No Se Que Me Das [CD-single] [Import]

Product Description
Fangoria's Hit Single Gets Remixed by Milinko, +d Lo Mismo and Moli. Also Includes the Video.

No Se Que Me Das,Fangoria,Subterfuge,Latin

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Average customer rating: The most noble voice PURCHASE THIS JEWEL WHILE YOU CAN luminous artistry from a genius A special Dignity and an Unfailing Beauty of Voice.

Songs Of Spain / De Los Angeles, et al Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Falla | Falla, Manuel de | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Granados, Enrique | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Morales, Cristóbal de | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Turina | Turina, Joaquin | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Guitar | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Spain | Continental Europe | Europe | International | Styles | Music General | International | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music Similar Items: Isabel Bayrakdarian ~ Azulão The Fabulous Victoria De Los Angeles The Maiden and the Nightingale: Songs of Spain The Very Best of Victoria de los Angeles On the Wings Of Song and Zarzuela Arias - Victoria de los Angeles ASIN: B00000I4KQ Release Date: 1999-02-23

Tracks:

1. El rossinyol
2. El testament d'Amelia
3. Adios meu homino
4. Mina nay por me casare
5. Tengo que subir
6. Ahi tienes mi corazon
7. La vi llorando
8. Ya se van los pastores
9. Campanas de Belen
10. Jaeneras que yo canto
11. A dormir ahora mesmo
12. Granadinas
13. Hincarse de rodillas
14. Cancion de trilla
15. Parado de Valldemosa
16. Nik baditut
17. Andregaya
18. Din, dan, boleran
19. Mariam matrem
20. Ay, triste vida corporal!
21. Que es mi vida, preguntais?
22. Porque es, dama, tanto quereros?
23. No me llames segalaherba
24. Ay, luna que reluces
25. En esta larga ausencia
26. Molinillo que mueles amores
27. Confiado jilguerillo
28. Seguidillas religiosas
29. Cancion de cuna
30. El jilguerillo con pico de oro
31. El canape

Tracks:

1. Ah, el novio no quiere dinero
2. Coma la rosa en la guerta
3. Estavase la mora
4. Aquel rey de Francia
5. Damos gracias a ti, Dios
6. Sobre Baca estaba el rey
7. Ay que non hay!
8. Rosa das rosas
9. Maravillosos e piadosos
10. Tres moricas m'enamoran
11. Paseabase el rey moro
12. Dime a do tienes las mientes
13. Si no's huviera mirado
14. Dexo la venda
15. Puse mis amores
16. Aqui me declaro su pensamiento
17. Pues que me tienes
18. Gentil dama, non se gana
19. Mi querer tanto vos quiere
20. Una hija tiene el rey
21. Una matica de ruda
22. Si la noche se hace oscura
23. Pastorcico, non te aduermas
24. Ay triste que vengo
25. No soy you quien la descrube
26. Pase el agua, Julieta
27. Aquel caballero, madre
28. Duelete de mi, Senora
29. De Antequera salio el Moro
30. De los alamos vengo, madre
31. Enfermo estaba Antioco
32. Dame acogida en tu hato
33. Morenica, dame un beso
34. Senora, si te olvidare
35. De donde venis, amore?

Tracks:

1. La rosa enflorece
2. Ven querida
3. Adio, querida
4. Durme, durme, hermozo hijico
5. Paxaro d'hermosura
6. Avrix, mi galanica
7. Irme quiero, la mi madre
8. Ya viene el cativo
9. Yo m'enamori d'un aire
10. Una matica de ruda
11. Anda, jaleo
12. Los cuatro muleros
13. Las tres hojas
14. Los mozos de Monleon
15. Las morillas de Jaen
16. Sevillanas del siglo 18
17. El cafe de Chinitas
18. Nana de Sevilla
19. Los pelegrinitos
20. Zorongo
21. Romance de Don Boiso
22. Los reyes de la baraja
23. La tarara
24. El combat del somni: Damunt de tu, nomes les flors
25. A l'ombra del Lledoner: Canco de grumet
26. Canciones negras: Cancion de cuna para dormir a un negrito
27. Cuatro madrigales amatorios: De los alamos vengo, madre
28. Coleccion de tonadillas: Callejeo
29. Coleccion de tonadillas: El tra la la y el punteado
30. Seis canciones castellanas: No quiero tus avellanas
31. Seis canciones castellanas: Jota
32. Panxolina
33. Tu pupila es azul
34. Cantos populares espanolas: Malaguena
35. Cantos populares espanolas: Granadina
36. Cantos populares espanolas: El Vito
37. Cantos populares espanolas: Pano murciano
38. Clavelitos
39. Adios, Granada
40. Madrigal

