| 1. Bravo |
| 2. Con Una Sola Miradita |
| 3. Campeona |
| 4. Mas Fuerte Que Tu Amor |
| 5. Su Majestad La Rumba |
| 6. El Cinturon |
| 7. Guantanamera |
| 8. Suenan Los Tambores |
| 9. Guardame Tu Amor |
| 10. Ay Vecino |
| 11. Asi Va Mi Cantar |
| 12. Jaibera |
Editorial Reviews
Product Description
Originally Released in 1967.
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
And Colm Wilkinson as the Phantom? Whose idea was that??? I really do not like his voice, even as Valjean in Les Miz. I highly doubt he's a strong enough singer to pull of "Music of the Night" the way Michael Crawford or Hugh Panaro (best Phantom EVER) can.
If, however, this was on iTunes, I'd jump at the chance to get Rebecca's songs!
As for everything else...
Honestly, Colm Wilkinson cannot sing. His voice is just too weak for the role. Like one of the reviewers before me said, he's no Michael Crawford, not even Gerard Butler. Maybe I should hear him sing in Les Miserables to appreciate his voice.
As for Byron Nease, he's okay, but I've easily heard better.
In all, the album's okay, but there are many better recordings.
Apart from that Rebecca Caine is a stunning Christine!!!! And at times seems to me to be...dare I say.... better than (my personal favourite singer) sarah brightman, Ms. Caine's "Think Of Me" blew me away, it was very inspiring....
Overall the rest of the cast is very good as well and if you are a true "phan" this is a must have CD very much worth its price!!!!
Phantom, with its operatic and lush melodies, intensive story and grandiose staging, remains one of the best and most beloved musicals of all time.
The musical is based on the Gaston Leroux's novel of the same title. It is set in the second part of the 19th century Paris and its famous opera house. The young soprano, Christine, is discovered as a talented young opera singer in the opera house. She is noticed by an old childhood friend, Raoul, and they fall in love. However, we find out that a third person, the mysterious Phantom, hiding behind a mask, is a musical genius who had been giving Christine singing lessons and who has developed a mad passion for his young pupil. He hides in the catacombs of the opera house, lurking on the outside world. He is determined to keep Christine for himself and the story evolves from here.
Apart from this interesting plot, the audiences were swept away by Lloyd Webber's tremendous score, which probably remains his best work. It combines the beautiful love songs and sweeping operetta-like arias, with numerous orchestral leads and crescendos. You can't help but being charmed by this beautiful and haunting score. The large numbers, especially, the last one, will probably move you deeply. The most popular numbers are "The phantom of the opera", a vibrating duet between Christine and the Phantom; "All I ask of you", a lovely love duet between Christine and Raul; Phantom's mesmerizing voice will hold you till the end in "The music of the night", Christine in "Wishing you are somehow here again" will evoke sadness, and many more.
One of the main reasons for the early success of this show and this recording was its original London cast. All of the three principals: Sarah Brightman as Christine, Michael Crawford as The Phantom and Steve Barton as Raoul gave the performances of their lives. Michael Crawford's take on the role of The Phantom became stuff legends are made of, due to his amazing vocalisation and the powerful, almost hypnotic attraction in his voice and performance, exactly how the Phantom is supposed to sound.
The lyrics by Richard Stilgoe and Christopher Hampton are the weakest link here, but they manage to convey the basic story.
After the show's success in London and on Broadway, the Canadian production was mounted and it premiered in Toronto's Pantages Theatre in September 1989. This CD captures the highlights of that production. All the important musical numbers are here, however, the problem is the cast, that is, some of them. Colm Wilkinson is a great singer, his interpretation of Jean Valjean being the best example. Unfortunately, he doesn't have what it takes to play the Phantom. His interpretation lacks the depth of Michael Crawford and he struggles to stretch his voice, especially on the high notes. Overall, he sings too deep for the role, sounding as if he is still in Les Miserables. Still, he is much better than the mediocre performance Gerard Butler gave in the 2004 movie version. Rebecca Caine is a fine Christine, her soprano has no problem of getting into the character. Byron Nease, who plays Raoul, also fails to deliver, sounding too old and squeaky. The unwritten rule of the musical theatre, that the miscasting can affect the best of materials, is regrettably evident here. There is also a minor problem with the orchestrations, since some parts have a faster tempo than in the original. The aficionados will notice small lyrical changes in comparison with the original cast recording.
