| 1. Corone Antonio Bento |
| 2. Padre Cicero |
| 3. Curto De Veu E Grinalda |
| 4. Br.3 |
| 5. Agora |
| 6. Eu Tambem Quero Mocoto |
| 7. Cristina |
| 8. Prima Vera |
| 9. Procurando Tu |
| 10. Azul Da Cor Do Mar |
Editorial Reviews
Product Description
Re-issue of the Debut Release from the Latin Group.
IMPORTANT RECORDING TO OWN......TIMELESS,BUTTER!BUTTER!BUTTER!
Grade:
A-
In Opera Proibita, Bartoli's repertoire not only reflects on her as a consummate vocal artist but also as the ultimate scholar. Rarely an opera singer would dig this dip and go that far to unearth great scores from total obscurity. Even more uncommonly a singer would take the challenge of singing these arias without the risk of ridiculing herself, but to the contrary establishing a new record and precedent.
Her execution of the Handel arias is truly astonishing in coloratura and melismas probably not heard for three hundred years when only the best castrati commanded the virtuosity to tackle these arias. Also surprising and refreshing was to hear works by Handel that show his wild side.
Bartoli brings this album to a high climax with the arias from Il Trionfo del Tempo e del Disinganno. This is really her realm and true medium. Her vocal runs in "Un pensiero nemico di face" sound like a first violin, and as if this was not difficult enough she ornaments the da capo melismas in tempo from allegro to presto molto vivace, and transitions into a note crescendo with great ease and certainty. Wonderful!
Alas, starting from her Vivaldi Album, I do not find her singing that beautiful any more. True, the songs picked there are technically very challenging, used to be sung by male castrato singers. The songs picked here are even more difficult.
BUT - is singing just about technique?
There are some songs in the Vivaldi Album that have the vocal musical lines broken in places. Here in Opera Proibita, almost every song has this problem, even the slow ones of Caldara. Compare her singing in the earlier part of her career, her early Mozart operas, I could not help but wonder if Ms. Bartoli has taken the correct turn in her career: her forced high notes, though squarely hit, do not sound at all pleasing; her runs and trills, though taken accurately at great tempi, is no longer truly musical. Compare her singing with the other two great baroque mezzo-sopranos Bernarda Fink and the tragically short-lived late Lorraine Hunt Lieberson, you would understand what I mean.
With the latest turn in Ms. Bartoli's singing, I am being forced to admit that this is a singer of great technical brilliance and enormous fame, but not at all pleasing to the ear.
Cecilia Bartoli just "does it" for me almost every time. She is just fantastic in my books. I love her dearly. She can give one an adrenalin rush with her bravura singing and then break one's heart with her pathos.
This is a superb collection of Baroque arias from "almost" operas! ;-))
I also liked the cheeky and none-too-subtle references to La Dolce Vita on
cover and the images inside the disc. Nice to see an opera singer with a playful sense of humour!
I am listening to this disc as I write this review and all I can say is that I love this disc and it is clearly one of the best Signorina Bartoli has released, although I like all of her recordings. Listen to track 12 and you will buy this disc.
More, please!
PS: How about DECCA getting Cecilia Bartoli and Andreas Scholl together for a musical project? I'd love to see two of my favourite singers together on the one disc.
PSPS: If you like Opera Proibita, buy Andreas Scholl's Arcadia and Arias for Senesino, too!
Grade:
A-
it's definitely r&b but has a deeper affinity with soul. there are also jazz and blues elements. and this may sound trite but it is far different than anything else out there. there are a few other neosoul artists that i like -- erykah badu and raphael saadiq in particular -- but none of them are nearly as talented or innovative as d'angelo.
this cd is a lot different than brown sugar with its smooth and jazzy polish. voodoo is funky and raw. this cd showcases some of the most innovative black musicians out there today -- roy hargrove provides horns on several tracks with ?uestlove on the drumset. and all that talent gelled really well.
it's been over 7 years since voodoo came out and i really hope that d'angelo can get himself together enough to put out another album.
But let's be real. (This goes out to the negative reviewers.) I have to be honest, I was looking for another "Brown Sugar Volume 2", PERIOD. That was my mistake. So I put it away for about four years. I was talking to one of my boys about that project and how I thought it was just okay. He told me to pull it back out. DAMN!!!!!! This project is so hot.......... Now I appreciate this music for what it is. (Innovative, original, funky, soulful and creative.)
But what's really stupid is that if he stuck to the same formula that was successful, these same folk that are complaining now would criticize him for repeating himself and not doing anything new. Isn't this why we listen to artist like D'angelo, Badu and Jill Scott, because they're different? So I got to apologize to D for not gettin' it at first.
I dare anyone to pull this cd back out. It's hotter than anything out there right now.
of.anybody into john legend should pick up this and his first album "brown sugar".the only negative is his enunciation while singing.without the insert of the cd,you would never understand what the hell he is saying!it's actually more 3 1/2 stars than 4 but way better than any of this psuedo rb garbage that is out presently.
I am moved to write this review for the express purpose of chastising Amazon.com for this quote made in their own review of the CD: "it elicits comparisons not just to obvious touchstones Marvin Gaye and Al Green, but to the Jimi Hendrix of Axis: Bold as Love and Electric Ladyland. While Voodoo is hardly in a league with such major statements..." Not only is the condescension unnecessary, it is unwarranted. Now, I may not have to crank my telephone anymore or use rabbit ears on my television, but I do, nevertheless, have a well-developed sense of nostalgia for music of old, music that has had time to grow roots and prove its worth over several decades. I'm all for having a vaunted pantheon of classic records, but let the record show (literally, let the record itself show) that Voodoo is not only in the same league, it's at least in the same ballpark--maybe even on the same team.
The Fireball theme is actually much improved on this version. I prefer the orchestra and the vocals over the original.
I don't really want to ruin the magic of his singing, with caddy comparisons, but it is sufficient to say that he excellent. Many compare his to Domingo, to that I would say that Villazon has an ease to his top that Domingo never had, but perhaps lacks the focus and thickness of Domingo's lower registers.
Overall what hits you most about Villazons performance, is the induviduality of his interpretations and voice. The top of his voice has a ring and tone that sets his apart from the pack.
To my ear, he sounds at his best in the Mid Period verdi, where the cut of voice come through in the long high-lying passage, (expecially the cut from Traviata,
Enjoy this incredible singer
This recital of Italian opera arias presents Villazon near the alpha of his career (one appearance as the Steersman on the Barenboim Flying Dutchman before, for Teldec) and the conductor at his omega - the just deceased Marcello Viotti, at the age of 52, who suddenly replaced Sinopoli in Berlin for the second of two performances of Verdi's Aida in 2001. Sinopoli had passed away at 54 the night of the first performance that weekend in Berlin.
