariachi Bajo El Cielo Espanol Por Fin Juntos ASIN: B000009MVL Release Date: 1998-08-25

Tracks:

1. Mujer
2. Solamente Una Vez
3. Guitarra Guajira/Palmera
4. Noche De Ronda
5. Noche Criolla
6. Te Quiero
7. Maria Bonita
8. Granada
9. Rosa
10. Mi Rival
11. Veracruz
12. Se Me Hizo Facil
13. Piensa En Mi
14. Arrancame La Vida
15. Palabras De Mujer
16. Farolito/Arroyito

Customer Reviews:

Very Good.......2007-02-20

I like Placido Domingo very much, and the songs of Agustin Lara sung by Mr. Domingo are great, as also the other songs by M. Teresa Lara, Jorge Casas and Julio Hernandez. I really like this album and have it in my car to listen to it over and over again while driving long distances. I think this was a good purchase and highly recommend it.

Wonderful and Expressive.......2007-02-17

Agustin Lara made bright and new, without overdone orchestration. Many songs are from the Suite Espanola, and all are beloved by lovers of the Lara bolero, an emotional journey not to be missed. A new sound for a few, that were known in Mexico as performed by Alejandro Algara, a less known lyric tenor. Very bright, and with less slips in the mix than the A. Lara, Suite Espanola CD by Mr. Domingo, titled Bajo El Cielo Espanol, also a great offering by this dramatic performer. This is really another Domingo that is needed by any fan...Singing his own love of Spanish songs in songs by one of the great historical song writers....A Winner, in my opinion!

Great Listening Music.......2000-03-14

A wonderful CD, a hidden treasure, by an artist who has suffered for being born in the Age of Pavarotti. Nobody does this kind of music better than Domingo - you will be transported.

Beautiful.......1999-12-10

This is Placido Domingo at his best--singing love songs in his native language. Very romantic and beautiful songs.

Wonderful!!!!!!.......1999-10-07

Love the C.D. as every one with the greatest voice ever! Placido Domingo is magnificent! The songs are lovely and the recording is very good.

Average customer rating: Was there ever a more exciting night at Salzburg? Must We Forget Leontyne Price? An old friend returns, yet again A minority opinion on this famous Trovatore A riveting live performance

Verdi: Il Trovatore Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Mascagni - Cavalleria rusticana / de Los Angeles · Corelli · Santini ~ Leoncavallo - Pagliacci / Corelli · Gobbi · Amara · von Matacic Puccini: Turandot La Tebaldi Puccini: Tosca Guiseppe Verdi: Aida ASIN: B0000012WQ Release Date: 2005-09-13

Tracks:

1. Part I, Scene 1: 1. Intro: 'All' Erta! All' Erta!' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
2. Part I, Scene 1: Racconto: 'Di Due Figli Vivea Padre Beato...Abbietta Zingara'/'Sull'orlo Dei Tetti' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
3. Part I, Scene 2: 2. Scena E Cavatina: 'Che Piu T'arresti?' - Laurence Dutoit/Leontyne Price
4. Part I, Scene 2: 2. Scene E Cavatina: 'Tacea La Notte Placida...Di Tale Amor' - Leontyne Price/Laurence Dutoit
5. Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Tace La Notte!' - Ettore Bastianini
6. Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Deserto Sulla Terra' - Franco Corelli/Ettore Bastianini/Leontyne Price
7. Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Vedi! Le Fosche Notturne Spoglie' - Chor Der Wiener Staatsoper/Roberto Benaglio
8. Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Stride La Vampa!' - Giulietta Simionato/Chor Der Weiner Staatsoper/Roberto Benaglio/Franco Corelli/Rudolf Zimmer
9. Part II, Scene 1: 5. Scena E Racconto: 'Soli Or Siam!'/'Condotta Ell'era In Ceppi' - Franco Corelli/Giulietta Simionato
10. Part II, Scene 1: 6. Scena E Duetto: 'Non Son Tuo Figlio?...Mal Reggendo All'aspro Assalto' - Franco Corelli/Giulietta Simionato
11. Part II, Scene 1: 6. Scena E Duetto: 'L'usato Messo Ruiz M'invia!' - Franco Corelli/Giulietta Simionato/Kurt Equiluz
12. Part II, Scene 2: 7. Scena Ed Aria: 'Tutto E Deserto' - Ettore Bastianini/Nicola Zaccaria
13. Part II, Scene 2: 7. Scena Ed Aria: 'Il Balen Del Suo Sorriso' - Ettore Bastianini
14. Part II, Scene 2: 7. Scena Ed Aria: 'Qual Suono! Oh Ciel!' - Ettore Bastianini/Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
15. Part II, Scene 2: 8. Finale II: 'Ah! Se L'error T'ingombra'/'Perche Piangete?' - Leontyne Price/Laurence Dutoit/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
16. Part II, Scene 2: 8. Finale II: 'E Deggio, E Posso Crederlo?' - Leontyne Price/Ettore Bastianini/Franco Corelli/Nicola Zaccaria/Laurence Dutoit...

