| 1. Nos Siguen Pegando Abajo (Pecado Mortal) |
| 2. Cerca de la Revolución |
| 3. Yendo de la Cama Al Living |
| 4. Yo No Quiero Volverme Tan Loco |
| 5. Demoliendo Hoteles |
| 6. Dinosaurios |
| 7. Rezo Por Vos |
| 8. Dos Cero Uno (Transas) |
| 9. Rap del Exilio |
| 10. No Bombardeen Buenos Aires |
| 11. No Me Dejan Salir |
| 12. Inconsciente Colectivo |
| 13. Bancate Ese Defecto |
| 14. Piano Bar |
| 15. Raros Peinados Nuevos |
Editorial Reviews
Product Description
Import exclusive compilation for one of the most talented and influential figures of Argentine and Latin rock.
So wonderful. So much fun.
Up here in backwash Maine, there ain't much, believe me. But these guys are great. Sincere, care about what they're doing, true artists.
Ah, to go to Ireland again. Well, not unless the price of natural gas recedes!
Well worth buying.
Isaac Chute
The great reviewer L.E. Cantrel below touched on this and his instincts were right but it isn't only the excessive ornamentation that is out of place here. The role of Pamyra is in the same group as Matilde in Gulielmo Tell and obviously Anna in Maometto. As such, the tessitura very much lies in the middle of the voice requiring anything but a high coloratura. Secondly, Assedio did not originally have a contralto but a tenor role because Rossini knew that in France, where he first presented Siege, they did not like women in male roles. The music he wrote for his tenor, unlike the trouser Calbo in Maometto, was not very ornamented.
When Schippers decided to have a contralto as Neocle in Assedio (and none other than Marilyn Horne) he also had to bring back the music from Maometto otherwise Horne would be useless. With Sills regular upward transpositions, a borrowed aria from an early Rossini opera and interpolated high notes solved the problem of Pamyra's tessitura and pleased the crowd who after all didn't know much about this obscure work.
What came out was spectacular singing by both ladies who without a doubt sieged La Scala. Rossini's intentions were of course dismissed and this ends up sounding more like most of his very florid early works without the more sophisticated style that is still preserved in Gulielmo Tell. I'm not dismissing his early works but it is nice to see a different side of him which this recording however doesn't offer us. The sound is adequate and the supporting cast good with promising beginners. For Sills, Horne and all coloratura fans it's a must but for Rossini studies you should look further as it doesn't deserve the 4 stars I gave for the singing..:-)
Sound: Not very good, no better than fair--and that is a very generous assessment. Rest assured, anyone who buys this set must do it for the performance, not for the sound reproduction.
From the applause heard so close to the microphone pick-up, it is clear that this set was recorded from the audience. Since the orchestra and voices are in fairly good balance--or at least, not in as bad balance as found on many pirate recordings--and the cheering from the audience in the cheap seats is rather distant, my guess is that the pirate-recordist was sitting on the main floor, but away from the stage, well toward the back of the house. His or her recording equipment was far from state-of-the-art for 1969.
Cast: Pamira - Beverly Sills; Neocle - Marilyn Horne; Cleomene - Franco Bonisolli; Maometto II - Justino Diaz; Jero - Paulo Washington; Omar - Gianni Foiani; Ismene - Milna Paoli; Adrasto - Piero Di Palma. Conductor: Thomas Schippers with the Orchestra and Chorus of La Scala, Milan.
Text: This is one of those operas that offers--or rather suffers from--a multiplicity of texts. In Rossini's time, the best way for a worldly young composer (of which Rossini was a sterling example) to make pots of money was to write operas. Operas were commissioned by impresarios for performance during a specific season for a specific theater. After that, any scoundrel who could get his hands on the score or a reasonable facsimile thereof, could offer the piece as he saw fit--and Rossini (or Bellini or Donizetti) could whistle for his money. Only the presence of the composer on the spot to oversee an authentic performance was likely to guarantee that any money would find its way into his pockets.
In 1820, Rossini delivered this opera as "Maometto II." It came with a tragic conclusion. Two years later, he obtained another payday, but at a less sophisticated theater whose impresario demanded a happy ending. Rossini dutifully delivered one. Some years after that, Rossini hit the jackpot by receiving an invitation to present his opera in Paris, at the richest opera house in the world. The French, of course, fancied themselves as more cultivated than the over-emotional Italians. They certainly regarded Italianate vocal fireworks as more than a bit uncouth, so they demanded more sedate and dignified vocal lines as well as translation into their own language. Since the cause of Greek independence from the Ottoman Empire had become fashionable, they also demanded a change in plot: the opera would no longer sing the tale of the overwhelming of Negroponte, an Italian military colony; now it would be about the fall of Corinth, a suitably Greek town. Rossini gave them everything they wanted with the renamed "Le siege de Corinthe," then happily counted his money.
The revised opera was a hit in Paris. Back in Italy, French success acted as good advertising for local performances, so enterprising gentlemen translated the new French libretto into Italian as "L'assedio di Corinto," and tossed in whichever snippets of Rossini's music came to hand, even as they absent-mindedly neglected to send any money in Rossini's way.
And it has now come to pass that Amazon offers "Maometto II"--in both the 1820 and the 1822 versions, "Le siege de Corinthe" and "L'assedio di Corinto," the last in versions that reflect both Rossini's Frenchified approach and the uncorseted, unabashedly Italianate form under consideration in this review.
Documentation: Typical anemic Opera d'Oro package. No libretto. A few hundred words on the background of the opera. A few hundred words summarizing the plot. Track list.
Performance: An Amazon reviewer writing back in 2003 had this to say: "This is absolutely the most spectacular coloratura singing ever done by Beverly Sills. It's her debut at La Scala and it was a triumph." I quite agree, both about the singing and the triumph. I further affirm that the singing of Marilyn Horne is equally impressive, and in no way overshadowed by Sills. On the basis of those two tremendous performances, I have no qualms about endorsing the five-star ratings assigned by eleven of the thirteen previous reviewers.
But ... I can't help remembering a story about Rossini that is so well-documented and so widely spread that it might even be true. In his old age, the grand old man lived in Paris, self-acknowledged center of all the universe. A young, up-and-coming singer of fabulous potential--she might have been Adelina Patti--was presented to him. She sang "Una voce poco fa" from "The Barber of Seville," putting into it every trill, high note and spectacular decoration of which she was capable, all in the hope of impressing the great composer. When she was finished, Rossini smiled, applauded politely and said, "That was a nice tune. Who wrote it?"
I have no close familiarity with this score. I am satisfied to take the assurance of earlier reviewers that Sills, like Patti before her, tossed in astonishing high notes, glistening coloratura passages, exquisite trills and probably a kitchen sink or two. It was perfectly proper that she do so, for opera is show biz written large, and a large part, perhaps most, of the audience comes to hear just that sort of stunt singing. They generously award their bravissimas for it, and they depart the opera house warmly content in the knowledge that they have received good value for the outrageous prices of their tickets. After they leave, only curmudgeons like me and Rossini are left to mutter, "That was nice. Who wrote it?"