On first impression, Federico's lament from Cilea's L'Arlesiana is taken too slowly, and yet from repeated listening to this disc, it is one of nearly half a dozen selections that contribute the most to making this an interesting recital. The lachrymose manner and delivery here, though, sets a little too much of an overall tone for the rest of the recital, including its several or so lighter numbers. Said to also be a Caruso favorite, the aria from Donizetti's Duca d'Alba is a real highlight as close to being Schubertian in feeling as some Verdi - as late into Verdi's work as Forza and Don Carlo. Villazon's singing here is as warmly ardent as you'll find anywhere on this disc, and his personal identification with the character of Don Carlo, several tracks later, is as complete as that of its best interpreters of the recent past, Placido Domingo especially.
The two Elisir d'amore selections are pleasant vocally, but too dark, especially the start to so many phrases of "Una furtiva." The remorse felt during the opening aria of the Tomb Scene from Lucia, after a slightly uncertain start, is entirely felt. Oronte's brief aria from Verdi's Lombardi is handled with an easy, pleasant swagger from both Villazon and Viotti, leading one to expect similar lightness in selections that soon follow, and which is not entirely forthcoming; the beginning of the recitative to "Parmi veder" from Rigoletto shows a palpable anxiety in this peculiar moment for the Duke in which he finds himself. Intonation falters momentarily at the end of this aria. "Ah! la paterna mano", after good recitative, gets pushed a little too forward, robbing the crest of several lines in it their full expressive potential. Contrast of expression between Alfredo's aria and cabaletta from Traviata is so minimal, almost to have been erased altogether; Viotti here, so deft and highly musical an accompanist he is for most of the rest of this disc, is similarly disengaged. Connecting music between aria and cabaletta and repeat of the latter both get awkwardly cut.
That leaves four verismo tracks for the remainder of this disc. Most distinctively sung is "E lucevan le stelle" from Tosca, but frequently quite close to sounding a copy of Domingo's interpretation. The honeyed placement for the top of the staff, once the voice takes on the melodic line, could hardly remind you of anyone else. "Che gelida manina" is also given a fine performance here, but begins to lose all consonants on a couple of words right before the ascent to the high C in the aria. After hearing Dino Borgioli and Cesare Valletti as Fritz, each more of a benchmark than Pavarotti, it is hard to identify the villager Fritz, from how disinteresed Villazon sounds. A slight cut is taken between two portions of recitative before Fritz's Act III aria. "Quando al soave anelito" from Mascagni's Nerone, obviously a rarity, is one for which I can only find a Domingo recital before. Here, the singing is fine, but the youthful sense of wonderment for Nero, in his vision of Venus, as wordly-wise a fellow he is, gets understated. Accompaniments to these four arias are mostly as fine as the others, but all come to abrupt endings, the endings of Boheme and Amico Fritz which lose all their shimmer here.
Much criticism here, but there is also much hope felt from listening to this disc, for a bright future for Mr. Villazon still. He is only seldom a conscientious and musical performer, but as opposed to what the liner notes might say, part of being musical in singing such selections or opera in general, is being specific for each character being portrayed here. Villazon should also take note that his singing is most interesting and also most easy to distinguish from his widely celebrated mentor, when he sings lightly. First impressions are strong - I first anticipated awarding this disc five stars - but unfortunately it just barely deserves four. Sound quality, if a bit heavily miked for climaxes and a bit recessed for the orchestra, especially at closings to arias, is warm and full.
I've seen "D" live more recently for the Voodoo album and he's EXCELLENT. I'm even more in awe by this live session because he was somewhat new to the scene. In my opinion the true talent of an artist is how well he or she performs live, having made that statement he's is truly talented much like Prince is so awesome live, so is Babyface, so is Me'shell NdegeOcello; get the picture. But I digress... buy this CD and I guarantee you it will stay in heavy rotation and you'll be logging onto Amazon.com hoping like I did.
Placido Domingo started off as a baritone. Vargas on the other hand is an out-and-out tenor. Yes, his voice is most beautiful in its upper register. Don't for once let those young or supposedly good looking tenors steal ALL the show. Vocally, guys like Vargas and Alvarez top the current tenor line up.
Why ask Pavarotti the question about his successor?
We know the answer ourselves - Ramon Vargas.
The new big 3 tenors? Vargas succeeding Pav, Alvarez succeeding Carerras, Heppner succeeding Domingo.
Ad finido.
With these points developed I can point out that the singing on this CD is on an exceptionally high order. Try the arias from Romeo, Lucia di Lammermoor, and La Favorita to see what I'm talking about. The top notes have, at times, almost a Bjoring like sheen and freedom (I should point out to the power nuts that Bjoring's voice was NOT LARGE)while his approach recalls the the great american tenor Jan Peerce. Bravo Vargas!!!!
If you are an opera lover and (God forbid!) have not yet stumbled upon Terfel, this is an excellent introduction. And by the way, you needn't be a singer to appreciate his voice - I know very little of the technicalities of singing (about as much as a year in the church choir can give you), but I play the violin and we violinists are very keen on singers who know what they are doing. In the words of my violin teacher, Terfel is "charming!"
The first three selections from 1904 are exquisite, and have only a solo piano accompaniment. The "Una Furtiva Lagrima" (track # 3) has a grace and luminosity that is breathtaking.
There are many arias that have remarkable aspects to them, like "Magiche note" from Goldmark's "La Regina di Saba", where he does a series of pianissimos, and of course, his most famous role was as Canio, in Leoncavallo's "Pagliacci", and this CD has both "Vesti la giubba" from 1907, and "No ! Pagliacco non son" from 1910. The latter is phenomenal, and has a deep, dark quality, sounding more like a baritone than a tenor.
There are some rarely heard pieces here, like the Goldmark aria, and "Deserto in terra solo" from Donizetti's "Don Sebastiano", and only occasionally heard is the beautiful "Rachel, quand du Seigneur" from Halevy's "La Juive", and no one can equal Caruso's interpretation of it.
What stands out most about his singing aside from the glorious sound is his phrasing, which is dramatic as well as supremely musical...one of the many reasons the name Caruso has become synonymous with "Italian operatic tenor".
The booklet insert has liner notes on Caruso's career, and a brief synopses for each aria.