Tracks:

1. Part III, Scene 1: 9. Chor D'Introduzione: 'Or Co' Dadi...Squilli, Echeggi La Tromba Guerriera' - Chor Der Wiener Staatsoper/Roberto Benaglio/Nicola Zaccaria
2. Part III, Scene 1: 10. Scena E Terzetto: 'In Braccio Al Mio Rival!' - Ettore Bastianini/Nicola Zaccaria/Giulietta Simionato/Chor Der Wiener Staatsoper/Roberto Benaglio
3. Part III, Scene 1: 10. Scena E Terzetto: 'Giorni Poveri Vivea' - Giulietta Simioinato/Nicola Zaccaria/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
4. Part III, Scene 2: 11. Scene Ed Aria: 'Quale D'armi Fragor Poc'anzi Intesi?' - Leontyne Price/Franco Corelli
5. Part III, Scene 2: 11. Scene Ed Aria: 'Ah! Si, Ben Mio' - Franco Corelli
6. Part III, Scene 2: 11. Scene Ed Aria: 'L'onda De' Suoni Mistici' - Leontyne Price/Franco Corelli/Siegfried Rudolf Frese
7. Part III, Scene 2: 11. Scene Ed Aria: 'Di Quella Pira' - Franco Corelli/Siegfried Rudolf Frese/Chor Der Wiener Staatsoper/Roberto Benaglio
8. Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Siam Giunti; Ecco La Torre' - Siegfried Rudolf Frese/Leontyne Price
9. Part IV, Scene 1: 12. Scena, Aria E Miserere: 'D'amor Sull'ali Rosee' - Leontyne Price
10. Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Miserere'/'Ah! Che La Morte Ognora' - Chor Der Wiener Staatsoper/Roberto Benaglio/Leontyne Price/Franco Corelli
11. Part IV, Scene 1: 13. Scena A Duetto: 'Udiste? Come Albeggi' - Ettore Bastianini/Leontyne Price
12. Part IV, Scene 1: 13. Scena A Duetto: 'Vivra! Contende Il Giubilo' - Leontyne Price/Ettore Bastianini
13. Part IV, Scene 2: 14. Finale Ultimo: 'Madre, Non Dormi?' - Franco Corelli/Giulietta Simionato
14. Part IV, Scene 2: 14. Finale Ultimo: 'Si, La Stanchezza M'opprime, O Figlio'/'Ai Nostri Monti' - Giulietta Simionato/Franco Corelli
15. Part IV, Scene 2: 14. Finale Ultimo: 'Che! Non M'inganna Quel Fioco Lume?...Ha Quest'infame L'amor.. - Franco Corelli/Leontyne Price/Giulietta Simionato
16. Part IV, Scene 2: 14. Finale Ultimo: 'Ti Scosta!'/'Non Respingermi' - Franco Corelli/Leontyne Price/Ettore Bastianini/Giulietta Simionato

Customer Reviews:

Was there ever a more exciting night at Salzburg?.......2006-11-26

Herbert von Karajan was a conductor who made a specialty out of Il Trovatore, and that influence can be seen directly in his handling of the score with De Sabata's orchestra six years earlier. Here, with six years trailing that magnificent recording, we find Karajan in demented form, carressing Verdi's score with passion, pathos, lyricism, and beauty, and driving the Vienna forces with that unique verve which made his Verdi so unique. I believe this is the best recording of Il Trovatore, despite the recording flaws, and with the magnificent cast, it is not easy to see why Deutsche Grammophon coerced the Austrian Broadcasting company to give them the master tapes of this performance. Everything in this performance--the cast, conductor, chorus, and the orchestra--all worked to make this broadcast special, albeit the less-than-ideal sound.

This recording brought Leontyne Price's Leonora to the Salzburg stage, a contribution that was in many ways the ideal combination of vocal beauty, drama, and Verdian sensitivity. Although Price is a lesser Leonora than Maria Callas, she performs very well on this recording, revealing much of Leonora's distress and pathos over Manrico's predicaments. I have never heard a more beautiful Tacea la notte or D'Amor sull'Rosee sung in all the Trovatores I've heard, and she adds a few high notes of her own in bits of the score. A wonderful performance. It was no doubt that Karajan would say that he got goosebumps when he heard her sing.

Corelli is Manrico. He may not have the beautiful legato of Carlo Bergonzi or the smooth discipline of Placido Domingo, but what a Manrico! You could hear a true gyspy in this performer, and he sings with such macho verve that it would be no doubt that Leonora would fall in love with this one tenor. A performance to keep for the ages!

Simionato is Azucena. With Stignani, Cossotto, and Barbieri, Simionato joined these great mezzos in the tier of Azucenas who make this role the center of the opera. She is perhaps the most insightful and powerful mezzo to take the role, and the runs simply pose no problems for her. She is the definitive Azucena, along with today's Dolora Zajick.

Ettore Bastianini is di Luna. Need I say more about this Verdian baritone except that he is excellent in every sense of the word? Bravo!

With Karajan on the podium in demented form, and a cast that matches his pacing word for word, this is probably my Trovatore of choice.

Must We Forget Leontyne Price?.......2006-01-08

I can appreciate all of the reviews given. I wish not so much to review the album of which I have 5 different recordings, but rather to sing the praises of the reviewers that at least acknowledged Leontyne Price. To those who took the time to focus on her performance, justice is finally meted out.

I cannot believe the reviewers who went on and on about Corelli, and the Azucena, and conveiently mentioned Miss Price only in passing or in many cases not at all.

But so much for reviews and reviewers. I can never forget what a teacher of organ, Zubin Mehta's brother, once said to me. Those who can, do. Those who cannot teach, and those with even lesser gifts review those to which they cannot hold a candle.

Thanks to all those reviewers who gave Miss Price the dignity that she deserves. I think history will eventually bear witness to the exceptional gifts of this artist. And to those in question, please read the reviews of Paul Hume circa 1960 from a Washington, DC newspaper, regarding Leontyne Price. He was a reviewer that was the exception.