The rest of the performance is all right. Justino Diaz was a good, reliable singer but not, I think, on anyone's A-list of great bass-baritones. Franco Bonisolli could sometimes be a fine, stirring tenor. Cleomene is not one of his signature roles. Schippers and the orchestra seem to be OK, but the recording quality does them no favors.
HISTORICAL NOTE: In 1453, Sultan Mehmet (Mohammed II or Maometto II) captured Constantinople to the enormous dismay of Christendom. When the torn corpse of Constantine XI was brought before him, having been found among the piled bodies of Constantinople's final defenders and identified by the golden eagles sewn upon his shoes, the great sultan gave the last of the Byzantine emperors an honorable burial. Mehmet then divided the churches of the City equally between the victorious Moslems and his new Christian subjects and, from the very throne of the Roman Caesars, returned the pastoral staff to Patriarch Gennadius.
Mehmet busied himself with restoring, improving and re-populating the former Constantinople, now Istanbul [from the ubiquitous road signs, "eis ton polis" (to the city)]. For years he disdained to take notice of the mini-"empires" established in Greece by the tag ends of old Byzantine dynasties. In 1469, however, he wearied of the endless civil wars among the Greek dynasts. Leading a small but sufficient fraction of his total forces, the Sultan simply rolled over their strongholds, one of which was Corinth. Those of the would-be emperors that he captured he pensioned off, then sent them into exile in Rumania. Those who managed to escape to Italy and elsewhere busied themselves for the remainder of their squalid lives by selling off claims to the imperial title to any western prince foolish enough to pay them.
The mighty conqueror, Mehmet, continued to scare the bejabbers out of the princes and prelates of Europe until, to their vast relief, he died in 1481.
Mora to end all, and Anthony Kearns sings murderously difficult versions
of Macushla and The Croppy Boy like an angel. And their Courtin' and Irish
Medleys, and their "Nation Once Again" trios are simply glorious glees.
With the benefit of a grand theme, this is perhaps the best, and best balanced, of all their programs.
This is a MUST-HAVE for every ABBA Fan.
Como cualquiera de las grabaciones de ABBA, ORO es simplemente divino. El mismo incluye todos sus éxitos en español desde Fernando y Chiquitita hasta Dame! Dame! Dame!, Estoy soñando y Al andar. Las quince canciones tienen una gran calidad de sonido y son perfectas para bailar en una fiesta o simplemente disfrutar una velada con buena música.
Es un disco esencial para todos los fanáticos de ABBA.
This cd contains several of my favorite ABBA songs---"Chiquitita", "Fernando", "La Reina del Baile" (Dancing Queen), "Estoy Sonando" (I Have a Dream) and "Mamma Mia" to name a few. In Spanish the songs retain all the charm and great pop sound of their English counterparts. You will not need to know Spanish (I know very little!) to enjoy the music. Good music will transend any language and it is certainly true of this set of chart topping 70s hits!
After hearing this cd, I am planning on buy "Mas Oro", another collection containing more latin music from ABBA. I definitely recommend this to ABBA fans!
While Fernando, Chiquitita, and Mamma Mia translated quite fine, their version of "Conociendome, Conociendote" or "Knowing Me, Knowing You" was a little tougher, but still sounds good. Hasta Manana and Andante, Andante are two very pleasant and personal songs that hit that nerve previous hits accomplished. Even to the untrained Spanish speaker, Agnetha and Frida still sound very well.
For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.
The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.
These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.
Instead, the record wishes to envisage a journey of mediæval pilgrims, beginning in Western Europe, and moving through the Balkans towards the Holy Land. As such, the disk contains a mixture of Western European, Balkan, and Islamic melodies.
The strength of Ensemble Unicorn and Oni Wytars is their ability to use early music as the basis for extended jam sessions. This recording is framed by two such jams, each more than twelve minutes in length, the opening -Dinaresade- and the closing -Mevlana-. Based on Middle Eastern themes, these are excellent performances, rich in atmosphere. Fans of contemporary groups who make use of similar material, from Loreena McKennitt to Dead can Dance, may find this record interesting, and well worth the Naxos price.
FWIW, Ensemble Unicorn and Oni Wytars also collaborate on the -Black Madonna- recording, another Naxos release I can highly recommend.
Pedro Elias Gutierrez's "Alma llanera" opens the disc with a flavorful, syncopated arrangement that would not sound out of place at the Tropicana nightclub in Havana, while the melancholy mariachi-style horns of Jose Alfredo Jimenez's "Ella" provides a nice Mexican atmosphere. There is a trio of songs by Maria Isabel Granda Larco from his native Peru all arranged impeccably by the singer himself - the openly romantic "La flor de la canela", the more somber "Bello durmiente" and best of all, the intimate-sounding "Fina estampa" with impressive fretwork by David Galvez. Florez dares to tackle the warhorses that are Agustin Lara's "Granada" and Ernesto Lecouna's "Siboney", and while he puts out the necessary stops, the songs are a bit too familiar to have full dramatic impact. The arrangement on "Siboney" especially gets a bit too bombastic with syrupy strings and pounding jungle drums.
Better are the decidedly old-fashioned "Princesita" with Daniel Binelli's tango-infused bandoneon (an accordion-like instrument) and Maria Grever's "Jurame", which sounds almost like a Mario Lanza operetta-style number from an MGM musical. My personal favorites come near the end of the recording - the tropically tinged ballad, Nilo Menendez and Adolfo Utrera's "Acquellos ojos verdes" and Chuco Monge's "Mexico lindo" with its dramatic tempo changes. With his stunning voice, Florez has such an affinity for this music that it is easy to overlook some of the overdone arrangements. This is a solid example of how a crossover recording can be done with the right blend of talent and music regardless of what genre we expect from a prodigious singer.
This collection blows any other tenor's effort out of the water. I did not think that fully fledged operatic tenor could sing such swinging Latin music and sound so good. Domingo and his often tacky Broadway collections, and Carreras misguided attempts, it's all forgotten now. Florez is the new Mambo King.
I love all the songs, what incredible finds they are. There is only one rehashed song, the famous Granada, but Florez version is fantastic. I have to admit I do not love all of his opera singing, his quick vibratto works only intermittedly, and certainly he is very good in Rossini, but his Verdi is disappointing... not that it matters on this album. I did not know he started singing in the popular music field, but it certainly shows. Muchas gracias, Sr Florez for this fabulous gift, this Sentimiento Latino. Very cool and highly recommended.
Amazon's service was fine !
Import exclusive compilation for one of the most talented and influential figures of Argentine and Latin rock.