The sound considering the age is a marvel, re-mastered from 78 RPM recordings, and states "A breakthrough in archive sound reproduction, Nimbus Natural Ambisonic Transfer technology preserves the immediacy and fidelity of the original performance". Thank goodness Caruso's emergence as a singer and the gramophone came into existence at the same time, so that recordings like this can still be heard.
Total playing time is 74'58.
Re-issue of the Debut Release from the Latin Group.
D'Angelo,D'Angelo,Vivid Sound Japan,Club/Dance,Contemporary R&B,Latin,Neo-Soul,Pop Vocals,United States of America,Urban
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The Ultimate Puccini Collection
Giacomo Puccini , Herbert von Karajan , Riccardo Chailly , Stephen Barlow , Tullio Serafin , Lorin Maazel , Sir Edward Downes , Giuseppe Patane , Zubin Mehta , Alberto Erede , John Mauceri , Plácido Domingo , José Carreras , Kiri Te Kanawa , John Alldis Choir , Luciano Pavarotti , London Philharmonic Orchestra , Bologna Community Theater Orchestra , Ettore Bastianini , Carlo Bergonzi , Renato Cesari , Fernando Corena , Cesare Siepi , Renata Tebaldi , Gianna D'Angelo , Saint Cecilia Academy Orchestra , Franco Corelli , Alfredo Mariotti , Regine Crespin , Royal Opera House Orchestra Covent Garden , London Symphony Orchestra , Maggio Musicale Fiorentino Orchestra , Rome Opera House Orchestra , Pilar Lorengar , Berlin Philharmonic Brass Ensemble , Mirella Freni , Rolando Panerai , Jussi Bjorling , Leontyne Price , and Vienna Philharmonic Orchestra Manufacturer: Decca ProductGroup: Music Binding: Audio CD  All Works by Puccini
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ASIN: B000007OU1 Release Date: 1998-06-09 |
Tracks:
- Turnadot: Nessun Dorma!
- Gianni Schicchi: O Mio Babbino Caro
- Manon Lescaut: Donna Non Vidi Mai
- La Boheme: Musetta's Waltz Song
- Tosca: Recondita Armonia
- Madame Butterfly: Un Bel Di
- TOSCA: E Lucevan Le Stelle
- La rondine: Il Sogno Di Doretta
- La Boheme: Che Gelida Manina
- La Boheme: Si, Mi Chiamano Mini
- La Boheme: O Soave Fanciulla - Love Duet, Act I
- Ch'ella mi creda libero
- TOSCA: Ah, Quegli Occhi...Qual'occhio Al Mondo - Love Duet, Act I
- TOSCA: Vissi D'Arte
- Madame Butterfly: Vogliatemi Bene - Love Duet, Act I
- La Boheme: Donde Lieta Usci
- Turandot: Signore, Ascolta!
- Turandot: In Questa Reggia
Amazon.com essential recording
Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David HurwitzCustomer Reviews:
Correction to the entry by "sergiocqh".......2005-11-08
Fantastic!.......2003-10-14
HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04
A great listening experience featuring some of the greatest opera performers of all time.
"Ultimate" only if you like your opera "al fresco"!.......2002-06-13
Wonderful Performance but Average Recording Quality.......2002-02-18
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Brown Sugar
D'Angelo Manufacturer: Virgin Records Us ProductGroup: Music Binding: Audio CD Contemporary Blues
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ASIN: B000002TWN Release Date: 1995-07-03 |
Tracks:
- Brown Sugar
- Alright
- Jonz In My Bonz
- Me And Those Dreamin' Eyes Of Mine
- Sh*t, Damn, Motherf*cker
- Smooth
- Cruisin'
- When We Get By
- Lady
- Higher
Amazon.com
D'Angelo is obviously inspired by the progressive soul of the early '70s, but he has also borrowed carefully from the hip-hop of his own generation. Like many of his contemporaries, he has recorded a tribute to marijuana--the album's title--but it's far wittier than most. It takes the form of a conventional love song ("Brown sugar babe, I gets high off your love ... that's why my eyes are a shade blood burgundy") and mimics intoxication in its throbbing bass lines and reverb-heavy organ. Another song, with a title too profane to print, is a blunt tale of infidelity and murder, but in contrast to most rap fantasies, D'Angelo's blues-like narrative acknowledges such acts have serious consequences. Best of all is the Prince-like "Higher," which combines the spiritual love of God and the carnal love of a woman into one dizzying, organ-fueled hymn. D'Angelo is still rather clumsy with lyrics, and he leans too heavily on ballads over dance numbers, but he has enough talent to grow in any of several directions. It will be an exciting story to follow and one would be foolish to miss the first chapter. --Geoffrey HimesCustomer Reviews:
THE GREAT ONE.......2007-06-23
IMPORTANT RECORDING TO OWN......TIMELESS,BUTTER!BUTTER!BUTTER!
D'Angelo - Brown Sugar.......2007-06-11
A Classic!.......2007-06-08
D'Angelo- Brown Sugar.......2007-06-07
Grade:
A-
D'angelo made a classic.......2007-05-07
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Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Cecilia Bartoli , George Frideric Handel , Alessandro Scarlatti , Antonio Caldara , Marc Minkowski , and Les Musiciens du Louvre Manufacturer: Decca ProductGroup: Music Binding: Audio CD Caldara, Antonio
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ASIN: B000A6T1HC Release Date: 2005-09-13 |
Tracks:
- All'arme si accesi guerrieri (Aria dell Pace)
- Mentre io godo (Aria della Speranza)
- Un pensiero nemico di pace
- Vanne pentita a piangere
- Sparga il senso lascivo veleno
- Caldo Sangue
- Come nembo che fugge col vento
- Ecco negl'orti tuoi...Che dolce simpatica
- Qui resta...L'alta Roma
- Lascia la spina cogli la rosa
- Ahi qual cordoglio...Doppio affetto
- Si piangete pupille dolente
- Ahi quanto cieca...Come foco allo splendore
- Disserratevi oh porte d'Averno
- Notte funesta...Ferma l'ali
Amazon.com
Cecilia Bartoli's new CD features a collection of music that could not be heard in her native Rome at the start of the 18th century due to Papal censorship. Theaters, the Church felt, were places of evil and corruption and operas led people to immorality. But some music-loving senior members of the priesthood asked composers to write oratorios and cantatas--indeed, operas without staging, essentially--for their own private entertainment. Call it what you will, the music is sensational--by turns virtuosic, gentle, and playful--and always expressive: just right, it seems, for Cecilia Bartoli's temperament. The opening aria on the CD, a call for peace in the name of Jesus, is, in fact, a dazzling martial air with trumpets blaring and the voice going through an amazing array of coloratura fireworks. It shows Bartoli at her most aggressive. The listener is practically hurled back from the speakers when she begins, with rapid-fire runs and trills and cascades of notes, all perfectly in place. Showy arias are offset by several tender ones ("Lascia la spina" from Handel's Il trionfo del Tempo e del Disinganno returns in the composer's Rinaldo, four years later, as the now-famous "Lascia ch'io pianga"), and Bartoli exhibits again, her many, many levels of pianissimo and sensitive phrasing. Marc Minkowski and his Musiciens are just right for this repertoire and back Bartoli up superbly. This is a fascinating project, rivetingly performed and presented. --Robert LevineAlbum Description
Limited Australian pressing. An extraordinary album of dramatic arias written in Rome at a time when opera performance was forbidden by the Church, and female singers were forbidden from singing in public. Decca. 2005.Customer Reviews:
Only one diva, only Bartoli........2007-06-19
In Opera Proibita, Bartoli's repertoire not only reflects on her as a consummate vocal artist but also as the ultimate scholar. Rarely an opera singer would dig this dip and go that far to unearth great scores from total obscurity. Even more uncommonly a singer would take the challenge of singing these arias without the risk of ridiculing herself, but to the contrary establishing a new record and precedent.