An old friend returns, yet again.......2005-10-05

This is an old and familiar live performance which has been kicking around in sundry Lp and CD versions for quite awhile. The cast list tells virtually all that anyone needs to know about the thing: Price, Corelli, Bastianini, Simionato, not to mention the Wiener Philharmoniker conducted by Karajan.

I gather this version is in considerably improved sound. Well and good, for some versions have sounded--with the best of good will--pretty awful.

I am giving this only four stars because of Price. Yes, I know that at the time this recording was made she was still a keen and willing performer, not yet immobilized in her diva-hood. Nevertheless, I am simply not willing to give her the benefit of a doubt because I had the misfortune to see her in two live performances, once in "Ballo in maschera" and once in "Il trovatore." One of those two performances was the worst I have ever seen on stage and the other was the second worst--only I am not quite sure which was which. In both cases, she mooched around the stage, ignoring all others, softly crooning to herself until her big solo numbers, then she marched down to the footlights at center stage, faced forward and sang like an angel. That done, and having exhausted the cheers of the audience, she mooched back into the opera, loftily ignoring all others until the final curtain. But forget all that as sour grapes on my part, the fact remains that I can name a half-dozen sopranos easily available on CD who offer Leonoras equal to or better than this one from Price, starting with Bianca Scacciati, way back in 1930.

The previous Amazon reviewer downgraded this recording because of the presence of Corelli, calling him "a ludicrously vulgar Manrico." I do not object to that. Everyone has a right to his or her opinion. I must point out, however, that Manrico is a ludicrously vulgar part in a gloriously, marvelously, ludicrously vulgar opera. (And also this: computers have a wonderful thing called a spell-checker. Use it!)

A minority opinion on this famous Trovatore.......2005-10-05

This must have been a great night at the opera, and thanks to the official Radio Austria tapes, one can hear it in easonable mono sound. the glory of the evening was Leontyne Price, who had already earned herself a half-hour ovation as Leonora when she debuted at the Met. Thanks to the close mike placement, you can hear her quite clearly without distortion, and Karajan does an exemplary job from the pit. Simiantato is also a excellent Azucena, avoiding the out-of-control histrionics usually inflicted on this part and actually singing the notes.

But the good news stops there. The Conte di Luna of Bastianini, well past his vocal prime, is full of hollow tones and hokey overplaying. Corelli was a shameless primo tenore who had no patience for phrasing and no intelligence for much else besides singing as loud as he could and turning his handsome profile to best advantage. He is a ludicrously vulgar Manrico, second only to Tucker, who unfortunately paired with Price on her first Trovatore in 1959 for RCA.

Given all that, I think it's worthwhile to buy the cheapest version of this Trovatore that you can find--I have the super-bargain set from Opera d'Oro--so that you can revel in Price's singing and skip very quickly past Corelli's. The recent reawakening of enthusiasm for this crude singer is beyond me.

A riveting live performance.......2005-04-04

Corelli is quite overwhelming. He is in truly brilliant voice, and sings with great feeling and brio. The duos are all dead-on, and the aria Ah si, ben mio is sung with a longing and melancholia that are quite memorable. Reminds me of Pertile at his best, though Franco, of course, had basically a much finer voice.

As usual, rhythm is the weakest element in Corelli's performance, but Herbert von Karajan, master of rubato, stays with him almost preternaturally, providing a cushion of musical continuity that is like a masterclass in opera conducting. The aria thus becomes an unusual marriage of Italian feeling and Austrian grandeur: quite a performance! (And how the Vienna Philharmonic breathe with von K !!)

The Pira is the one instance when HvK decides not to accomodate: he wants to go very fast, martial style. Franco wants to go considerably slower, and the two are never once together, except in the first High C, which seems to last forever. In the choral/orchestral coda, Karajan forges ahead, as if to say: "I'll show you!". But, at such speed, chorus and orchestra fall apart (the very loud trumpets and percussion end up in different counties!) and then Franco comes in for the kill with a second High C that has to be heard to be believed!! It does last forever! Live!

Part of Corelli's rhythmic issues have to do with von Karajan's love for many different and contrasting speeds. This is absolutely idiomatic in an opera like Trovatore, but not every singer can keep up with that.

One who sure can is Giulietta Simionato, the Azucena. Whatever von K throws her way, she can handle: she is like a mad dog. Every syllable, every word, every phrase is "burnt in" with a volcanic power and a supreme self-assurance that I have not heard in any other Azucena. No matter how slow a waltz-rhythm, she never runs out of breath or steam. If fast, she eats it up. Loud? She is like Vesuvius. Soft? Just listen to the ending of the Condotta ell' era in ceppi, when she seems to be humming from inside her skull, as in a vision.

My favourite moment is the finale of the first scene of act III. Giorni poveri vivea. K sets a slow, weary movement to the initial arioso for Azucena, which Simionato handles with a dark, mournful colour and seemingly endless supplies of breath. Then K goes as fast as the wind into the stretta, and old Giulietta digs into it like a starved greyhound, taking, but of course, all the high options. Brava, diva! Karajan had found his match.

Average customer rating: Should give this 6 stars Everything Has Its Point Most mediocre album, ever. Quite simply one of the greatest albums ever so good

United by Fate Rival Schools Manufacturer: Island ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Punk Revival | Hardcore & Punk | Alternative Rock | Styles | Music Emo | Hardcore & Punk | Alternative Rock | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Slip Handsome Run to Be Born Quicksand Tin Cans With Strings to You ASIN: B00005MKA6 Release Date: 2001-08-28

Tracks:

1. Travel By Telephone
2. Everything Has Its Point
3. High Acetate
4. Undercovers On
5. Good Things
6. Used For Glue
7. World Invitational
8. The Switch
9. Holding Sand
10. My Echo
11. Favorite Star
12. So Dawn On
13. Hooligans For Life

Customer Reviews:

Should give this 6 stars.......2007-03-29

This realy should be up there with early Foo Fighters and Nirvana guess they never had the press behind them to plug them as the greatest thing since Hendrix (yeh right!)