The CD comes with a synopsis (a rear treat in the Andrew Lloyd Webber's cast recordings), the lyrics and production photos.
This recording works best as an addition to the existing Phantom collection. For the first time listeners, I highly recommend the 2-disc 1986 London Cast Recording. Not only does it feature almost the entire musical, but also the cast is much, much better, as well as the orchestrations, which have a more classical touch.
this collection brings together all of the albums that Nino recorded during his all-too-brief lifetime. Passion and soul infuse every number....the songs are timeless ....
in this world of Britneys and Justins and Jessica Simpsons sadly topping the charts....it is nice to have recordings like these to show us that having a voice and being able to actually sing a song without any "machine support" is what its all about
Nino was a true class act and his musical legacy will always live on.....buy this compilation you will not be disappointed
This album including his 5 albums and 2 inéditos
("Quién eres tú" and "Te amaré").
If you want to listen to his all songs, you can buy this album.
This album including his 5 albums and 2 inéditos("Quién eres tú" and "Te amaré").
If you want to listen to his all songs, you can buy this album.
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.
Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.
Originally Released in 1967.
Bravo,Celia Cruz,Fania,Latin
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Way Out West: The Essential Western Film Music Collection, Vol. 2
Manufacturer: Silva America ProductGroup: Music Binding: Audio CD  All Works by Newman
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ASIN: B000060PBU Release Date: 2002-03-26 |
Tracks:
- The Hallejuah Trail-Overture
- The Alamo-The Green Leaves Of Summer
- The Alamo-Davy Crocket
- The Big Country-The Welcoming/Finale
- The Big Valley-Main Theme
- Blazing Saddles-Blazing Saddles
- Bonaza-Main Theme
- Butch Cassidy And The Sundance Kid-raindrops Keep Fallin' On My Head
- The Comancheros-McBain/Main Title
- Duel In The Sun-Main Title/The Legend/Orizaba
- A Fistfull Of Dynamite-Duck You Sucker
- For A Few Dollars More-Main Theme
- Friendly Persuasion-Thee I Love
- Giant-Main Theme
- The Good, The Bad And The Ugly-Main Theme
- The Good, The Bad And The Ugly-The Ecstasy Of Gold
- Gunfight At The O.K. Corral-Suite
- Hang 'Em High-Main Theme
- The Hanging Tree-Main Title
Tracks:
- High Caparral-Main Theme
- How The West Was Won-Prelude/The Land
- High Noon-Do Not Forsake Me Oh My Darlin'
- The Jayhawkers-The Lynching/Two Brothers/The Hayhawkers
- The Lone Ranger-William Tell Overture: Finale
- Nevada Smith-Main Title
- Old Gringo-Main Themes
- Once Upon A Time In The West-Man With The Harmonica
- One Eyed Jacks-Main Title
- The Proud Rebel-Main Titles
- The Quick And The Dead-End Titles
- Quigley Down Under-End Titles
- Rio Bravo-Rio Bravo/De Guella
- The Scalphunters-Main Title
- Shane-Main Theme: The Call Of The Farwaway Hills
- The Shootist-Main Title
- The Unforgiven-The Need For Love
- Viva Zapata-Gathering Forces
- The Virginian-Main Theme
Customer Reviews:
Not My Style.......2007-05-11
Rockin' Western Collection.......2006-08-28
Hard to Find Great Western Themes .......2006-03-16
Western Music.......2005-07-29
A great follow-up.......2003-08-29
![Mozart: The Marriage of Figaro / Pace, de Carolis, Frontali, Morandi [Highlights]](http://ec1.images-amazon.com/images/I/318BQ8QH5CL.jpg)
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Mozart: The Marriage of Figaro / Pace, de Carolis, Frontali, Morandi [Highlights]
Wolfgang Amadeus Mozart , Hungarian State Opera Orchestra , Pier Giorgio Morandi , Patrizia Pace , Natale de Carolis , Donato di Stefano , Ingrid Kertesi , Roberto Frontali , Denes Gulyas , Tamas Bator , and Jozsef Mukk Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B00004NK2F Release Date: 2000-03-14 |
Tracks:
- Overture
- Cinque, Dieci...