Her execution of the Handel arias is truly astonishing in coloratura and melismas probably not heard for three hundred years when only the best castrati commanded the virtuosity to tackle these arias. Also surprising and refreshing was to hear works by Handel that show his wild side.
Bartoli brings this album to a high climax with the arias from Il Trionfo del Tempo e del Disinganno. This is really her realm and true medium. Her vocal runs in "Un pensiero nemico di face" sound like a first violin, and as if this was not difficult enough she ornaments the da capo melismas in tempo from allegro to presto molto vivace, and transitions into a note crescendo with great ease and certainty. Wonderful!
Amazing disc.......2007-03-03
Beautiful Music, but vocally unmusical........2007-02-09
Alas, starting from her Vivaldi Album, I do not find her singing that beautiful any more. True, the songs picked there are technically very challenging, used to be sung by male castrato singers. The songs picked here are even more difficult.
BUT - is singing just about technique?
There are some songs in the Vivaldi Album that have the vocal musical lines broken in places. Here in Opera Proibita, almost every song has this problem, even the slow ones of Caldara. Compare her singing in the earlier part of her career, her early Mozart operas, I could not help but wonder if Ms. Bartoli has taken the correct turn in her career: her forced high notes, though squarely hit, do not sound at all pleasing; her runs and trills, though taken accurately at great tempi, is no longer truly musical. Compare her singing with the other two great baroque mezzo-sopranos Bernarda Fink and the tragically short-lived late Lorraine Hunt Lieberson, you would understand what I mean.
With the latest turn in Ms. Bartoli's singing, I am being forced to admit that this is a singer of great technical brilliance and enormous fame, but not at all pleasing to the ear.
Not to my taste.......2006-11-05
Exciting, moving, beautiful, energetic, heart-felt, fantastic..........2006-09-02
Cecilia Bartoli just "does it" for me almost every time. She is just fantastic in my books. I love her dearly. She can give one an adrenalin rush with her bravura singing and then break one's heart with her pathos.
This is a superb collection of Baroque arias from "almost" operas! ;-))
I also liked the cheeky and none-too-subtle references to La Dolce Vita on
cover and the images inside the disc. Nice to see an opera singer with a playful sense of humour!
I am listening to this disc as I write this review and all I can say is that I love this disc and it is clearly one of the best Signorina Bartoli has released, although I like all of her recordings. Listen to track 12 and you will buy this disc.
More, please!
PS: How about DECCA getting Cecilia Bartoli and Andreas Scholl together for a musical project? I'd love to see two of my favourite singers together on the one disc.
PSPS: If you like Opera Proibita, buy Andreas Scholl's Arcadia and Arias for Senesino, too!
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Voodoo
D'Angelo Manufacturer: Virgin Records Us ProductGroup: Music Binding: Audio CD Contemporary Blues
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ASIN: B000035X1M Release Date: 2000-01-25 |
Tracks:
- Playa Playa
- Devil's Pie
- Left & Right
- The Line
- Send It On
- Chicken Grease
- One Mo Gin
- The Root
- Spanish Joint
- Feel Like Makin' Love
- Greatdayindamornin' / Booty
- Untitled (How Does It Feel)
- Africa
Amazon.com's Best of 2000
Like Robin Hood working on a tip from Chuck D, D'Angelo has stolen back the soul that was missing from the just-add-water R&B scene. Voodoo is a simmering cauldron of sound, a magical collection. Stained with sweat, longing, and rage, this is an album with trouble on the brain. But it also includes sacred sweet nothings and rapturous raw rhythms to get you through the night. --Lizz Mendez BerryAmazon.com
Halfway through the languid midtempo ballad "Send It On" from D'Angelo's new sophomore effort, Voodoo, the young retro-soul maestro and band shift tempo and melody. It's a move so understatedly dramatic that it elicits comparisons not just to obvious touchstones Marvin Gaye and Al Green, but to the Jimi Hendrix of Axis: Bold as Love and Electric Ladyland. While Voodoo is hardly in a league with such major statements, it's a record inviting enough to attract repeated plays of its 78-minute length. As on his 1995 debut, Brown Sugar, D'Angelo covers a wide range of concerns--sex, home cooking, the destructive side of current street life--in a deceptively offhand manner. But he's a crafty craftsman: even a throwaway workout like "Chicken Grease" is blessed not only with a slinky groove and a guitar lick that deserves to be called just that, but bursts of Gaye-style vocal harmonies; the whole track, for all its retro flavor, ends up sounding like nothing else around. Throw in the blasts of anger that fire "Devil's Pie," the restatement of Bono's "I Still Haven't Found What I'm Looking For" in "Greatdayindamornin'," and the complete takeover of Roberta Flack's "Feel Like Makin' Love," and Voodoo proves one jam that was well worth the nearly five-year wait. --Rickey WrightCustomer Reviews:
D'Angelo-Voodoo.......2007-06-07
Grade:
A-
excellent.......2007-05-05
it's definitely r&b but has a deeper affinity with soul. there are also jazz and blues elements. and this may sound trite but it is far different than anything else out there. there are a few other neosoul artists that i like -- erykah badu and raphael saadiq in particular -- but none of them are nearly as talented or innovative as d'angelo.
this cd is a lot different than brown sugar with its smooth and jazzy polish. voodoo is funky and raw. this cd showcases some of the most innovative black musicians out there today -- roy hargrove provides horns on several tracks with ?uestlove on the drumset. and all that talent gelled really well.
it's been over 7 years since voodoo came out and i really hope that d'angelo can get himself together enough to put out another album.