Oro,Charly García,Universal/Polygram,Argentina,Latin,Latin Pop/Rock,Latin Rock,Rock en Español
Average customer rating: 
|
The Very Best of The Irish Tenors
The Irish Tenors Manufacturer: Music Matters ProductGroup: Music Binding: Audio CD  All Works by Moore
| Moore, Thomas
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ASIN: B000069JJ6 Release Date: 2007-01-08 |
Tracks:
- Toora Loora Looral
- Will Ye Go Lassie Go
- Spanish Lady
- When Irish Eyes Are Smiling
- Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Reailway, Are Ye Right There Michael?
- Amazing Grace
- Nearer My God To Thee
- Danny Boy
- Fields of Athenry
- Only The River Runs Free
- Molly Malone
- Last Rose of Summer
- She Moved Through the Fair
- Maggie
- New Medley (combination of the 2 medleys
Product Description
1. Toora Loora Looral
2. Will Ye Go Lassie Go
3. Spanish Lady
4. When Irish Eyes Are Smiling
5. Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Railway - Are Ye Right There Michael?
6. Amazing Grace
7. Nearer My God To Thee
8. Danny Boy
9. Fields Of Athenry
10. Only The River Runs Free
11. Molly Malone
12. Last Rose Of Summer
13. She Moved Through The Fair
14. Maggie
15. New Medley (Combination of the 2 medleys)
Format: CD
Amazon.com
In the short time since they grouped together a few years ago to form their sensationally successful trio, the Irish Tenors have already put out an impressive array of recordings and DVDs, including some bona fide gooseflesh-inducing live concert performances. So, if you still have the enviable pleasure of discovering these amazing vocalists--or want to turn a friend on to their musical charms--this compilation CD will do the trick nicely. It brings together such classics as "Danny Boy," "Toora Loora Looral," "Last Rose of Summer," and "When Irish Eyes Are Smiling" (featuring John McDermott)--all rendered with the kind of passionate, heartfelt, and harmonious crooning that is their signature style, whether they're singing as an ensemble or as highlighted soloists. And even if you have the complete Irish Tenors, this anthology includes several numbers not found on their previously released CDs. Hard to think of a sweeter treat for a fan of singing too good to ever go out of fashion. --Sarah ChinCustomer Reviews:
Irish at it's best........2007-05-07
Irish Magic.......2006-08-21
Just got your Kleenex.......2005-12-25
Wonderful!.......2005-12-12
So wonderful. So much fun.
Up here in backwash Maine, there ain't much, believe me. But these guys are great. Sincere, care about what they're doing, true artists.
Ah, to go to Ireland again. Well, not unless the price of natural gas recedes!
The Very Best of the Irish Tenors is just that!.......2005-01-22
Well worth buying.
Isaac Chute
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Rossini: L'Assedio di Corinto
Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD General
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ASIN: B00005Y84R Release Date: 2001-02-27 |
Tracks:
- Sinf - Thomas Schippers
- Act One: Signor, Un Sol Tuo Cenno - Chor
- Act One: Del Vincitor Superbo... Guerrieri, A Noi S'affida - Franco Bonisolli/Marilyn Horne/Paolo Washingon/Chor
- Act One: Tua Figlia M'e Promessa.. Destin Terribile - Marilyn Horne/Franco Bonisolli/Beverly Sills/Chor
- Act One: Di Morte Il Suon Mando... La Data Fe - Chor/Beverly Sills/Franco Bonisolli/Marilyn Horne
- Act One: Dal Ferro Del Forte - Chor
- Act One: Duce Di Tanti Di Tanti Eroi - Justino Diaz
- Act One: Trionfammo, Signor - Gianni Foiani/Justino Diaz/Franco Bonisolli/Beverly Sills/Chor
- Act One: Pamira Mi Sei Resa - Justino Diaz/Beverly Sills/Franco Bonisolli/Milna Paoli/Gianni Foiani/Chor
- Act Two: Cielo! Che Diverro? - Beverly Sills
- Act Two: Sgombra Il Timor... Che Vedo? Ohime? - Justino Diaz/Beverly Sills
- Act Two: Vinci, Pamira... Imen Le Dona - Justino Diaz/Milna Paoli/Chor
Tracks:
- Act Two: Divin Profeta - Chor
- Act Two: Pamira... Questa Altar - Justino Diaz/Beverly Sills/Marilyn Horne
- Act Two: Sian Tolti A Lui Quel Ferri - Justino Diaz/Marilyn Horne/Beverly Sills/Gianni Foiani/Milna Paoli/Chor
- Act Three: Avanziam... Questo E Il Luogo - Marilyn Horne/Piero Di Palma
- Act Three: Signor, Che Tutto Puoi - Beverly Sills/Marilyn Horne
- Act Three: Signor, Ben Credo... Sei Tu, Che Stendi, O Dio - Marilyn Horne
- Act Three: O Mio Cleomene! - Marilyn Horne/Franco Bonisolli/Beverly Sills
- Act Three: Celeste Providenza - Marilyn Horne/Beverly Sills/Franco Bonisolli
- Act Three: Tutto Percorsi Il Marzial Recinto - Paolo Washington/Franco Bonisolli/Beverly Sills/Milna Paoli/Marilyn Horne/Chor
- Act Three: Nube Di Sangue Intrisa - Paolo Washington
- Act Three: Questo Nome, Che Suona Vittoria - Paolo Washington/Thomas Schippers
- Act Three: L'ora Fatal S'appressa... Giusto Ciel! In Tal Periglio - Beverly Sills/Milna Paoli/Women's Chor
- Act Three: Ma Qual Mal Suona Funebre Accento? - Beverly Sills/Milna Paoli/Justino Diaz/Chor
Customer Reviews:
A primadonna showpiece of dubious style.......2007-02-26
The great reviewer L.E. Cantrel below touched on this and his instincts were right but it isn't only the excessive ornamentation that is out of place here. The role of Pamyra is in the same group as Matilde in Gulielmo Tell and obviously Anna in Maometto. As such, the tessitura very much lies in the middle of the voice requiring anything but a high coloratura. Secondly, Assedio did not originally have a contralto but a tenor role because Rossini knew that in France, where he first presented Siege, they did not like women in male roles. The music he wrote for his tenor, unlike the trouser Calbo in Maometto, was not very ornamented.
When Schippers decided to have a contralto as Neocle in Assedio (and none other than Marilyn Horne) he also had to bring back the music from Maometto otherwise Horne would be useless. With Sills regular upward transpositions, a borrowed aria from an early Rossini opera and interpolated high notes solved the problem of Pamyra's tessitura and pleased the crowd who after all didn't know much about this obscure work.