Still, this is a great step up sort of like a continuation of where Quicksand was going after their 2nd lp. Interesing that there are so many used and new for sale (just gives you more of a reason to check them out if their stuff is going so cheap)

Everything Has Its Point.......2006-12-21

This isn't a bad album, by any means. Rival Schools' strengths here are the dynamic songs like 'Travel By Telephone' and 'Used For Glue'. What makes this album less-than-outstanding is an abundance of songs with monotonous dynamics and wandering, distracted-sounding melodies [such as 'Undercovers On'].

A previous reviewer has described this as "the most mediocre album ever." That's a bit of an exaggeration, but it's not all that far off the mark.

I don't regret buying a used copy.

Most mediocre album, ever........2005-11-26

Reading reviews, I've learned that every band has a select few fans that will laud each album as the greatest musical achievement since the dawn of time. I know I've got my couple bands that I'll never abandon, but Rival Schools (or any Walter Shreifels project) will never be one of those for me. The album has a couple engaging songs (Undercovers On, Good Things). The tracks vary from mellow to hard hitting, and some do a good job of progressing from a whisper to a scream. But there's more energy than talent put into this album.

Just don't expect any creative playing. Shreifels, Love, and Tolman just beat their guitars harder than the drummer. This album mostly goes to show that anyone with distortion pedal and a raspy voice can record an album. Perhaps the number and price of the "used and new" copies available is the most telling information on this page.

Quite simply one of the greatest albums ever.......2005-09-23

I bought "United By Fate" on a whim one day in 2002 just because the lead singer was Walter Shreifels, former frontman for Quicksand. At best, I was hoping Rival Schools wouldn't tarnish the memory of my beloved Quicksand. What I found was a sublime collection of artistic genious that I literally listened to 2 or 3 times a day for over 2 years straight and still listen to often. If you like rock music, you will love this record. Buy it now.

so good.......2005-08-27

These guys may come across as just another emo-core/indie rock band, but they're all much more advanced than the average emo/indie band. They've all been in the music business since the 80's and it shows in United By Fate. The best tracks are UNDERCOVER'S ON, TRAVEL BY TELEPHONE and EVERYTHING HAS ITS POINT.

Sometimes when I listen to a lot of emo-core/indie rock bands, they all kinda sound like the same thing after a while, but not these guys. TRAVEL BY TELEPHONE has a pretty unique guitar riff in it that I've never heard anywhere else. And another thing that's great about it is that it appeals to people who like rock in general, people who like indie rock, and just about any other form of the genre.

It's too bad that something so good was so overlooked.

Average customer rating: Fine reissue of a classic set

Purcell: Theatre Music Manufacturer: Decca ProductGroup: Music Binding: Audio CD Purcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music Hogwood, Christopher | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Purcell, Henry | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Odes | Vocal Non-Opera | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Cantatas for Solo Countertenor Purcell: The Fairy Queen Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs Lawes: The Consort Setts for 5 & 7 viols and organ ASIN: B0001Y4JHA Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

Average customer rating: a source of consumer surplus. A Leonora For All Time The greatest Leonora! Brilliant! The best Leonora forever

Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Similar Items: Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (2 complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan ASIN: B000002RY8 Release Date: 1997-08-19

Tracks:

1. Act One, Scene One: All'erta! All'erta! - Coro Del Teatro Alla Scala, Milano
2. Act One, Scene One: Di Due Figli Vivea Padre Beato - Coro Del Teatro Alla Scala, Milano
3. Act One, Scene One: Abbietta Zingara, Fosca Vegliarda! - Coro Del Teatro Alla Scala, Milano
4. Act One, Scene One: Brevi E Tristi Giorni Visse - Coro Del Teatro Alla Scala, Milano
5. Act One, Scene One: Sull'orlo Dei Tetti - Nicola Zaccaria
6. Act One, Scene One: Che Piu T'arresti? - Maria Callas
7. Act One, Scene One: Tacea La Notte Placida - Maria Callas
8. Act One, Scene One: Quanto Narrasti Di Turbamento M'ha Piena L'alma! - Maria Callas
9. Act One, Scene One: Di Tale Amor - Maria Callas
10. Act One, Scene One: Tace La Notte! - Rolando Panerai
11. Act One, Scene One: Il Trovator! Lo Tremo!...Deserto Sulla Terra - Rolando Panerai
12. Act One, Scene One: Anima Mia!...Piu Dell'usato - Coro Del Teatro Alla Scala, Milano
13. Act One, Scene One: Di Geloso Amor Sprezzato - Maria Callas
14. Act Two, Scene One: Vedi! Le Fosche Notturne - Coro Del Teatro Alla Scala, Milano
15. Act Two, Scene One: Stride La Vampa! - Fedora Barbieri
16. Act Two, Scene One: Mesta E La Tua Canzon! - Giuseppe Di Stefano
17. Act Two, Scene One: Soli Or Siami - Coro Del Teatro Alla Scala, Milano
18. Act Two, Scene One: Condotta Ell'era In Ceppi - Coro Del Teatro Alla Scala, Milano
19. Act Two, Scene One: Non Son Tuo Figlio! - Coro Del Teatro Alla Scala, Milano
20. Act Two, Scene One: Mal Reggendo All'aspro Assalto - Giuseppe Di Stefano
21. Act Two, Scene One: L'usato Messo Ruiz Invia!...Mi Vendica! - Renato Ercolani
22. Act Two, Scene One: Perigliarti Ancor Languente - Giuseppe Di Stefano
23. Act Two, Scene Two: Tutto E Deserto - Coro Del Teatro Alla Scala, Milano
24. Act Two, Scene Two: Il Balen Dei Suo Sorriso - Coro Del Teatro Alla Scala, Milano
25. Act Two, Scene Two: Qual Suono! Oh Ciel! - Coro Del Teatro Alla Scala, Milano
26. Act Two, Scene Two: Per Me Ora Fatale - Coro Del Teatro Alla Scala, Milano
27. Act Two, Scene Two: Ah! Se L'error T'ingombra - Rolando Panerai
28. Act Two, Scene Two: Perche Piangete? ... O Dolci Amiche (Leonora, Ines, Conte, Coro) - Maria Callas
29. Act Two, Scene Two: E Deggio Posso Crederlo? - Maria Callas