Four Years After the Fact, I Finally Get It!!!!!!!!!.......2007-05-03
But let's be real. (This goes out to the negative reviewers.) I have to be honest, I was looking for another "Brown Sugar Volume 2", PERIOD. That was my mistake. So I put it away for about four years. I was talking to one of my boys about that project and how I thought it was just okay. He told me to pull it back out. DAMN!!!!!! This project is so hot.......... Now I appreciate this music for what it is. (Innovative, original, funky, soulful and creative.)
But what's really stupid is that if he stuck to the same formula that was successful, these same folk that are complaining now would criticize him for repeating himself and not doing anything new. Isn't this why we listen to artist like D'angelo, Badu and Jill Scott, because they're different? So I got to apologize to D for not gettin' it at first.
I dare anyone to pull this cd back out. It's hotter than anything out there right now.
smooth sounds.......2007-03-14
of.anybody into john legend should pick up this and his first album "brown sugar".the only negative is his enunciation while singing.without the insert of the cd,you would never understand what the hell he is saying!it's actually more 3 1/2 stars than 4 but way better than any of this psuedo rb garbage that is out presently.
Songs to make love to your old lady by. Songs that leave you ending sentences in prepositions. .......2006-12-15
I am moved to write this review for the express purpose of chastising Amazon.com for this quote made in their own review of the CD: "it elicits comparisons not just to obvious touchstones Marvin Gaye and Al Green, but to the Jimi Hendrix of Axis: Bold as Love and Electric Ladyland. While Voodoo is hardly in a league with such major statements..." Not only is the condescension unnecessary, it is unwarranted. Now, I may not have to crank my telephone anymore or use rabbit ears on my television, but I do, nevertheless, have a well-developed sense of nostalgia for music of old, music that has had time to grow roots and prove its worth over several decades. I'm all for having a vaunted pantheon of classic records, but let the record show (literally, let the record itself show) that Voodoo is not only in the same league, it's at least in the same ballpark--maybe even on the same team.
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One Hundred Greatest TV Themes
Manufacturer: Silva America ProductGroup: Music Binding: Audio CD All Works by Schifrin
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ASIN: B00005Y49F Release Date: 2002-08-27 |
Tracks:
- The A-Team - Nic Raine
- The Addams Family - Nic Raine
- The Adventures Of Robinson Crusoe - Nic Raine
- Airwolf - Derek Wadsworth
- The Avengers - Mike Townend
- Barnaby Jones - Jerry Goldsmith
- Batman - Nic Raine
- Battlestar Galactica - Nic Raine
- Baywatch - Derek Wadsworth
- Beverly Hills 90210 - Derek Wadsworth
- Bewitched - Nic Raine
- Between The Lines - Mark Ayres
- The Bill - Nic Raine
- Bonanza - The Philharmonia Orchestra
- Brideshead Revisited - Derek Wadsworth
- Buck Rogers In The 25th Century - Nic Raine
- Burke's Law - Derek Wadsworth
- Cagney And Lacey - Derek Wadsworth
- Captain Scarlet And The Mysterons - Mark Ayres
- Casualty - Mark Ayres
- Cheers - Mark Ayres
- Dallas - Nic Raine
- Dangerman (Secret Agent) - Mike Townend
- Doctor Who - Mark Ayres
- Doctor Kildare - Jerry Goldsmith
Tracks:
- Doogie Howser, M.D. - Derek Wadsworth
- Dynasty - Nic Raine
- The Equalizer - Derek Wadsworth
- Falcon Crest - Derek Wadsworth
- Fireball XL-5 - Derek Wadsworth
- The Fugitive - Nic Raine
- Hawaii 5-0 - Mike Townend
- Hercules: The Legendary Journeys - Nic Raine
- The High Chaparral - Nic Raine
- Highway To Heaven - Derek Wadsworth
- Hill Street Blues - Derek Wadsworth
- The Hitchhikers Guide To The Galaxy - Mark Ayres
- The Incredible Hulk - Derek Wadsworth
- Jason King - Mike Townend
- Jesus Of Nazareth - Paul Bateman
- Joe 90 - Derek Wadsworth
- Johnny Staccato - Derek Wadsworth
- Knight Rider - Derek Wadsworth
- Kojak - Mike Townend
- L.A. Law - Derek Wadsworth
- Land Of The Giants - Nic Raine
- Little House On The Prairie - Derek Wadsworth
- Lonesome Dove - Nic Raine
- Lost In Space - Nic Raine
- Lou Grant - Derek Wadsworth
Tracks:
- Magnum, P.I. - Derek Wadsworth
- A Man Called Ironside - Mike Townend
- The Man From U.N.C.L.E. - Derek Wadsworth
- M*A*S*H - Nic Raine
- Miami Vice - Mark Ayres
- Mike Hammer - Derek Wadsworth
- Mission Impossible - Mike Townend
- Monty Python's Flying Circus - Nic Raine
- The Munsters - Derek Wadsworth
- Murder She Wrote - Derek Wadsworth
- Newhart - Derek Wadsworth
- North And South - Derek Wadsworth
- Northern Exposure - Derek Wadsworth
- NYPD Blue - Mark Ayres
- The Outer Limits - Nic Raine
- Perry Mason - Mike Townend
- The Persuaders - Mark Ayres
- Peter Gunn - Mike Townend
- Police Squad - Nic Raine
- The Prisoner - Mike Townend
- Quantum Leap - Derek Wadsworth
- Randall And Hopkirk (Deceased) - Mike Townend
- Red Dwarf - Mark Lambert
- The Rockford Files - Mike Post
- Roseanne - Dan Foliart
Tracks:
- The Saint - Mike Townend
- Seaquest DSV - Nic Raine
- Space 1999 - Derek Wadsworth
- Star Trek - Mike Townend
- Star Trek: Deep Space Nine - Derek Wadsworth
- Star Trek: Voyager - Nic Raine
- St. Elsewhere - Derek Wadsworth
- The Streets Of San Francisco - Nic Raine
- Stingray - Barry Gray
- Taxi - Derek Wadsworth
- Thunderbirds - Derek Wadsworth
- Thirty Something - Derek Wadsworth
- The Time Tunnel - Nic Raine
- Tinker, Tailor, Soldier, Spy - The Philharmonia Orchestra
- The Twighlight Zone - Nic Raine
- Twin Peaks - Derek Wadsworth
- U.F.O. - Derek Wadsworth
- The Virginian - Nic Raine
- Voyage To The Bottom Of The Sea - Nic Raine
- Wagon Train - Paul Bateman
- The Waltons - Jerry Goldsmith
- The Wild Wild West - Derek Wadsworth
- Young Riders - John Debney
- Xena: The Warrior Princess - Paul Bateman
- The X-Files - Mark Ayres
Customer Reviews:
Two tracks I really like.......2007-07-21
The Fireball theme is actually much improved on this version. I prefer the orchestra and the vocals over the original.