What came out was spectacular singing by both ladies who without a doubt sieged La Scala. Rossini's intentions were of course dismissed and this ends up sounding more like most of his very florid early works without the more sophisticated style that is still preserved in Gulielmo Tell. I'm not dismissing his early works but it is nice to see a different side of him which this recording however doesn't offer us. The sound is adequate and the supporting cast good with promising beginners. For Sills, Horne and all coloratura fans it's a must but for Rossini studies you should look further as it doesn't deserve the 4 stars I gave for the singing..:-)
Sills and Horne...it should have been recorded.......2006-07-10
Famous performance offers extraordinary singing but not very good sound.......2006-01-07
Sound: Not very good, no better than fair--and that is a very generous assessment. Rest assured, anyone who buys this set must do it for the performance, not for the sound reproduction.
From the applause heard so close to the microphone pick-up, it is clear that this set was recorded from the audience. Since the orchestra and voices are in fairly good balance--or at least, not in as bad balance as found on many pirate recordings--and the cheering from the audience in the cheap seats is rather distant, my guess is that the pirate-recordist was sitting on the main floor, but away from the stage, well toward the back of the house. His or her recording equipment was far from state-of-the-art for 1969.
Cast: Pamira - Beverly Sills; Neocle - Marilyn Horne; Cleomene - Franco Bonisolli; Maometto II - Justino Diaz; Jero - Paulo Washington; Omar - Gianni Foiani; Ismene - Milna Paoli; Adrasto - Piero Di Palma. Conductor: Thomas Schippers with the Orchestra and Chorus of La Scala, Milan.
Text: This is one of those operas that offers--or rather suffers from--a multiplicity of texts. In Rossini's time, the best way for a worldly young composer (of which Rossini was a sterling example) to make pots of money was to write operas. Operas were commissioned by impresarios for performance during a specific season for a specific theater. After that, any scoundrel who could get his hands on the score or a reasonable facsimile thereof, could offer the piece as he saw fit--and Rossini (or Bellini or Donizetti) could whistle for his money. Only the presence of the composer on the spot to oversee an authentic performance was likely to guarantee that any money would find its way into his pockets.
In 1820, Rossini delivered this opera as "Maometto II." It came with a tragic conclusion. Two years later, he obtained another payday, but at a less sophisticated theater whose impresario demanded a happy ending. Rossini dutifully delivered one. Some years after that, Rossini hit the jackpot by receiving an invitation to present his opera in Paris, at the richest opera house in the world. The French, of course, fancied themselves as more cultivated than the over-emotional Italians. They certainly regarded Italianate vocal fireworks as more than a bit uncouth, so they demanded more sedate and dignified vocal lines as well as translation into their own language. Since the cause of Greek independence from the Ottoman Empire had become fashionable, they also demanded a change in plot: the opera would no longer sing the tale of the overwhelming of Negroponte, an Italian military colony; now it would be about the fall of Corinth, a suitably Greek town. Rossini gave them everything they wanted with the renamed "Le siege de Corinthe," then happily counted his money.
The revised opera was a hit in Paris. Back in Italy, French success acted as good advertising for local performances, so enterprising gentlemen translated the new French libretto into Italian as "L'assedio di Corinto," and tossed in whichever snippets of Rossini's music came to hand, even as they absent-mindedly neglected to send any money in Rossini's way.
And it has now come to pass that Amazon offers "Maometto II"--in both the 1820 and the 1822 versions, "Le siege de Corinthe" and "L'assedio di Corinto," the last in versions that reflect both Rossini's Frenchified approach and the uncorseted, unabashedly Italianate form under consideration in this review.
Documentation: Typical anemic Opera d'Oro package. No libretto. A few hundred words on the background of the opera. A few hundred words summarizing the plot. Track list.
Performance: An Amazon reviewer writing back in 2003 had this to say: "This is absolutely the most spectacular coloratura singing ever done by Beverly Sills. It's her debut at La Scala and it was a triumph." I quite agree, both about the singing and the triumph. I further affirm that the singing of Marilyn Horne is equally impressive, and in no way overshadowed by Sills. On the basis of those two tremendous performances, I have no qualms about endorsing the five-star ratings assigned by eleven of the thirteen previous reviewers.
But ... I can't help remembering a story about Rossini that is so well-documented and so widely spread that it might even be true. In his old age, the grand old man lived in Paris, self-acknowledged center of all the universe. A young, up-and-coming singer of fabulous potential--she might have been Adelina Patti--was presented to him. She sang "Una voce poco fa" from "The Barber of Seville," putting into it every trill, high note and spectacular decoration of which she was capable, all in the hope of impressing the great composer. When she was finished, Rossini smiled, applauded politely and said, "That was a nice tune. Who wrote it?"
I have no close familiarity with this score. I am satisfied to take the assurance of earlier reviewers that Sills, like Patti before her, tossed in astonishing high notes, glistening coloratura passages, exquisite trills and probably a kitchen sink or two. It was perfectly proper that she do so, for opera is show biz written large, and a large part, perhaps most, of the audience comes to hear just that sort of stunt singing. They generously award their bravissimas for it, and they depart the opera house warmly content in the knowledge that they have received good value for the outrageous prices of their tickets. After they leave, only curmudgeons like me and Rossini are left to mutter, "That was nice. Who wrote it?"
The rest of the performance is all right. Justino Diaz was a good, reliable singer but not, I think, on anyone's A-list of great bass-baritones. Franco Bonisolli could sometimes be a fine, stirring tenor. Cleomene is not one of his signature roles. Schippers and the orchestra seem to be OK, but the recording quality does them no favors.
HISTORICAL NOTE: In 1453, Sultan Mehmet (Mohammed II or Maometto II) captured Constantinople to the enormous dismay of Christendom. When the torn corpse of Constantine XI was brought before him, having been found among the piled bodies of Constantinople's final defenders and identified by the golden eagles sewn upon his shoes, the great sultan gave the last of the Byzantine emperors an honorable burial. Mehmet then divided the churches of the City equally between the victorious Moslems and his new Christian subjects and, from the very throne of the Roman Caesars, returned the pastoral staff to Patriarch Gennadius.
Mehmet busied himself with restoring, improving and re-populating the former Constantinople, now Istanbul [from the ubiquitous road signs, "eis ton polis" (to the city)]. For years he disdained to take notice of the mini-"empires" established in Greece by the tag ends of old Byzantine dynasties. In 1469, however, he wearied of the endless civil wars among the Greek dynasts. Leading a small but sufficient fraction of his total forces, the Sultan simply rolled over their strongholds, one of which was Corinth. Those of the would-be emperors that he captured he pensioned off, then sent them into exile in Rumania. Those who managed to escape to Italy and elsewhere busied themselves for the remainder of their squalid lives by selling off claims to the imperial title to any western prince foolish enough to pay them.
The mighty conqueror, Mehmet, continued to scare the bejabbers out of the princes and prelates of Europe until, to their vast relief, he died in 1481.