Tracks:

1. Act Three, Scene One: Or Co' Dadi, Ma Fra Poco - Nicola Zaccaria
2. Act Three, Scene One: In Braccio Al Mio Rival! - Coro Del Teatro Alla Scala, Milano
3. Act Three, Scene One: Giorni Poveri Vivea - Coro Del Teatro Alla Scala, Milano
4. Act Three, Scene One: Deh! Rallentate, O Barbari - Rolando Panerai
5. Act Three, Scene Two: Quale D'armi Fragor - Maria Callas
6. Act Three, Scene Two: Ah Si, Ben Mio, Coll'essere Io Tuo - Giuseppe Di Stefano
7. Act Three, Scene Two: L'onda De Suoni Mistici Pura Discenda Al Cor! - Maria Callas
8. Act Three, Scene Two: Di Quella Pira, L'orrendo Foco - Renato Ercolani
9. Act Four, Scene One: Siam Giunti, Ecco La Torre - Maria Callas
10. Act Four, Scene One: D'amor Sull'ali Rosee - Maria Callas
11. Act Four, Scene One: Miserere... Quel Suon, Quelle Preci - Maria Callas
12. Act Four, Scene One: Di Te, Di Te Scordami Di Te - Maria Callas
13. Act Four, Scene One: Udiste? - Coro Del Teatro Alla Scala, Milano
14. Act Four, Scene One: Mira, D'acerbe Lagrime - Coro Del Teatro Alla Scala, Milano
15. Act Four, Scene One: Conte! ... Ne Basti! - Coro Del Teatro Alla Scala, Milano
16. Act Four, Scene One: Colui Vivra...Vivra! Contende Il Giubilo - Maria Callas
17. Act Four, Scene Two: Madre, Non Dormi? - Coro Del Teatro Alla Scala, Milano
18. Act Four, Scene Two: Si, La Stanchezza Mopprime - Coro Del Teatro Alla Scala, Milano
19. Act Four, Scene Two: Ai Nostri Monti Ritorneremo - Giuseppe Di Stefano
20. Act Four, Scene Two: Che! Non M'inganna - Coro Del Teatro Alla Scala, Milano
21. Act Four, Scene Two: Parlar Non Vuoi?...Ha Quest'infame L'amor Venduto - Coro Del Teatro Alla Scala, Milano
22. Act Four, Scene Two: Ti Scosta! - Maria Callas
23. Act Four, Scene Two: Prima Che D'altri Vivere - Maria Callas

Amazon.com essential recording

Maria Callas's voice was never noted for its sheer beauty, but she was in her best form for this session and she knew exactly what to do with what she had. She might not make the distraught figure of Leonora rationally credible, but she knows more about acting with her voice than anyone this side of Sir John Gielgud. And she puts Leonora's emotions, her vulnerability, her whole-hearted, self-sacrificial love, squarely before the listener. Herbert von Karajan's conducting brings logical coherence to a work not noted for that quality. In short, this is vintage Callas, at the top of her form in some of the greatest music and some of the most intensely emotional situations ever devised for a soprano. Von Karajan--young and not yet burdened with the mannerisms of his later years, is an ideal partner. The other singers, though dwarfed by Callas, provide substantial support. --Joe McLellan

Customer Reviews:

a source of consumer surplus........2007-07-26

Don't even think twice, just buy it! Stellar cast exhibiting fearless performances.

I haven't heard the Azucena Barbieri recorded earlier with Milanov & Bjorling that many people prefer over her performance in this one, but here she is superb: her voice is strong and so dark that you really get a sense of Azucena's baleful schema.

Of course, the selling point is Callas. In this recording, she demonstrates just how supremely gifted she is as an artist. There are numerous wonderful surprises in her phrasing throughout that keep you always spellbound by her character.

It's an amazing, essential recording for any opera lover.