Quantity Over Quality.......2007-01-15
Mediocre.......2006-05-17
One Hundred Greatest TV Themes.......2005-08-06
Pretty close to original recordings.......2005-07-24
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Italian Opera Arias
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ASIN: B00018TIOA Release Date: 2004-02-10 |
Tracks:
- Lamento: E La Solita Storia
- Recitativo E Romanza: Inosservato...Angelo Casto E Bel
- Aria: Quanto E Bella
- Aria: Una Furtiva Lagrima
- Recitativo Ed Aria: Tombe Degli Avi Miei...Fra Poco
- Aria: Il L'ho Perduta...Io La Vidi
- Aria: Io L'ho Perduta...Io La Vidi
- Aria: O Figli...Ah! La Paterna Mano
- Scena Ed Aria: Ella Mi Fu Rapita...Parmi Veder
- Canzone: La Donna E Mobile
- Scena, Aria E Cabaletta: Lunge De Iei...De' Miei Bollenti...O Mio Rimorso
- Aria: Che Gelida Manina
- Aria: E Lucevan Le Stelle
- Aria: Anche Tu Beppe Giungi...O Amore
- Aria: Vergini, Muse...Quando Al Soave Anelito
Amazon.com
This is a glorious debut recital by a tenor, from whom, if he sings the right roles and keeps way from jet-setting and too much singing, might just be the lyrico-spinto tenor we've been waiting for. He has the class of Carlo Bergonzi and a ringing tone which is somewhere between Domingo's big, dark sound and Pavarotti's brightness; he sings with a true mezza voce (not a falsetto); he always obeys the composer's markings and delineates character. He seems incapable of vulgarity, refusing to gulp or sob when a musically expressive gesture will do. The opening aria here--from L'Arlesiana--is so beautifully, touchingly sung that it's a heartbreaker; he doesn't take the usually opted-for high note near the end, but never fear: in the Traviata and Bohème excerpts, Villazon offers big, whopping high Cs. This CD is a knockout; let's hope it's only the beginning of an illustrious career, both recorded and live. --Robert LevineCustomer Reviews:
Another supeb tenor........2007-05-13
The one........2006-06-24
A New Star voice.......2005-09-25
I don't really want to ruin the magic of his singing, with caddy comparisons, but it is sufficient to say that he excellent. Many compare his to Domingo, to that I would say that Villazon has an ease to his top that Domingo never had, but perhaps lacks the focus and thickness of Domingo's lower registers.
Overall what hits you most about Villazons performance, is the induviduality of his interpretations and voice. The top of his voice has a ring and tone that sets his apart from the pack.
To my ear, he sounds at his best in the Mid Period verdi, where the cut of voice come through in the long high-lying passage, (expecially the cut from Traviata,
Enjoy this incredible singer
Quite Good.......2005-05-26
Promising debut by new lyric tenor.......2005-05-05
This recital of Italian opera arias presents Villazon near the alpha of his career (one appearance as the Steersman on the Barenboim Flying Dutchman before, for Teldec) and the conductor at his omega - the just deceased Marcello Viotti, at the age of 52, who suddenly replaced Sinopoli in Berlin for the second of two performances of Verdi's Aida in 2001. Sinopoli had passed away at 54 the night of the first performance that weekend in Berlin.
On first impression, Federico's lament from Cilea's L'Arlesiana is taken too slowly, and yet from repeated listening to this disc, it is one of nearly half a dozen selections that contribute the most to making this an interesting recital. The lachrymose manner and delivery here, though, sets a little too much of an overall tone for the rest of the recital, including its several or so lighter numbers. Said to also be a Caruso favorite, the aria from Donizetti's Duca d'Alba is a real highlight as close to being Schubertian in feeling as some Verdi - as late into Verdi's work as Forza and Don Carlo. Villazon's singing here is as warmly ardent as you'll find anywhere on this disc, and his personal identification with the character of Don Carlo, several tracks later, is as complete as that of its best interpreters of the recent past, Placido Domingo especially.
The two Elisir d'amore selections are pleasant vocally, but too dark, especially the start to so many phrases of "Una furtiva." The remorse felt during the opening aria of the Tomb Scene from Lucia, after a slightly uncertain start, is entirely felt. Oronte's brief aria from Verdi's Lombardi is handled with an easy, pleasant swagger from both Villazon and Viotti, leading one to expect similar lightness in selections that soon follow, and which is not entirely forthcoming; the beginning of the recitative to "Parmi veder" from Rigoletto shows a palpable anxiety in this peculiar moment for the Duke in which he finds himself. Intonation falters momentarily at the end of this aria. "Ah! la paterna mano", after good recitative, gets pushed a little too forward, robbing the crest of several lines in it their full expressive potential. Contrast of expression between Alfredo's aria and cabaletta from Traviata is so minimal, almost to have been erased altogether; Viotti here, so deft and highly musical an accompanist he is for most of the rest of this disc, is similarly disengaged. Connecting music between aria and cabaletta and repeat of the latter both get awkwardly cut.
That leaves four verismo tracks for the remainder of this disc. Most distinctively sung is "E lucevan le stelle" from Tosca, but frequently quite close to sounding a copy of Domingo's interpretation. The honeyed placement for the top of the staff, once the voice takes on the melodic line, could hardly remind you of anyone else. "Che gelida manina" is also given a fine performance here, but begins to lose all consonants on a couple of words right before the ascent to the high C in the aria. After hearing Dino Borgioli and Cesare Valletti as Fritz, each more of a benchmark than Pavarotti, it is hard to identify the villager Fritz, from how disinteresed Villazon sounds. A slight cut is taken between two portions of recitative before Fritz's Act III aria. "Quando al soave anelito" from Mascagni's Nerone, obviously a rarity, is one for which I can only find a Domingo recital before. Here, the singing is fine, but the youthful sense of wonderment for Nero, in his vision of Venus, as wordly-wise a fellow he is, gets understated. Accompaniments to these four arias are mostly as fine as the others, but all come to abrupt endings, the endings of Boheme and Amico Fritz which lose all their shimmer here.