UNBELIEVABLE VOCAL SPLENDOUR.......2005-06-29
Believe the Hype.......2005-04-04
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Ellis Island
The Irish Tenors , Brendan Graham , Chauncey Olcott , Irish Traditional , Johnny Cash , John Francis Patterson , Dermot MacMurrough , C. Kirkham , Eric Bogle , Burton Lane , Thomas Osbourne Davis , Irving Berlin , and Frank McNamara Manufacturer: Music Matters ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B000059TBG Release Date: 2001-03-06 |
Tracks:
- Isle of Hope, Isle of Tears
- My Wild Irish Rose
- Love Thee Dearest
- Forty Shades of Green
- Courtin' in the Kitchen
- The Stone Outside Dan Murphy's Door
- I'll Tell My Ma
- Macushla
- Slievenamon
- The Green Fields of France
- Trasna Na Dtonnta (Over The Waves)
- Oro Se Do Bheatha Bhaile (Long Life to You on Your Homecoming)
- An Poc Ar Buile (The Mad Goat)
- The Rose of Tralee
- The Old Bog Road
- How Are Things In Glocca Morra
- The Croppy Boy
- A Nation Once Again
- Let There Be Peace
- Danny Boy
- God Bless America
Amazon.com
The Irish Tenors' fourth album sees the trio of Anthony Kearns, Ronan Tynan, and Finbar Wright paying a sentimental musical tribute to Ellis Island, the hallowed landmark that met the majority of immigrants entering the United States at the beginning of the 20th century. Needless to say, the Tenors' repertoire this time around is full of reflective ballads of love, loss, and homesickness, including the original "Isle of Hope, Isle of Tears" that opens this disc. Throughout this studio recording, the Irish Tenors are in fine form and backed by a soft-hued orchestra that never interferes with their soaring vocals. Traditional tunes include "My Wild Irish Rose," "How Are Things in Glocca Mora," and, of course, "Danny Boy" (the last sung by all three tenors, with refreshingly simple solo piano accompaniment). Thankfully, the threesome didn't forget that the immigrants had fun, too, as evidenced by some lighthearted fare; "The Courtin' Medley" features the Tenors at their most upbeat and comical. Ellis Island is a moving aural portrait of the struggles and triumphs of the Irish émigrés and a must-have for fans of the threesome. Newcomers may enjoy the Tenors' debut disc even more, as the earlier live album is a slightly more upbeat and spirited affair. --Jason VerlindeProduct Description
1. Isle Of Hope, Isle Of Tears
2. My Wild Irish Rose
3. Love Thee Dearest
4. Forty Shades Of Green
5. The Courtin Medley
A. Courtin, In The Kitchen
B. The Stone Outside Dan Murphy s Door
C. I ll Tell My Ma
6. Macushla
7. Slievenamon
8. The Green Fields Of France
9. The Irish Medley
A. Transna Na Dtonnta (Over The Waves)
B. Oro Se Do Bheatha Bhaile (Long Life To You On Your Homecoming)
C. An Poc Ar Buile (The Mad Goat)
10. The Rose Of Tralee
11. The Old Bog Road
12. How Are Things In Glocca Morra
13. The Croppy Boy
14. A Nation Once Again
15. Let There Be Peace
16. Danny Boy
17. God Bless America
Format: CD
Customer Reviews:
Three Cheers for the Irish!!!.......2007-05-30
Mora to end all, and Anthony Kearns sings murderously difficult versions
of Macushla and The Croppy Boy like an angel. And their Courtin' and Irish
Medleys, and their "Nation Once Again" trios are simply glorious glees.
With the benefit of a grand theme, this is perhaps the best, and best balanced, of all their programs.
Ellis Island song brings tears to my eyes.......2006-03-17
How Are Things In Glocca Morra?.......2004-04-16
This CD has a bit more of an Irish American theme as "Isle Of Hope, Isle Of Tears" and "God Bless America" illustrate. Interspersed among these tunes are traditional Irish tunes such as "Macushla" and "Croppy Boy", along with newer songs, such as "The Green Fields Of France" and "How are Things In Glocca Morra?"
The singing is excellent, the words understandable. I appreciate the inclusion the lyrics of the songs contained on the insert of the cover. These are songs you will want to learn, whose stories you will want to research. I have. Listen again and again!
How Are Things In Glocca Morra?.......2004-04-16
This CD has a bit more of an Irish American theme as "Isle Of Hope, Isle Of Tears" and "God Bless America" illustrate. Interspersed among these tunes are traditional Irish tunes such as "Macushla" and "Croppy Boy", along with newer songs, such as "The Green Fields Of France" and "How are Things In Glocca Morra?"
The singing is excellent, the words understandable. I appreciate the inclusion the lyrics of the songs contained on the insert of the cover. These are songs you will want to learn, whose stories you will want to research. I have. Listen again and again!
The Best Historical CD Ever!.......2003-11-21
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Oro: Grandes Exitos
ABBA Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Sweden
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ASIN: B000031XBQ Release Date: 1999-11-30 |
Tracks:
- Fernando
- Chiquitita
- Gracias Por La Musica
- La Reina Del Baile
- Al Andar
- Dame! Dame! Dame!
- Estoy Sonando
- Mamma Mia
- Hasta Manana
- Conociendome, Conociendote
- Felicidad
- Andante, Andante
- Se Me Esta Escapando
- No Hay A Quien Culpar
- Ring Ring
Customer Reviews:
Oro is pure Gold, of course!.......2007-05-07
This is a MUST-HAVE for every ABBA Fan.
Como cualquiera de las grabaciones de ABBA, ORO es simplemente divino. El mismo incluye todos sus éxitos en español desde Fernando y Chiquitita hasta Dame! Dame! Dame!, Estoy soñando y Al andar. Las quince canciones tienen una gran calidad de sonido y son perfectas para bailar en una fiesta o simplemente disfrutar una velada con buena música.
Es un disco esencial para todos los fanáticos de ABBA.
Good music in ANY language!.......2007-05-03
This cd contains several of my favorite ABBA songs---"Chiquitita", "Fernando", "La Reina del Baile" (Dancing Queen), "Estoy Sonando" (I Have a Dream) and "Mamma Mia" to name a few. In Spanish the songs retain all the charm and great pop sound of their English counterparts. You will not need to know Spanish (I know very little!) to enjoy the music. Good music will transend any language and it is certainly true of this set of chart topping 70s hits!
After hearing this cd, I am planning on buy "Mas Oro", another collection containing more latin music from ABBA. I definitely recommend this to ABBA fans!
Oro - Golden in any language.......2006-09-26
While Fernando, Chiquitita, and Mamma Mia translated quite fine, their version of "Conociendome, Conociendote" or "Knowing Me, Knowing You" was a little tougher, but still sounds good. Hasta Manana and Andante, Andante are two very pleasant and personal songs that hit that nerve previous hits accomplished. Even to the untrained Spanish speaker, Agnetha and Frida still sound very well.