- Bravo, Signor Padrone!
- Se Vuol Ballare, Signor Contino
- La Vendetta
- Non So Piu Cosa Son
- Non Piu Andrai
- Porgi Amor
- Voi, Che Sapete
- Venite, Inginocchiatevi
- Susanna, Or Via Sortite?
- Hai Gia Vinta Causa!
- Vedro, Mentr'io Sospiro
- Riconosci In Questo Amplesso
- E Susanna Non Vien!
- Dove Sono I Bei Momenti?
- Sull'aria...
- Tutto E Disposto
- Aprite Un Po' Quegl'occhi
- Giunse Al Fin Il Momento
- Deh Vieni Non Tardar
- Pace, Pace, Mio Dolce Tesoro!
- Final Scene: Gente! Gente!
Customer Reviews:
Best Cherubino..........2007-05-06
wonderful music.......2006-06-20
Close Your Eyes and Listen.......2006-05-28
Terrific value, beautiful quality........2004-04-16
Exceptional recording.......2003-09-29
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Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B00006IU7V Release Date: 2003-03-11 |
Album Details
These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (FiordiligCustomer Reviews:
Refreshing and Surprising!.......2006-11-24
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Best ever!!.......2004-01-12
I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
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The Phantom of the Opera (Highlights from the 1989 Original Canadian Cast)
Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD General
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ASIN: B0000072VS Release Date: 2002-11-26 |
Tracks:
- Prologue-The Stage Of The Paris Opera House, 1911
- Overture
- The Dress Rehearsal Of Hannibal
- Think Of Me
- The Mirror... (Angel Of Music)
- The Phantom Of The Opera
- The Music Of The Night
- Notes/Prima Donna
- All I Ask Of You
- I Gave You My Music...
- Entr'acte
- Masquerade
- The Graveyard
- Wishing You Were Somehow Here Again
- Wandering Child.../Bravo Monsieur...
- The Point Of No Return/Down Once More
- The Phantom's Lair
Amazon.com
A few years after The Phantom of the Opera debuted in London, Harold Prince unveiled Andrew Lloyd Webber's gothic musical in Canada, in 1989. It was so good that this recording of highlights from the Canadian cast is--dare we say it?--more enjoyable than the equivalent London cast highlights album. No, it doesn't have the authenticity of London principals Sarah Brightman (for whom then-husband Lloyd Webber wrote the role of Christine) and Michael Crawford, but it doesn't have their idiosyncrasies, either, and it does have the richer voices of Colm Wilkinson and Rebecca Caine (who played Jean Valjean and older Cosette, respectively, in the 1985 London cast of Les Misérables). At 69 minutes, the Canadian album is also 10 minutes longer than the London, allowing inclusion of the prologue and dress rehearsal for Hannibal. Of course, Lloyd Webber's melodies--"Angel of Music," "The Music of the Night," "All I Ask of You," "Wishing You Were Somehow Here Again"--are scrumptious on any continent. --David HoriuchiAlbum Description
1990 Polydor release featuring highlights from Andrew Lloyd Webber's epic musical by the Original Canadian Cast, including Colm Wilkinson and Rebecca Caine. Directed by Harold Prince, it features 17 tracks, including 'Think Of Me', 'Notes/ Prima Donna', 'Masquerade' and 'Wishing You Were Somehow Here Again'.Album Details
Contains highlights from the Andrew Lloyd Webber brainchild performed in Ottawa, Vancouver, Montreal & Calgary during April, 1991 through September, 1992. Stars Colm Wilkinson & Rebecca Caine in leading roles.Customer Reviews:
Iffy.......2007-01-22
And Colm Wilkinson as the Phantom? Whose idea was that??? I really do not like his voice, even as Valjean in Les Miz. I highly doubt he's a strong enough singer to pull of "Music of the Night" the way Michael Crawford or Hugh Panaro (best Phantom EVER) can.