Much criticism here, but there is also much hope felt from listening to this disc, for a bright future for Mr. Villazon still. He is only seldom a conscientious and musical performer, but as opposed to what the liner notes might say, part of being musical in singing such selections or opera in general, is being specific for each character being portrayed here. Villazon should also take note that his singing is most interesting and also most easy to distinguish from his widely celebrated mentor, when he sings lightly. First impressions are strong - I first anticipated awarding this disc five stars - but unfortunately it just barely deserves four. Sound quality, if a bit heavily miked for climaxes and a bit recessed for the orchestra, especially at closings to arias, is warm and full.
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Live at the Jazz Cafe
D'Angelo Manufacturer: EMI Int'l ProductGroup: Music Binding: Audio CD Contemporary Blues
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ASIN: B00004RCCK Release Date: 2000-02-23 |
Tracks:
- Me & Those Dreamni' Eyes Of Mine
- Can't Hide Love
- Cruisin'
- Shit Damn Motherfucker
- Lady
- Brown Sugar
- Heaven Must Be Like This
Album Description
Japanese edition of the soul singer's 1998 release with the additional track 'Heaven Must Be Like This'. 2000 release. Standard jewel case.Album Details
Japanese Reissue featuring a Bonus Track: Heaven Must Be Like This.Customer Reviews:
Not worth the price.......2006-03-17
The Best Live Album of the 90's.......2004-10-21
The New Godfather of Soul.......2004-05-06
Brown Sugar got me open and now I want some mo!!.......2003-01-09
I've seen "D" live more recently for the Voodoo album and he's EXCELLENT. I'm even more in awe by this live session because he was somewhat new to the scene. In my opinion the true talent of an artist is how well he or she performs live, having made that statement he's is truly talented much like Prince is so awesome live, so is Babyface, so is Me'shell NdegeOcello; get the picture. But I digress... buy this CD and I guarantee you it will stay in heavy rotation and you'll be logging onto Amazon.com hoping like I did.
Love-test this CD tonight, it is too sexy for words!.......2002-12-08
Just buy it! It will tide you over until his next release.
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Ramón Vargas - L'amour, l'amour / Viotti
Jules Massenet , Giuseppe Verdi , Munich Radio Symphony Orchestra , Pyotr Il'yich Tchaikovsky , Gaetano Donizetti , Giacomo Puccini , Marcello Viotti , Ramón Vargas , and Charles Gounod Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Donizetti
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ASIN: B00000K4H4 Release Date: 1999-09-14 |
Tracks:
- Romeo Et Juliette: Ah! Leve-Toi, Soleil (Gounod)
- Manon: En Fermant Les Yeux "Dream of des Grieux" (Massenet)
- Werther: Pourquoi Me Reveiller? (Massenet)
- Il Duca D'Alba: Angelo Casto E Bel (Donizetti)
- Lucia Di Lammermoor: Fra Poco A Me Ricovero (Donizetti)
- La Favorita: Spirto Gentil (Donizetti)
- L'Elisir D'Amore: Una Furtiva Lagrima (Donizetti)
- Roberto Devereux: Ed Ancor La Tremenda Porta (Donizetti)
- Eugene Onegin, Op.24: Lensky's Aria (Tchaikovsky)
- Rigoletto: Parmi Veder Le Lagrime (Verdi)
- Rigoletto: La Donna E Mobile (Verdi)
- Un Ballo In Maschera: Ma Se M'E Forza Perderti (Verdi)
- La Boheme: Che Gelida Manina (Puccini)
Amazon.com
Mexican tenor Ramón Vargas is in the midst of a fine international career, where he is in demand for and concentrates on the purely lyric tenor repertoire. His smallish, well-focused voice is attractive and distinguished, his top notes free and easy, and his ability in coloratura admirable, making him particularly valuable in the operas of Rossini. He is also an intelligent musician and has a natural feel for a melodic line. On this CD, he tackles the occasional aria that is a bit too heavy for him, i.e., Rodolfo's aria from La Bohème, an excerpt from Verdi's Un Ballo in Maschera, and Lensky's aria from Eugen Onegin, but on disc, at least, he finds no need to force, and the results are good. In general, he's ardent without being overly sentimental, and except for a vaguely desperate sounding high D flat(!) (as at the end of the fine scene from Donizetti's Roberto Devereux), he keeps the tone lovely. And his selection of arias here contains enough rarities among the chestnuts to make this CD particularly valuable. If you haven't heard Vargas, you should. --Robert LevineCustomer Reviews:
True Mexican colour.......2007-04-17
Placido Domingo started off as a baritone. Vargas on the other hand is an out-and-out tenor. Yes, his voice is most beautiful in its upper register. Don't for once let those young or supposedly good looking tenors steal ALL the show. Vocally, guys like Vargas and Alvarez top the current tenor line up.
Why ask Pavarotti the question about his successor?
We know the answer ourselves - Ramon Vargas.
The new big 3 tenors? Vargas succeeding Pav, Alvarez succeeding Carerras, Heppner succeeding Domingo.
Ad finido.
A TRUE LYRIC TENOR VOICE.......2003-11-02
With these points developed I can point out that the singing on this CD is on an exceptionally high order. Try the arias from Romeo, Lucia di Lammermoor, and La Favorita to see what I'm talking about. The top notes have, at times, almost a Bjoring like sheen and freedom (I should point out to the power nuts that Bjoring's voice was NOT LARGE)while his approach recalls the the great american tenor Jan Peerce. Bravo Vargas!!!!
Ramón Vargas - For Tenor Connoisseurs!!.......2003-03-23
Thoughtful and musical tenor.......2001-05-29
A Tenor of Note.......2000-06-28
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Bryn Terfel - Opera Arias / MET, Levine
Wolfgang Amadeus Mozart , Richard Wagner , Jacques Offenbach , Charles Gounod , Alexander Borodin , Gaetano Donizetti , Gioachino Rossini , Giuseppe Verdi , James Levine , Bryn Terfel , and The Metropolitan Opera Orchestra Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Borodin
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ASIN: B000001GP8 Release Date: 1996-04-09 |
Tracks:
- Le nozze di Figaro: Non pirai, farfallone amoroso
- Don Giovanni: Deh, vieni alla finestra
- Don Giovanni: Madamina, il catalogo uesto
- Cosi fan tutte: Rivolgete a lui lo sguardo
- Die Zauberfl Der Vogelfer bin ich ja
- Tannher: Wie Todesahnung Drung deckt die Lande...O du mein holder Abendstern
- Der Fliegende Holler: Die Frist ist um
- Les Contes d'Hoffmann: Allez!...Pour te livrer combat...Seintille, diamant
- Faust: Vous qui faites l'endormie
- Prince Igor: Ni sna ni otdycha izmucennoj duse
- Don Pasquale: Bella siccome un angelo
- La Cenerentola: Miei rampolli femminini
- Macbeth: Perfidi! All'anglo contra me v'unite!