As Always, Top-Notch ABBA!.......2004-07-06
This collection of ABBA's hits is one of their crowning glories that I think gets overlooked too often. The lyrics of hits like "Dancing Queen" and "Thank You For The Music" are translated beautifully into Spanish, retaining the original meaning of the song, and without awkward or incompetent rhymes.
One of my favorite tunes on this collection is "Dame! Dame! Dame! (Amor Esta Noche)," which we know as "Gimme! Gimme! Gimme! (A Man After Midnight)." Out of all the sultry & saucy ABBA tunes, I always thought this song drove home the love-hungry theme better than any other. This Spanish cover captures the same exact passionate feeling, nothing diluted here!
There was a follow up to this CD called "Mas Oro," which was not bad at all, but paled in comparison to this collection. If you are even just a casual ABBA fan, "Oro" is worth going out of your way to buy.
ABBA ORO is music to the ears !!!.......2004-04-08
I must say (being a latino) that the girls sing wonderfully in spanish. The star vocalist on this album is Agnetha, since she sings most of the songs and her vocal work is superb. I prefer the spanish versions of CHIQUITITA, FERNANDO, THANK YOU FOR THE MUSIC(Gracias por la musica) & GIMME GIMMIE GIMMIE (Dame Dame Dame) over the original english versions. Main reason being is that the vocals and harmonies are far more clearer and pristine in the spanish versions. Agnetha's voice sounds spotless in CHIQUITITA, GRACIAS POR LAS MUSICA, AL ANDAR (Move On), and DAME DAME DAME. We get to hear the delicacy and texture of her gorgeous voice more here than on ABBA's other albums. And since the songs here are not as textured and overdubbed like their english counterparts, we get to hear the delightful harmonies in all of their ABBA-esque splendour. Just listen to the chorus in CHIQUITITA and AL ANDAR and you will see what I mean. The english versions sound bigger but the spanish versions are crisper, less intense production-wise but far superior in vocal sound and texture. Frida also shines in FERNANDO, ESTOY SONANDO (I Have a Dream) and CONOCIENDOME CONOCIENDOTE (Knowing Me Knowing You).
With all of that said, I must also frankly state that the english version of DANCING QUEEN (La Reina Del Baile) is slightly better. Vocally the girls sound great but the overall production is slightly inferior. We don't get that intense and embellished musical production. LA REINA DEL BAILE sounds a bit watered down, less absorbing. However it's still a great song in any language and the girls devine voices and the timeless melody makes this one of the CD's showstoppers.
Commercial wise, the LP GRACIAS POR LA MUSICA was a world-wide hit- especially in Latin America and the first single taken off the album CHIQUITITA reached # 1 in Argentina, Mexico and my native Chile among several other countries. The CD version retitled ABBA ORO contains 5 songs not included in the album originally- FELCIDAD (Happy New Year), ANDANTE ANDANTE, SE ME ESTA ESCAPANDO (Slipping Through My Fingers), NO HAY A QUIEN CULPAR (When all is said and done) and RING RING. I must warn anyone reading this review that it's the cd with the black covering of ABBA ORO that contains the bonus tracks not the gold plated one. I happened to stumble upon both of them at a store here in TORONTO and I was able to purchase the 15 track ABBA ORO in BLACK.
And lastly, you don't need to know a word of spanish to appreciate this cd. The melodies are timeless and the girls voices are astonishing. This needs to be right next to your ABBA GOLD cd. It's simply FANTASTICO! !
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Vladimir Horowitz plays Tchaikovsky:Piano Concerto No. 1/Brahms:Piano Concerto No. 2
Manufacturer: Classica D'oro ProductGroup: Music Binding: Audio CD All Works by Brahms
| Brahms, Johannes
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ASIN: B000059LWO Release Date: 2001-03-06 |
Tracks:
- Pno Con No.1 in b, Op.23: Allegro Non Troppo E Molto Maestoso
- Pno Con No.1 in b, Op.23: Andantino Semplice
- Pno Con No.1 in b, Op.23: Allegro Con Fuoco
- Piano Concerto No.2 in B-flat, Op.83: Allegro Non Troppo
- Piano Concerto No.2 in B-flat, Op.83: Allegro Appassionato
- Piano Concerto No.2 in B-flat, Op.83: Andante
- Piano Concerto No.2 in B-flat, Op.83: Allegretto Grazioso
Customer Reviews:
Horowitz and Toscanini.......2005-12-31
For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.
The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.
These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.
Get Set for an Amazing Ride!.......2003-08-16
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.
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On the Way to Bethlehem (Music of the Medieval Pilgrim)
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Dufay
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ASIN: B00000144X Release Date: 1996-03-26 |
Tracks:
- Dinaresade
- Edi be thu, Heven-Queene
- Nevestinko oro
- Beata progenies
- Mari stanko
- Sei willekommen Herre Christ
- Bog se rodi va Betleme
- Koleda na Bozic
- Kod Betlehema
- Koleda na Bozic
- Angelus ad virginem
- D
- Quinte Estampie real
- Urbs Beata Ierusalem
- Mevl
Customer Reviews:
MUSIC OF THE MEDIEVAL PILGRIM.......2007-06-11
Exotic, exciting and fun!.......2002-11-29
Exotic jams.......2001-02-27
Instead, the record wishes to envisage a journey of mediæval pilgrims, beginning in Western Europe, and moving through the Balkans towards the Holy Land. As such, the disk contains a mixture of Western European, Balkan, and Islamic melodies.
The strength of Ensemble Unicorn and Oni Wytars is their ability to use early music as the basis for extended jam sessions. This recording is framed by two such jams, each more than twelve minutes in length, the opening -Dinaresade- and the closing -Mevlana-. Based on Middle Eastern themes, these are excellent performances, rich in atmosphere. Fans of contemporary groups who make use of similar material, from Loreena McKennitt to Dead can Dance, may find this record interesting, and well worth the Naxos price.
FWIW, Ensemble Unicorn and Oni Wytars also collaborate on the -Black Madonna- recording, another Naxos release I can highly recommend.