If, however, this was on iTunes, I'd jump at the chance to get Rebecca's songs!
Rebecca Caine is what made me buy this album........2006-12-04
As for everything else...
Honestly, Colm Wilkinson cannot sing. His voice is just too weak for the role. Like one of the reviewers before me said, he's no Michael Crawford, not even Gerard Butler. Maybe I should hear him sing in Les Miserables to appreciate his voice.
As for Byron Nease, he's okay, but I've easily heard better.
In all, the album's okay, but there are many better recordings.
Very Nice!!!!.......2006-08-25
Apart from that Rebecca Caine is a stunning Christine!!!! And at times seems to me to be...dare I say.... better than (my personal favourite singer) sarah brightman, Ms. Caine's "Think Of Me" blew me away, it was very inspiring....
Overall the rest of the cast is very good as well and if you are a true "phan" this is a must have CD very much worth its price!!!!
NOT AS GOOD AS THE LONDON CAST RECORDING.......2006-07-02
Phantom, with its operatic and lush melodies, intensive story and grandiose staging, remains one of the best and most beloved musicals of all time.
The musical is based on the Gaston Leroux's novel of the same title. It is set in the second part of the 19th century Paris and its famous opera house. The young soprano, Christine, is discovered as a talented young opera singer in the opera house. She is noticed by an old childhood friend, Raoul, and they fall in love. However, we find out that a third person, the mysterious Phantom, hiding behind a mask, is a musical genius who had been giving Christine singing lessons and who has developed a mad passion for his young pupil. He hides in the catacombs of the opera house, lurking on the outside world. He is determined to keep Christine for himself and the story evolves from here.
Apart from this interesting plot, the audiences were swept away by Lloyd Webber's tremendous score, which probably remains his best work. It combines the beautiful love songs and sweeping operetta-like arias, with numerous orchestral leads and crescendos. You can't help but being charmed by this beautiful and haunting score. The large numbers, especially, the last one, will probably move you deeply. The most popular numbers are "The phantom of the opera", a vibrating duet between Christine and the Phantom; "All I ask of you", a lovely love duet between Christine and Raul; Phantom's mesmerizing voice will hold you till the end in "The music of the night", Christine in "Wishing you are somehow here again" will evoke sadness, and many more.
One of the main reasons for the early success of this show and this recording was its original London cast. All of the three principals: Sarah Brightman as Christine, Michael Crawford as The Phantom and Steve Barton as Raoul gave the performances of their lives. Michael Crawford's take on the role of The Phantom became stuff legends are made of, due to his amazing vocalisation and the powerful, almost hypnotic attraction in his voice and performance, exactly how the Phantom is supposed to sound.
The lyrics by Richard Stilgoe and Christopher Hampton are the weakest link here, but they manage to convey the basic story.
After the show's success in London and on Broadway, the Canadian production was mounted and it premiered in Toronto's Pantages Theatre in September 1989. This CD captures the highlights of that production. All the important musical numbers are here, however, the problem is the cast, that is, some of them. Colm Wilkinson is a great singer, his interpretation of Jean Valjean being the best example. Unfortunately, he doesn't have what it takes to play the Phantom. His interpretation lacks the depth of Michael Crawford and he struggles to stretch his voice, especially on the high notes. Overall, he sings too deep for the role, sounding as if he is still in Les Miserables. Still, he is much better than the mediocre performance Gerard Butler gave in the 2004 movie version. Rebecca Caine is a fine Christine, her soprano has no problem of getting into the character. Byron Nease, who plays Raoul, also fails to deliver, sounding too old and squeaky. The unwritten rule of the musical theatre, that the miscasting can affect the best of materials, is regrettably evident here. There is also a minor problem with the orchestrations, since some parts have a faster tempo than in the original. The aficionados will notice small lyrical changes in comparison with the original cast recording.
The CD comes with a synopsis (a rear treat in the Andrew Lloyd Webber's cast recordings), the lyrics and production photos.
This recording works best as an addition to the existing Phantom collection. For the first time listeners, I highly recommend the 2-disc 1986 London Cast Recording. Not only does it feature almost the entire musical, but also the cast is much, much better, as well as the orchestrations, which have a more classical touch.