A Leonora For All Time.......2006-04-08

I have always considered the Trovatore Leonora to be one of Callas's very greatest roles. Here , less obscured by her undoubted dramatic gifts, we can enjoy the pure musicality of her singing. The timbre is perfect for Leonora - dark, plangent & (apart form at the very top of her register)surpassingly beautiful. The role displays her perfect legato, incredible breath control & accurate coloratura. She also has a wonderful understanding of just how to phrase a Verdian cadenza, quite different from anything she would do in Bellini or Donizetti. You only have to hear her first few phrases to know that this Leonora is an aristocrat. Leontyne Price is undoubtedly another great Leonora, and she too has a voice perfectly suited to the role, but occasionally she mars the vocal line with unmusical cadenzas, appearing more interested in laying out her voice for admiring display, where Callas is more intent on letting us hear Verdi. The rest of the cast is just about as perfect as was possible at the time & a good deal better than anything we could manage today. True, Di Stefano lacks the requisite weight, but he sings with such face, it is readily forgiven. His "Di quella pira" may not have the heroic heft of a Corelli, but he sings "Ah, si ben mio" quite beautifully. Panerai, Barbieri & Zaccaria could hardly be bettered & Karajan was at this time the perfect conductor for the project. He conducts with great style & dash, while at no time apologising for the occasional vulgarities in the score. More modern recordings are uncut & here we have the cuts traditional at the time, but at least we get one verse of Leonora's cabaletta "tu vedrai". The sound has also been remarkably well freshened up in it's present transfer. Unless you really have to have modern stereo digital sound, buy it. And, even if you have another recording, acquire this as well. You won't regret it!

The greatest Leonora!.......2004-07-02

I couldn't agree more with the reviews stating that Callas' Leonora is unsurpassed. Björling called this Leonora "sheer perfection". Unbeatable!

Brilliant!.......2004-06-13

The dream-team Callas-di Stefano comes together once more to record I'll Trovatore! And how beautifully they did it! Herbert von Karajan's conducting is supreme, Callas sings the definite Leonora, di Stefano sounds passionate and loving as Manrico and Barbieri kicks ass as Azucena. To the guy who said that if Callas had Milanov as a rival she'd fall on her face, Callas and Milanov performed at the same time! So there! The best Trovatore ever!

The best Leonora forever.......2004-05-16

Period! Di Stefano sounds surprisingly on fire as the ill-fated Manrico, Barbieri COMMANDS as Azucena and Panerei is a fabulous di Luna. Von Karajan conducts mastefully. Not the only Trovatore but one of the very best!

Average customer rating: The Troubles with Thomas Make sure you buy 2! But one complaint Voices of power A Masterful Double Bill

No Tenors Allowed: Famous Duets for Baritone and Bass Giuseppe Verdi , Vincenzo Bellini , Gaetano Donizetti , Münchner Rundfunkorchester , Miguel Gomez-Martinez , Thomas Hampson , Samuel Ramey , and Domenico Cimarosa Manufacturer: Teldec ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Cimarosa, Domenico | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Samuel Ramey - Operatic Arias Date With the Devil The Very Best of Thomas Hampson Leading Man Samuel Ramey: Ev'ry Time We Say Goodbye: Songs of Barber, ASIN: B00000I8T3 Release Date: 1999-03-16

Tracks:

1. Il matrimonio segreto: Se fiato in corpo avete
2. Don Pasquale: Cheti, cheti immantinente
3. Marino Faliero: Israele, che vuoi?...Se pur giungi a trucidarlo
4. I Puritani: Il rival salvar tu dei...Suoni la tromba
5. Attila: Uldino, a me dinanzi...Tardo per gli anni
6. Don Carlos: Restez!
7. Simon Boccanegra: Suona ogni labbro il mio nome
8. Un Giorno de Regno (Il finto stanislao): Tutte l'ami!

Amazon.com

This disc is remarkable in many ways. Not only does it bring together two of opera's reigning lower-voiced superstars, it shows them at their best and presents, in addition, repertoire we rarely get to hear. In the past, Samuel Ramey has occasionally come across as bland and Thomas Hampson as just a bit too eager for a man with what is essentially a very lyric baritone voice. But their chemistry here works: Ramey is filled with passion--some of it comic (as Don Pasquale), some of it vitriolic (as Fiesco), and some of it loony (as Attila); throughout, his burnished tone never lets him down. Hampson is charming and in handsome voice as well--equally light and patterful when comic (a delicious Malatesta), and nicely dire (Ezio and Rodrigue). He isn't up to Simon Boccanegra's stature either vocally or emotionally (for that, listen to the classic performance of Piero Cappuccilli, but the sheer loveliness of his singing is enough to carry the day. A must for fans of either gent, and an intelligent, unhackneyed collection of music to boot. --Robert Levine

Customer Reviews:

The Troubles with Thomas.......2005-12-31

This could have been a fantastic album, but ends up falling well short of that owing to Thomas Hampson. I have never understood the fawning praise Mr. Hampson receives. His voice is unpleasant, his musical interpretations are well-below average, and his coloratura is completely non-existant -- for an excellent example of this, compare, in the Pasquale duet, Ramey's exquisite descending scales in the "aspetta, aspetta, cara sposina" phrase with Hampson's sloppy counterpart, "il poverino, sogna vendetta". The "i" in "poverino" is supposed to carry over four separate notes, and not one note, a whooping cough, and a closing note! Judging by some interviews I've read and/or seen, Mr. Hampson appears to be a decent, down-to-earth gentleman. As an opera singer, however, he's mediocre at best. This recording is worth owning thanks to Ramey, who is absolutely top-notch.

Make sure you buy 2!.......2005-01-05

One to keep, one to give away. You'll wind up burning one for the car and one for the office regardless. A friend lent me this CD and I've bought 4 so far. One of the best! I can't recommend it enough.

But one complaint.......2004-08-21

Amusing concept, wonderful singing. But one question: Why was the Dandini-Don Magnifico duet from LA CENERENTOLA not included? Since they wanted to have two buffo duets, I think that would have been a better choice that the MATRIMONIO SEGRETO number.