I WANT MORE!.......1999-06-08
Too cool to be considered classical and definitely not Xmas........1999-01-12
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Sentimiento Latino
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Lecuona
| Lecuona, Ernesto
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ASIN: B000EGDCGE Release Date: 2006-03-14 |
Tracks:
- Alma Llanera
- Ella
- La Flor De La Canela
- El Dia Que Me Quieras
- Granada
- La Jarra De Oro
- Princesita
- Jurame
- Estrellita
- Fina Estampa
- En Mi Viejo San Juan
- Siboney
- Aquellos Ojos Verdes
- Bello Durmiente
- Mexico Lindo Y Querido
Amazon.com
This is Peruvian tenor Juan Diego Florez's first non-classical CD. He brings to the popular music of Latin America and Spain the same scrupulous musicianship, bright tone, and charm with which he approaches Donizetti and Rossini. Some of these songs are accompanied by full orchestra and some (such as "Ella" and "Mexico lindo y querido," for example) are with a shiny mariachi band, while a couple ("Fina stampa," "Bello Durmiente") have solo guitar as their backup. Florez has plenty of opportunity to show off his high notes--there are brilliant high Cs here and there--and his perfect vocal placement and portamento are most welcome. "Jurame," a sensual tango, is a fine example. While he can sing softly at times, Florez doesn't do quite enough with dynamics. A bit more variation would have been welcome, but he's very much in the spirit of this music. His "Granada" is stunning, and he gets the idiom of the "lounge music" numbers as well. His fans, and fans of music with this Latino tinge, will not be disappointed. --Robert LevineCustomer Reviews:
Beautifully Done.......2006-06-05
Unexpected and Old-Fashioned Latin Pop with a Gifted Florez in His Element.......2006-05-24
Pedro Elias Gutierrez's "Alma llanera" opens the disc with a flavorful, syncopated arrangement that would not sound out of place at the Tropicana nightclub in Havana, while the melancholy mariachi-style horns of Jose Alfredo Jimenez's "Ella" provides a nice Mexican atmosphere. There is a trio of songs by Maria Isabel Granda Larco from his native Peru all arranged impeccably by the singer himself - the openly romantic "La flor de la canela", the more somber "Bello durmiente" and best of all, the intimate-sounding "Fina estampa" with impressive fretwork by David Galvez. Florez dares to tackle the warhorses that are Agustin Lara's "Granada" and Ernesto Lecouna's "Siboney", and while he puts out the necessary stops, the songs are a bit too familiar to have full dramatic impact. The arrangement on "Siboney" especially gets a bit too bombastic with syrupy strings and pounding jungle drums.
Better are the decidedly old-fashioned "Princesita" with Daniel Binelli's tango-infused bandoneon (an accordion-like instrument) and Maria Grever's "Jurame", which sounds almost like a Mario Lanza operetta-style number from an MGM musical. My personal favorites come near the end of the recording - the tropically tinged ballad, Nilo Menendez and Adolfo Utrera's "Acquellos ojos verdes" and Chuco Monge's "Mexico lindo" with its dramatic tempo changes. With his stunning voice, Florez has such an affinity for this music that it is easy to overlook some of the overdone arrangements. This is a solid example of how a crossover recording can be done with the right blend of talent and music regardless of what genre we expect from a prodigious singer.
A bit disappointing.......2006-05-22
EXQUISITE.......2006-05-05
Fabulous!.......2006-04-04
This collection blows any other tenor's effort out of the water. I did not think that fully fledged operatic tenor could sing such swinging Latin music and sound so good. Domingo and his often tacky Broadway collections, and Carreras misguided attempts, it's all forgotten now. Florez is the new Mambo King.
I love all the songs, what incredible finds they are. There is only one rehashed song, the famous Granada, but Florez version is fantastic. I have to admit I do not love all of his opera singing, his quick vibratto works only intermittedly, and certainly he is very good in Rossini, but his Verdi is disappointing... not that it matters on this album. I did not know he started singing in the popular music field, but it certainly shows. Muchas gracias, Sr Florez for this fabulous gift, this Sentimiento Latino. Very cool and highly recommended.
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Songs Of Spain / De Los Angeles, et al
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Falla
| Falla, Manuel de
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ASIN: B00000I4KQ Release Date: 1999-02-23 |
Tracks:
- El rossinyol
- El testament d'Amelia
- Adios meu homino
- Mina nay por me casare
- Tengo que subir
- Ahi tienes mi corazon
- La vi llorando
- Ya se van los pastores
- Campanas de Belen
- Jaeneras que yo canto
- A dormir ahora mesmo
- Granadinas
- Hincarse de rodillas
- Cancion de trilla
- Parado de Valldemosa
- Nik baditut
- Andregaya
- Din, dan, boleran
- Mariam matrem
- Ay, triste vida corporal!
- Que es mi vida, preguntais?
- Porque es, dama, tanto quereros?
- No me llames segalaherba
- Ay, luna que reluces
- En esta larga ausencia
- Molinillo que mueles amores
- Confiado jilguerillo
- Seguidillas religiosas
- Cancion de cuna
- El jilguerillo con pico de oro
- El canape
Tracks:
- Ah, el novio no quiere dinero
- Coma la rosa en la guerta
- Estavase la mora
- Aquel rey de Francia
- Damos gracias a ti, Dios
- Sobre Baca estaba el rey
- Ay que non hay!
- Rosa das rosas
- Maravillosos e piadosos
- Tres moricas m'enamoran
- Paseabase el rey moro
- Dime a do tienes las mientes
- Si no's huviera mirado
- Dexo la venda
- Puse mis amores
- Aqui me declaro su pensamiento
- Pues que me tienes
- Gentil dama, non se gana
- Mi querer tanto vos quiere
- Una hija tiene el rey
- Una matica de ruda
- Si la noche se hace oscura
- Pastorcico, non te aduermas
- Ay triste que vengo
- No soy you quien la descrube
- Pase el agua, Julieta
- Aquel caballero, madre
- Duelete de mi, Senora
- De Antequera salio el Moro
- De los alamos vengo, madre
- Enfermo estaba Antioco
- Dame acogida en tu hato
- Morenica, dame un beso
- Senora, si te olvidare
- De donde venis, amore?
Tracks:
- La rosa enflorece
- Ven querida
- Adio, querida
- Durme, durme, hermozo hijico
- Paxaro d'hermosura
- Avrix, mi galanica
- Irme quiero, la mi madre
- Ya viene el cativo
- Yo m'enamori d'un aire
- Una matica de ruda
- Anda, jaleo
- Los cuatro muleros
- Las tres hojas
- Los mozos de Monleon
- Las morillas de Jaen
- Sevillanas del siglo 18
- El cafe de Chinitas
- Nana de Sevilla
- Los pelegrinitos
- Zorongo
- Romance de Don Boiso
- Los reyes de la baraja
- La tarara
- El combat del somni: Damunt de tu, nomes les flors
- A l'ombra del Lledoner: Canco de grumet
- Canciones negras: Cancion de cuna para dormir a un negrito
- Cuatro madrigales amatorios: De los alamos vengo, madre
- Coleccion de tonadillas: Callejeo
- Coleccion de tonadillas: El tra la la y el punteado
- Seis canciones castellanas: No quiero tus avellanas
- Seis canciones castellanas: Jota
- Panxolina
- Tu pupila es azul
- Cantos populares espanolas: Malaguena
- Cantos populares espanolas: Granadina
- Cantos populares espanolas: El Vito
- Cantos populares espanolas: Pano murciano
- Clavelitos
- Adios, Granada
- Madrigal
Tracks:
- Coleccion de tonadillas: Amor y odio
- Coleccion de tonadillas: Callejeo
- Coleccion de tonadillas: El majo discreto
- Coleccion de tonadillas: El majo olvidado
- Coleccion de tonadillas: El majo timido
- Coleccion de tonadillas: El mirar de la maja
- Coleccion de tonadillas: El tra la la y el punteado
- Coleccion de tonadillas: La maja de Goya
- Coleccion de tonadillas: Las currutacas modestas
- Tres majas dolorosas: Oh muerte cruel!