I liked Colm Wilkinson better in Les Miz.......2006-05-12
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Cantos Revolucionarios De America Latina
Soledad Bravo Manufacturer: Last Call ProductGroup: Music Binding: Audio CD General
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ASIN: B0000DEM9R Release Date: 1998-01-27 |
Tracks:
- Hasta Siempre
- Quirl Santo Padro
- Canciara Mi Amca
- Parabide la Paloma
- Cancie Pablo
- Si el Poeta Eres Tu
- Uno de Abajo
- Santiago de Chile
- Chamam Cuba
- Cancie Tribio Garica
- Su Nombre Puede Ponerse en Verso
- Compadre Juan Miguel
- Preguntitas Sobre Dios
- Guerrillera
- O Griherio Vem Pedra Va
- Porque los Prbres No Tienen
- Rio de Sangr
- Punto y Raya
- Cancion del Elegido
- Pobre del Cantor
- Ers Estariendo un Coraz
Album Description
Born in Spain but raised in Venezuela, Soledad Bravo is a Latin institution with over thirty releases. Bravo is the only Latin singer able to go from one style to another, epitomizing the fusion of beautiful poetry and unique singing in an extraordinarily.Last Call Records.2004.
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Todo Nino: La Obra Completa De
Nino Bravo Manufacturer: Umvd Import ProductGroup: Music Binding: Audio CD General
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ASIN: B0000AKCAF Release Date: 2005-03-15 |
Tracks:
- Te Quiero, Te Quiero
- Noelia
- Amca, Amca
- Libre
- Beso y Una Flor
- Tbiar
- Nuestro Hogar Serl Mundo
- Esa Seri Casa
- Voy Buscando
- Es el Viento
- Como Todos
- Vuelvo a Estar Sin Ti
- No Debo Pensar en Ti
- En Libertad
- Mi Querida Mama "My Yiddishe Momme"
- Aquel Atardecer
- Tren Se Va
- Adi
- Ni el Viento Ni el Tiempo
- Por Culpa Tuya
Tracks:
- Cartas Amarillas
- Mi Gran Amor
- Mis Noches Sin Ti
- Hoy Soy Fel
- Elizabeth
- Amanecer
- Flor de Invernadero
- Perdona
- Ese Hombre
- Para Darte Mi CorazLook Around (And You'll Find Me There))
- Arena de Oto
- Por Fin Mi Amor
- Para Queguir
- Por Fin Ma
- Nis Ya Mujer (This Girl Is a Woman Now)
- Contigo Soy Feliz
- Yo Te Quiero Dar
- Volver a Empezar
- Eres Todo Cuanto Quiero
- Amor
Tracks:
- Mi Tierra
- Puerta de Amor
- Vete
- Se, Se
- Por Qu
- Gracias a Ti
- Hoy Te Quiero Ofrecer
- Carolina
- Te Acuerdas Mar
- Vuelve
- Mi Mundo Esta Vacio
- Laura
- Pintaru Color
- Yo No Sor Qusta Melod
- Cantar
- Aquel Amor
- Mona Lisa
- Vivir
- Quien Eres T
- Te Amar
- PotpourrTe Quiero, Te Quiero/Puerta de Amor/Noelia/Un Beso y ...
Album Details
Triple CD Set of 30 Years Compiled for a Total of 61 Tracks Where his Music Crossed Frontiers and Cultures, Moments and Passions, Memories and Sensations. Bravo's Name is Synonymous with Initiative, Professionalism, but above all Humanity. The Album Reached #2 on the Spanish Billboard Chart.Customer Reviews:
Thank you for the memories.......2007-02-15
A CLASS ACT.......2006-02-05
this collection brings together all of the albums that Nino recorded during his all-too-brief lifetime. Passion and soul infuse every number....the songs are timeless ....
in this world of Britneys and Justins and Jessica Simpsons sadly topping the charts....it is nice to have recordings like these to show us that having a voice and being able to actually sing a song without any "machine support" is what its all about
Nino was a true class act and his musical legacy will always live on.....buy this compilation you will not be disappointed
The best Spanish crooner.......2006-01-12
Todas sus grabasiones including 2 inéditos.......2004-02-12
This album including his 5 albums and 2 inéditos
("Quién eres tú" and "Te amaré").