- Falstaff: Ehi! paggio!...L'Onore!
Customer Reviews:
Look out world.......2006-01-20
What fun!.......2005-11-22
I LOVE YOU, BRYN!.......2005-06-03
If you are an opera lover and (God forbid!) have not yet stumbled upon Terfel, this is an excellent introduction. And by the way, you needn't be a singer to appreciate his voice - I know very little of the technicalities of singing (about as much as a year in the church choir can give you), but I play the violin and we violinists are very keen on singers who know what they are doing. In the words of my violin teacher, Terfel is "charming!"
awesome.........2004-03-10
ps) don't listen to what the guy under my review said. i don't think this person knows how to sing.
Why do people think this guy can SING???.......2004-02-09
Average customer rating:
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Prima Voce - Caruso
Manufacturer: Nimbus Records ProductGroup: Music Binding: Audio CD All Works by Donizetti
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Caruso, Enrico
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ASIN: B0000037J4 Release Date: 1992-12-02 |
Tracks:
- Manon: Il Sogno ('En Fermant Les Yeux')
- Tosca: E Lucevan Le Stelle
- l'elisir D'amore: Una Furtiva Lagrima
- Il Trovatore: Di Quella Pira
- L'africana: Mi Batti Il Cor .... O Paradiso
- Pagliacci: Recitar .. Vesti La Giubba
- Don Sebastiano: Deserto In Terra Solo
- Rigoletto: Questa O Quella
- La Forza Del Destino: Della Natal Sua Terra ....
- La Regina Di Saba: Magiche Note
- PagliacciI: No! Pagliaccio Non Son
- Aida: Se Quel Guerrier Io Fossi .. Celeste Aida
- Manaon: Je Suis Seul ...Ah! Fuyez Douce Image
- Un Ballo In Maschera: Di Tu Sse Fedele
- Un Ballo In Maschera: Forse La Soglia ...Ma Se M'e Forza
- Lo Schiavo: Qui Fortuna Insistenza ...Quando Nascesti Tu
- Rigoletto: Ella Mi Fu Rapita ...Parmi Veder Le Lagrime
- Manon Lescaut: Donna Non Vidi Mai
- Il Duca D'alba: Angelo Casto E Bel
- La Juive: Rachel, Quand Du Seigneur
Amazon.com
Sounding across the years, through the haze of primitive (though remarkably vivid) recordings, the voice of Enrico Caruso is still a miracle. The sense of style, the feeling of effortless control and power held in reserve, and, most of all, the uncanny expressiveness that comes through in Caruso's combination of phrasing, accent, and intensity: it all compels the greatest admiration. Nimbus helpfully specifies the provenance of the takes collected on this disc. They span a period of 17 years, from several matrices recorded early in 1904--two years after Caruso had made his first recordings for The Grammophone Company--to a 1920 Victor recording of "Rachel, quand du Seigneur" from Halévy's La Juive, one of the tenor's signature pieces. Caruso died at the age of 48, when a lot of today's tenors are just reaching their peak. But as these selections show, he was a seasoned artist from the time he was 28. No wonder the world fell at his feet. --Ted LibbeyCustomer Reviews:
window into the past.......2006-03-24
timeless beauty.......2004-11-24
The first three selections from 1904 are exquisite, and have only a solo piano accompaniment. The "Una Furtiva Lagrima" (track # 3) has a grace and luminosity that is breathtaking.
There are many arias that have remarkable aspects to them, like "Magiche note" from Goldmark's "La Regina di Saba", where he does a series of pianissimos, and of course, his most famous role was as Canio, in Leoncavallo's "Pagliacci", and this CD has both "Vesti la giubba" from 1907, and "No ! Pagliacco non son" from 1910. The latter is phenomenal, and has a deep, dark quality, sounding more like a baritone than a tenor.
There are some rarely heard pieces here, like the Goldmark aria, and "Deserto in terra solo" from Donizetti's "Don Sebastiano", and only occasionally heard is the beautiful "Rachel, quand du Seigneur" from Halevy's "La Juive", and no one can equal Caruso's interpretation of it.
What stands out most about his singing aside from the glorious sound is his phrasing, which is dramatic as well as supremely musical...one of the many reasons the name Caruso has become synonymous with "Italian operatic tenor".
The booklet insert has liner notes on Caruso's career, and a brief synopses for each aria.
The sound considering the age is a marvel, re-mastered from 78 RPM recordings, and states "A breakthrough in archive sound reproduction, Nimbus Natural Ambisonic Transfer technology preserves the immediacy and fidelity of the original performance". Thank goodness Caruso's emergence as a singer and the gramophone came into existence at the same time, so that recordings like this can still be heard.
Total playing time is 74'58.
A Very Good Place to Start with Caruso's Art.......2004-04-03
Caruso eclipses the great tenors of all other ages with ease. However be reminded that to some audience, his singing is dated at least so in term of taste. Others may wish to add more songs or arias to show the best of his voice etc.
The fact is, this CD runs 69.31 minutes which is more than sufficicinet to give the audience a good profile of the greatest voice of the century.
There is No Better..........2003-10-05
My feeling with regard to Caruso is that he sang songs that he really didn't always convince me about. When you hear this CD, which I must say buy, buy, buy, you will understand. It is possible to float the most beautiful male vox over nonchalance; it certainly is done quite regularly. I think if Caruso had created his own songs on a regular basis, I would be even more convinced of him being the greatest male singer of all time. There is no better...
Matthew Hahn...
Best singer to date; period !.......2001-02-28
Enrico Caruso is one of my most favorite singers. Truly, after listening to Caruso sing you will agree that his talent was just enormous. In number after number the VOICE will engulf you, and move you to new heights. Listen to track thirteen, "Ah! Fuyez Douce Image". You will not find a better rendition ANYWHERE.
If you like classical singing and if you wish to hear a true great ply his art, this CD is for you. Five stars do not do justice.
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