- Tres majas dolorosas: Ay majo de mi vida
- Tres majas dolorosas: De aquel majo amante
- Goyescas: La maja y el ruisenor (Rosario)
- 'La vida breve': Vivan los que rien! (Salud - Act 1)
- 'La vida breve': Alli esta! Riyendo! (Salud - Act 2)
- 'Acis y Galatea': Confiado jilguerillo
- El tripili
- Llorad, corazon
- Iban al pinar
- No lloreis, ojuelos
- Mananica era
- Mira que soy nina
- Gracia mia
- El pano moruno
- Seguidilla murciana
- Asturiana
- Jota
- Nana
- Cancion
- Polo
- 'La Tempranica': Zapateado (La tarantula e un bicho mu malo)
Customer Reviews:
The most noble voice.......2004-05-28
PURCHASE THIS JEWEL WHILE YOU CAN.......2002-01-08
luminous artistry from a genius.......2000-12-26
A special Dignity and an Unfailing Beauty of Voice........2000-09-17
Average customer rating:
|
Glazunov, Khachaturian, Kabalevsky: Violin Concertos
Aram Khachaturian , Dmitry Kabalevsky , A. Gauk , and Kiril Kondrashin Manufacturer: Classica D'oro ProductGroup: Music Binding: Audio CD All Works by Kabalevsky
| Kabalevsky, Dmitri
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| Khachaturian, Aram
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Oistrakh, David
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ASIN: B000062XA5 Release Date: 2002-03-05 |
Tracks:
- Allegro Con Fermezza
- Andante Sostenuto
- Allegro Vivace
- Moderato
- Andante
- Allegro
- Allegro Molto E Con Brio
- Andantino Cantabile
- Vivace Giocoso
Customer Reviews:
Transcendent..........2006-03-29
Excruciatingly Beautiful.......2004-04-28
Superb recordings by Oistrakh.......2002-07-15
Average customer rating:
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Eugene Onegin
Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Tchaikovsky
| Tchaikovsky, Peter Ilyich
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ASIN: B00000JC9L Release Date: 1999-06-15 |
Tracks:
- Eugene Onegin: Act I. Introduction
- Eugene Onegin: Act. I - Slikhali l vi za roschei glas nochnoi - Tatyana, Olga, Larina, Filipyevna
- Eugene Onegin: Act I. Bolat moyi skori nozhenki - Pesants, Larina
- Eugene Onegin: Act I. Kak ya lyublyu... uzh kak po mostu, mostouchku - Tatyana, Olga
- Eugene Onegin: Act I. Nu ti, moya vostrushka - Larina, Filipyevna, Tatyana, Pesants, Olga
- Eugene Onegin: Act I. Medames! Ya na sebya vzyal smyelost - Lenski, Onegin, Larina, Tatyana, Olga
- Eugene Onegin: Act I. Kak schastliv, kak schastliv ya! - Lenski, Olga, Onegin, Tatyana
- Eugene Onegin: Act I. Ya lyublyu vas - Lenski
- Eugene Onegin: Act I. A, vot i vi! - Larina, Filipyevna, Lenski, Onegin
- Eugene Onegin: Act I. Nu, zaboltalas ya! - Filipyevna, Tatyana
- Eugene Onegin: Act I. Puskai pogibnu ya, no pryezhde (Letter Scene) - Tatyana
- Eugene Onegin: Act I. Akh, noch minula - Tatyana, Filipyevna
- Eugene Onegin: Act I. Dyevitsi, krasavitsi - Chorus
- Eugene Onegin: Act I. Zdyes on, zydes on, Yevgeni - Tatyana
- Eugene Onegin: Act I. Vi myne pisali, ne otpiraites - Onegin
- Eugene Onegin: Act I. Kogda by zhizn domashnim krugom - Onegin, tatyana
Tracks:
- Eugene Onegin: Vot tak syurpriz! - Chorus, Captain, Onegin, Tatyana
- Eugene Onegin: Uzhel ya zasluzhil ot vas nasmyeshku etu? - Lenski, Olga, Onegin, Chorus, Triquet
- Eugene Onegin: A cette fete convie (Couplets) - Triquet
- Eugene Onegin: Messieurs, mesdames, mesta zanyat izvolte - Captain
- Eugene Onegin: Ti ne tantsuyesh, Lenski? - Onegin, Lenski, Chorus, Larina
- Eugene Onegin: V vashem dome! V Vashem dome! - Lenski, Onegin, Tatyana, Chorus, Larina, Olga
- Eugene Onegin: Nu, shto zhe? - Zaretzki, Onegin
- Eugene Onegin: Kuda, kuda, kuda vi udalilis - Lenski
- Eugene Onegin: A, vot oni! - Zaretski, Onegin, Lenski
- Eugene Onegin: Vragi! Davno li drug ot druga - Lenski, Onegin
- Eugene Onegin: Tepyer skhodites! - Zaretzki, Onegin
- Eugene Onegin: Polonaise
- Eugene Onegin: I zdyes mnye skuchno! - Onegin
- Eugene Onegin: Danse ecosaisse
- Eugene Onegin: Knyaginya gremina! Smotrite! - Chorus, Onegin, Tatyana, Gremin
- Eugene Onegin: Lyubvi vsye vozrasti pokorni - Gremin
- Eugene Onegin: Itak, poidyom... Uzhel ta samaya Tatyana - Gremin, Tatyana, Onegin
- Eugene Onegin: O! Kak mnye tyazhelo! - Tatyana, Onegin
- Eugene Onegin: Onegin! Ya togda molozhe - Tatyana, Onegin
- Eugene Onegin: Akh! shchastye bilo tak vozmozhno - Tatyana, Onegin
Customer Reviews:
Eugene Onegin.......2007-05-25
Amazon's service was fine !
Onegin Sings From Inside the Box.......2007-05-24
Just short of perfection...........2006-10-02
Very good in ALL respects.......2005-07-11
A great "Onegin".......2004-07-05
I shall say only this. When you hear the opening words of the very first duet you will be impressed. With each succeeding number, you will raise your opinion until you realize that this is one of those amazingly rare performances in which everything is right. This "Eugene Onegin" is the true measure of the opera, and a worthy companion to the Schipa "Don Pasquale," the Gigli "Andrea Chenier" and the Callas "Tosca."
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