Voices of power.......2004-03-21

It had always been my impression that when basses and baritones got together to sing, they were either intent on murdering each other, or else they were engaged in a jolly, male-bonding patter song. "No Tenors Allowed" (NTA) has examples of both of these types of duets. But the lower voices are also opera's authority figures, so we also have a smattering of Doges and Kings on this CD.

The basso cantante of Samuel Ramey and the baritone of Thomas Hampson swirl together like chocolate liqueur in coffee. This CD vibrates with dark sonics. Both artists bring their considerable powers of interpretation to these roles--no fooling around with buffo here, just wonderful singing.

There are a total of eight duets by Cimarosa, Donizetti, Bellini, and Verdi on this CD. Among my favorites:

"Cheti, cheti immantinente" from Donizetti's "Don Pasquale"--The elderly Don Pasquale (Ramey) and his personal physician Malatesta (Hampson) plot to catch Pasquale's young 'bride' in the garden with her lover. This might not sound like a particularly jolly situation, but the duet captures the verve of a hilarious plot--lots of "oh ho's," "ha ha's," and "hee hee's" scattered throughout--the very epitome of bass-baritone hilarity. Listening to this duet, I'm almost tempted to regret Ramey's preference for serious roles over lighter repertory like "Don Pasquale." His old buffoon schemes and whines and chuckles without a trace of vulgarity, just pure musicality. Both singers are patter-perfect.

"Suona ogni labbro il mio nome" from Verdi's "Simon Boccanegra"--This is the first of two great duets between adversaries Jacopo Fiesco, patrician and currently Doge of Genoa (Ramey) and Simon Boccanegra, a plebian and the future Doge (Hampson). Fiesco still hasn't forgiven Boccanegra for stealing the love of his daughter, Maria, who has borne Boccanegra a daughter out of wedlock. In this duet, Ramey's fury contrasts vividly with Hampson's pleading, "Padre mio, pieta t'implora..." as the baritone tells him of the loss of his little daughter (Fiesco's granddaughter). What Boccanegra does not yet know is that his lover, Maria has died. This duet is another fine example of a Verdian father-daughter heartbreaker, in which both men are mourning the loss of a daughter. Hampson sings with dramatic conviction, almost a sweet sound compared to the menacing undercurrent of Ramey's bass, but also dignified.

If you are a fan of the lower fach in Italian opera, NTA is a 'must' for your CD library.

A Masterful Double Bill.......2002-08-13

This is one cd that I may actually wear out. I love this collection! What a marvelous idea, to highlight the most under-represented opera format--the bass/baritone duet--and bring together two of the current best--Ramey and Hampson--to pull it off. I am a bass-baritone and find all these selections a wonderful change of pace from the usuall opera recording. The liner notes are hilarious, with their tongue-in-cheek (or not) poke at tenors. My only complaint, and it is a significant one, is this the libreto. Come on, guys, no English (or German or French) translations? It would have helped with the duets from lessor known operas, Cimarosa's, for instances. But all in all, an excellent effort that I recommend highly!

Average customer rating: Still the Best The best for many years, but now surpassed A Classic Trovatore --- but by far not the best! A REMINDER OF THE WAY OPERA USED TO SOUND! Down with the director!!

Verdi: Il Trovatore Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Milanov, Zinka | Divas | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Mascagni: Cavalleria Rusticana Verdi: Aida Verdi: Rigoletto Puccini: Manon Lescaut Puccini: Tosca ASIN: B000003EPY Release Date: 1990-10-25

Tracks:

1. Il Trovatore: All'erta, all'erta
2. Il Trovatore: Di due figli vivea
3. Il Trovatore: Che piu t'arresti
4. Il Trovatore: Tacea la notte placida
5. Il Trovatore: Di tale amor che dirsi
6. Il Trovatore: Tace la notte
7. Il Trovatore: Deserto sulla terra
8. Il Trovatore: Non m'inganno
9. Il Trovatore: Di geloso amor sprezzato
10. Il Trovatore: Vedi! Le fosche notturne spogile (Anvil Chorus)
11. Il Trovatore: Stride la vampa!
12. Il Trovatore: Soli or siamo
13. Il Trovatore: Condotta ell'era in ceppi
14. Il Trovatore: Non son tuo figlio?
15. Il Trovatore: Mal reggendo
16. Il Trovatore: Inoltra il pie
17. Il Trovatore: Perigliarti ancor languente
18. Il Trovatore: Tutto e deserto
19. Il Trovatore: Il balen del suo sorriso
20. Il Trovatore: Quel suono! Oh cie!
21. Il Trovatore: Per me ora fatale
22. Il Trovatore: Ah se l'error t'ingombra
23. Il Trovatore: Perche piangete
24. Il Trovatore: E deggio e posso crederlo

Tracks:

1. Il Trovatore: Or co'dadi
2. Il Trovatore: Squilli, echeggi la tromba guerriera
3. Il Trovatore: In braccio al mio rival
4. Il Trovatore: Quale d'armi fragor poc'anzi intesi
5. Il Trovatore: Ah, si ben mio
6. Il Trovatore: L'onda de' suoni mistici
7. Il Trovatore: Di quella pira
8. Il Trovatore: Siam giunti
9. Il Trovatore: D'amor sull'ali rosee
10. Il Trovatore: Miserere d'un'alma gia vicina
11. Il Trovatore: Udiste?
12. Il Trovatore: Mira, di acerbe lagrime
13. Il Trovatore: Vivra contende il giubilo
14. Il Trovatore: Madre, non monti?
15. Il Trovatore: Ai nostri monti
16. Il Trovatore: Che, non m'inganno