If you want to listen to his all songs, you can buy this album.
Todos sus canciones including 2 inédotos.......2004-02-11
This album including his 5 albums and 2 inéditos("Quién eres tú" and "Te amaré").
If you want to listen to his all songs, you can buy this album.
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Rio Bravo
Rick Nelson Manufacturer: Magic Records France ProductGroup: Music Binding: Audio CD General
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ASIN: B000PHX0UA Release Date: 2007-05-21 |
Tracks:
- Rio Bravo
- De Guello
- Introduction John Wayne
- My Riffle My Pony And Me (Film Version)
- Cindy (Film Version)
- My Riffle My Pony & Me (Studio Version)
- Cindy (Studio Version)
- My Riffle My Pony & Me (Studio Version)
- Restless Kid
- Cindy (Alternate Version)
Album Description
2007 digipak reissue of this soundtrack to the 1959 western starring Ricky Nelson, Dean Martin and John Wayne. Includes 10 tracks taken from the movie performed by Ricky, Dean and instrumentals from Nelson Riddle. Dean's performance of the title track is one of the many highlights of this disc that contains all the magic of the film. Magic Records. 2007.Album Details
For the First Time, Here is Available in Digipack in the Ricky Nelson Magic Series, all Songs from the Rio Bravo Movie Sung by Ricky Nelson and Dean Martin and Nelson Riddle in his Fantastic "de Guello".
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Classic Puccini Recordings
Puccini , and Tebaldi Manufacturer: Decca ProductGroup: Music Binding: Audio CD General
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ASIN: B00006IU8W Release Date: 2003-03-11 |
Album Details
Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.Customer Reviews:
Excellent introduction to Tebaldi's art.......2005-09-29
Wonderfull.......2005-08-19
Classic Renata.......2005-03-16
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Mozart: Così Fan Tutte
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B000BL98ME Release Date: 2006-01-10 |
Tracks:
- Sinfonia/Overture - Philharmonia Orchestra & Chorus
- La Mia Dorabella Capace Non E - Rolando Panerai
- Cessate Di Scherzar - Rolando Panerai
- E La Fede Delle Femmine - Rolando Panerai
- Scioccherie Di Poeti! - Rolando Panerai
- Una Bella Serenata - Rolando Panerai
- Ah, Guarda, Sorella - Elisabeth Schwarzkopf
- Mi Par Che Stamattina - Elisabeth Schwarzkopf
- Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
- Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
- Sento, Oddio, che Questo Piede - Various Artists
- O Cielo, Questo E Il Tamburo Funesto - Various Artists
- Bella Vita Militar! - Philharmonia Orchestra & Chorus
- Non V'e Piu Tempo - Various Artists
- Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
- Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
- Soave Sia Il Vento - Elisabeth Schwarzkopf
- Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
- Che Vita Maledetta - Elisabeth Schwarzkopf
- Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
- Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
- In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
- Despinetta!...Chi Batte? - Lisa Otto
- Alla Bella Despinetta - Various Artists
- Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
- Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
- Ah, Non Partite! - Various Artists
- Non Siate Ritrosi - Rolando Panerai
- E Voi Ridete? - Rolando Panerai
- E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
- un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
- E Come Credi Che L'affar Finira? - Lisa Otto
Tracks:
- Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
- Si Mora, Si, Si Mora - Various Artists
- Eccovi Il Medico - Various Artists
- Dove Son? Che Loco E Questo? - Various Artists
- Dammi Un Bacio, O Mio Tesoro - Various Artists
- Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
- Una Donna A Quindici Anni - Lisa Otto
- Sorella, Cosa Dici? - Elisabeth Schwarzkopf
- Prendero Quel Brunettino - Elisabeth Schwarzkopf
- Secondate, Aurette Amiche - Rolando Panerai
- Cos'e Tal Mascherata? - Various Artists