Amazon.com

This is the most beautifully sung Il Trovatore on record, but is by no means the most dramatic and is far from the best-conducted. Those who insist on stereo sound (which has substantial advantages for opera recordings in terms of dramatic presence and impact) may opt for the Zubin Mehta or James Levine treatments. But Jussi Bjoerling and Leonard Warren respond intensely to the score theatrically and, above all, musically, Zinka Milanov sings with a haunting beauty most of the time, Fedora Barbieri approaches the role of the Gypsy woman Azucena as if she were born to sing it, and the relatively small, well-disciplined chorus sings with a clarity and precision comparable to that of Levine's powerful Metropolitan Opera Chorus. --Joe McLellan

Customer Reviews:

Still the Best.......2005-03-25

Despite shortcomings, such as mediocre conducting, cuts and the "old" sound, not least the miscast tenor, this "Trovatore" remains unsurpassed for the beauty of singing. Milanov is simply the best Leonora ever, both in her grand arias and the dramatic coloratura segments. Bjoerling is not heroic enough for my taste. He is perfect for "Ballo," "Faust" and "Manon," but not for "Aida" or "Il Trovatore." But he makes up for the lack of heroic stature with the beauty of voice and singing. If only Milanov could sing this opera with Corelli, what a glorious "Trovatore" that would be!

The best for many years, but now surpassed.......2003-11-04

Most of the reviewers below have covered the majority of good and bad points about this recording, so I will be brief. Beautiful and mostly accurate singing but lacking dramatic credibility from the soprano and tenor; decent conducting but a terrible, thin-sounding orchestra; no sense of "sound-staging," very little drama except from Barbieri and Warren, and a very incomplete version of the score with numerous large and small cuts.

Of competing versions, pride of place goes to the new Ghiorghiu-Alagna set, even though Alagna pushes the voice a little too hard at times and holds the high C in "Di quella pira" well beyond its written length. The 1970 Mehta set has a good Leonora in Price and a decent Manico in Domingo, but Milnes' baritone lacks the proper bite for Di Luna and Cossotto is a joke as Azucena once one has heard Barbieri or Diadkova.

So, basically, we are still waiting for a really great "Trovatore." If you like Milanov and Bjorling, get this set. If you want a good balance between singing, drama and completeness, get the Pappano-Alagna set.

A Classic Trovatore --- but by far not the best!.......2003-01-23

This 1952 set has been acclaimed since its debut, and while it does feature some of the most passionate Italian singing on disc, it is poorly conducted and hopelessly boring. Bjoerling is second-rate (at best), and Cellini never quite captures the dramatic urgency of this gripping work. But the RCA Victor orchestra plays well in spite of it all, and the chorus work is most impressive.

Still, this recording is a must-own for its two leading women, Zinka Milanov and Fedora Barbieri, the latter being indisputably the best Azucena on disc. Zinka Milanov is ideal as Leonora, better than even Antonietta Stella on Serafin's recording; though she doesn't deliver as much intensity as Callas in Herbert von Karajan's inspired performance (who would?), she sings with soaring beauty and smart, focused characterization. The highlight, though, is the exquisite Azucena of Fedora Barbieri, one of the most underrated singers of the 20th century. She is glorious and exciting, bringing some much-needed thrill to this otherwise lackluster performance. She can also be found the aforementioned von Karajan set -- but believe it or not, she's better here.

Here's a summary of great Trovatore recordings: One of the best efforts, in certainly the best sound, is Mehta's 1970 recording with Domingo and Price as the leading roles. It's fantastic, with an all-star cast and superb orchestral work. I've mentioned von Karajan's more than once on this review, and his recording with Callas, di Stefano and Barbieri is a supreme addition to the catalogue. Callas fans should snatch it up without a moment's pause. But don't get it if you want sheer vocal perfection from the leading roles. I guess my No. 1 Recommendation is actually Tullio Serafin's version with Bergonzi as my favorite Manrico of all time. Other cast highlights include Antonietta Stella as a wonderful Leonora and Fiorenza Cossotto as a frightening Azucena. Enjoy!

A REMINDER OF THE WAY OPERA USED TO SOUND!.......2002-08-18

I'm going to make this very short and to-the-point. They simply don't sing like this anymore ----- sopranos and tenors
like Milanov and Bjoerling are an extinct breed, and we are the poorer for it. Ditto for Fedora Barbieri and Leonard Warren ------- two more outstanding singers ---- all of whom could be heard regularly at the Metropolitan Opera in the 1950's. But then again, so were many other great singers. We don't have voices like this today --- and one hearing of this recording of "Trovatore" sadly proves it. Recorded in 1952, it still sounds acceptable --- and no subsequent "Trovatore" has matched it, though the famous 1962 broadcast from Salzburg with Leontyne Price, Franco Corelli, Giulietta Simionato, and Ettore Bastianini, all under the baton of Herbert von Karajan, comes the closest.

Down with the director!!.......2002-06-11

I think this is a nice version from Trovatore, but musicaly, It lacks of intensity and drama coming from Cilario and Bjoreling. I must admit that Milanov, Merril and Barbieri are superb in each of their roles, but I didn't like that much Bjorleing's singing in this opera. With so little power in his "di quella pira". Good but not great!
As for the director I don't understand how they let him direct an orchestra!! he is Owghfull, no strenght. Maybe I'm overreacting with Cillario, but I heard so much better performances of the orchestra than this, an when I come back and listen to this one I get every day more disapointed.
Is a good choice if you think in the singers, but a terrible one if you think in the director.
Listen to Correlli's, Pryce version.

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