- La Mano A Me Date - Various Artists
- Oh, che Bella Giornata! - Various Artists
- Il Core Vi Dono - Rolando Panerai
- Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
- Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
- Amico, Abbiamo Vinto! - Leopold Simoneau
- Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
- In Qual Fiero Contrasto - Leopold Simoneau
- Tradito, Schernito - Leopold Simoneau
- Bravo, Questa E Costanza - Rolando Panerai
Tracks:
- Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
- E Amore Un Ladroncello - Nan Merriman
- Come Tutto Congiura - Elisabeth Schwarzkopf
- Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
- Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
- Tutti Accusan Le Donne - Rolando Panerai
- Vittoria Padroncini! - Various Artists
- Fate Presto, O Cari Amici - Lisa Otto
- Benedetti I Doppi Coniugi - Various Artists
- E Nel Tuo, Nel Mio Bicchiero - Various Artists
- Bella Vita Militar! - Various Artists
- Bella Vita Militar! - Various Artists
- Sani E Salvi Agli Amplessi Amorosi - Various Artists
- No, Signor, Non E Un Notaio - Various Artists
- Ah, Signor, Son Rea Di Morte - Various Artists
- A Voi S'inchina, Bella Damina - Various Artists
- Fortunato L'uom Che Prende - Various Artists
Customer Reviews:
Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16
Overrated, but decent.......2006-03-29
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
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Rossini - The Barber of Seville / Roberta Peters · Leinsdorf
Gioachino Rossini , Erich Leinsdorf , Roberta Peters , Robert Merrill , Fernando Corena , Margaret Roggero , Carlo Tomanelli , and Giorgio Tozzi Manufacturer: RCA ProductGroup: Music Binding: Audio CD General
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ASIN: B000003G4F Release Date: 1996-09-17 |
Tracks:
- The Barber Of Seville: Overture
- The Barber Of Seville: Act I: Scene 1: Piano, pianissimo (Count)
- The Barber Of Seville: Act I: Scene 1: Ecco ridente il cielo (Count)
- The Barber Of Seville: Act I: Scene 1: Ehi, Fiorello! - Mio signore! (Count)
- The Barber Of Seville: Act I: Scene 1: Mille grazie, mio signore (Count)
- The Barber Of Seville: Act I: Scene 1: Gente indiscreta! (Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: La ran le lera; Largo al factotum (Figaro)
- The Barber Of Seville: Act I: Scene 1: Ah, ah! che bella vita! (Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: Non e venuto ancora (Rosina, Count, Bartolo, Figaro)
- The Barber Of Seville: Act I: Scene 1: Se il nome saper voi bramate (Rosina, Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: Oh, cielo! (Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: All'idea di quel metallo (Count, Figaro)
Tracks:
- The Barber Of Seville: Act I: Scene 1: Evviva il mio padrone - Rossini
- The Barber Of Seville: Act I: Scene: 2: Una voce poco fa (Rosina) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Si, si, la vincero! (Rosina, Figaro, Bartolo) - Rossini
- The Barber Of Seville: Act I: Scene: 2: La calunnia e un venticello (Basilio) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Ah, che ne dite? (Basilio, Bartolo, Figaro, Rosina) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Dunque io son... tu non m'inganni? (Rosina, Figaro) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Ora mi sento meglio (Rosina, Bartolo) - Rossini
- The Barber Of Seville: Act I: Scene: 2: A un dottor della mia sorte (Bartolo) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Brontola quanto vuoi (Rosina, Count) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Ehi, di casa... buona gente (Count, Bartolo, Rosina, Basilio) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Che cosa accadde, signori miei (Figaro, Bartolo, Count, Basilio) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Fermi tutti, nessun si mova (Bartolo, Figaro, Basilio, Count, Rosina) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Mi par d'esser con la testa (Rosina, Count, Basilio, Bartolo, Figaro) - Rossini
Tracks:
- The Barber Of Seville: Act II: Ma vedi il mio destino! (Bartolo)
- The Barber Of Seville: Act II: Pace e gioia sia con voi (Count, Bartolo)
- The Barber Of Seville: Act II: Insomma, mio signore (Bartolo, Count, Rosina)
- The Barber Of Seville: Act II: 'Contro un cor che accende amore...' (Rosina, Count)
- The Barber Of Seville: Act II: Bella voce! (Count, Rosina, Bartolo)
- The Barber Of Seville: Act II: 'Quando mi sei vicina...' (Count, Bartolo)
- The Barber Of Seville: Act II: Bravo,signor barbiere,ma bravo! (Figaro, Bartolo, Rosina, Count)
- The Barber Of Seville: Act II: Don Basilio! Cosa veggo! (Rosina, Count, Figaro, Bartolo, Basilio)
- The Barber Of Seville: Act II: Buona sera, mio signore (Count, Figaro, Basilio, Rosina, Figaro, Bartolo)
- The Barber Of Seville: Act II: Orsu, signor don Bartolo (Figaro, Bartolo, Count, Rosina)
- The Barber Of Seville: Act II: Ah! Disgraziato me! ma come? (Bartolo,
- The Barber Of Seville: Act II: Il vechiotto cerca moglie
- The Barber Of Seville: Act II: Dunque voi don Alonso non conoscete affatto? (Bartolo, Basilio, Rosina)
- The Barber Of Seville: Act II: Temporale - Storm
- The Barber Of Seville: Act II: Alfine eccoci qua (Figaro, Count, Rosina)
- The Barber Of Seville: Act II: Ah! qual colpo inaspettato! (Rosina, Figaro, Count)
- The Barber Of Seville: Act II: Ah,disgraziati noi! come si fa? (Figaro, Count, Rosina, Basilio)
- The Barber Of Seville: Act II: Il conte! ah che mai sento! (Bartolo, Count)
- The Barber Of Seville: Act II: Cessa di piu resistere (Count)
- The Barber Of Seville: Act II: Insomma, io ho tutti i torti! (Bartolo, Figaro, Basilio, Rosina)
- The Barber Of Seville: Act II: Di si felice innesto (Figaro, Bartolo, Basilio, Rosina, Count)
Customer Reviews:
Perfection in Seville.......2007-05-14
All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.
Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.
Un 'Barbero' sorprendente.......2004-10-31
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.
Strange to say, but probably one of the best Barbers.......2004-10-27
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.
Pure Bliss!!! YOU MUST GET THIS!!.......2003-07-29
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.
Hey! This is one of the BEST!.......2002-07-18
Then there are the not so minor roles of Bartolo and Basilio. Corena had a powerful, rich voice used here with a sense of character that's almost impossible to surpass. Has anyone ever had a better voice for Bartolo? Not in my memory! Giorgio Tozzi's Basilio is one of the glories of this performance; a rich, colorful voice with great beauty of tone... all at the service of one of opera's funniest `villains'. Leinsdorf does a fine job capturing the ambience of Barbiere, so I find it hard to go wrong with this recording...
So now it's time for a little rant and rave... One of the reviewers chided Corena and Tozzi for going over the top, speaking of them like dogs who were caught digging holes in the neighbors' gardens. (What must he think of Capecchi? I shudder to think of it!) The Barber of Seville is not a dusty old museum piece, it's a comedy about very human people going about their businesses with wacky results. This opera somewhat resembles a train wreck in the making, with boxcars full to the brim with maniac clowns. I love it when the singers get into the meat of their characters. Combining it with glorious voices and breathtaking singing only adds to the joy. Corena's performance of Doctor Bartolo IS over the top- which is what is needed- Bartolo is a very over-the-top man. Three cheers to Fernando Corena!
Latin Music:
- Celia Cruz: Reina Del Ritmo Cubano, Vol. 10
- Cha Cha Chá: Live at Grossinger's [Live] [Original recording remastered]
- Con Banda
- Cuando Suenan Los Tambores [Original recording remastered]
- De Principio a Fin
- De Principio a Fin [Enhanced]
- Detras Del Cielo [Import]
- Dyos Bo'otik
- El Loco Soy Yo
- El Pato y la Pata
Latin Music
Bach: Hunting Cantata/Peasants' Cantata
Arturo Toscanini: The New York Philharmonic Recordings [Box set]
Anthology: The Best of the Commodores
Alive & Well in Paris [Import]