Tracks:

1. Coleccion de tonadillas: Amor y odio
2. Coleccion de tonadillas: Callejeo
3. Coleccion de tonadillas: El majo discreto
4. Coleccion de tonadillas: El majo olvidado
5. Coleccion de tonadillas: El majo timido
6. Coleccion de tonadillas: El mirar de la maja
7. Coleccion de tonadillas: El tra la la y el punteado
8. Coleccion de tonadillas: La maja de Goya
9. Coleccion de tonadillas: Las currutacas modestas
10. Tres majas dolorosas: Oh muerte cruel!
11. Tres majas dolorosas: Ay majo de mi vida
12. Tres majas dolorosas: De aquel majo amante
13. Goyescas: La maja y el ruisenor (Rosario)
14. 'La vida breve': Vivan los que rien! (Salud - Act 1)
15. 'La vida breve': Alli esta! Riyendo! (Salud - Act 2)
16. 'Acis y Galatea': Confiado jilguerillo
17. El tripili
18. Llorad, corazon
19. Iban al pinar
20. No lloreis, ojuelos
21. Mananica era
22. Mira que soy nina
23. Gracia mia
24. El pano moruno
25. Seguidilla murciana
26. Asturiana
27. Jota
28. Nana
29. Cancion
30. Polo
31. 'La Tempranica': Zapateado (La tarantula e un bicho mu malo)

Customer Reviews:

The most noble voice.......2004-05-28

Victoria de los Angeles' voice not only has a silken quality and fascinating glow to it but it is one of the most regal, noble sounds you'll ever hear. She illuminated those moments of quietness, gentleness and noble, feminine pride and elegance like no other soprano before and after her. This release of her "Spanish Songs" has never been surpassed. The songs of her homeland seem to have been written for her beautiful instrument alone, she fills every piece with special beauty and charm, religious flair and beautiful, noble simplicity. Buy this recording and see why Victoria is one of the best sopranos ever having come from Spain.

PURCHASE THIS JEWEL WHILE YOU CAN.......2002-01-08

FOR A LONG TIME "SONGS OF SPAIN" HAS BEEN MY FAVORITE ALBUM OF CLASSICAL, POPULAR, SECULAR AND RELIGIOUS (CHRISTIAN AND SEPHARDIC) SPANISH SONGS. DE LOS ANGELES DEFIES A RIVAL IN THIS GENRE. DE LARROCHA, SORIANO AND ZANETTI PROVIDE UNEQUALED ACCOMPANIEMENTS. THE RECORDINGS ARE SECOND ONLY TO LIFE PERFORMANCES. I UNDERSTAND THAT EMI INTENDS TO TAKE THIS SET OUT OF PUBLICATION. PURCHASE THIS JEWEL WHILE YOU CAN! I JUST PURCHASED MY THIRD SET FROM AMAZON AND I TREASURE IT AS MUCH AS MY FIRST!

luminous artistry from a genius.......2000-12-26

the vocal artist of vocal artistsdisplays her absolutely gorgeous voice and musical understanding of spanish feeling with a warmth that is unmatched anywhere.the only thing better was to hear her in person!

A special Dignity and an Unfailing Beauty of Voice........2000-09-17

This set offers four generously-filled CDs comprising almost 140 Spanish songs from Victoria de los Angeles' repertoire. To all of them she brings a special dignity and an unfailing beauty of voice. The earliest recordings date from 1950 and the last is the items she sang at the opening of the Barcelona Olympics in 1992. Yes, you will find the ubiquitous "Clavelitos!" here, and a later version of "La maya el ruisenor" from "Goyescas". The enclosed booklet provides illuminating notes by Lionel Salter, who also translated many of the texts which are also included. Accompanists include Gerald Moore and Alicia de Larrocha, and Victoria de Los Angeles provides a guitar accompaniment herself in one song. The last track of all, a zapateado from a zarzuela, recorded live in New York, must almost have brought the house down.

Average customer rating:

Brava Berganza! A Birthday Tribute Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Caldara, Antonio | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Falla | Falla, Manuel de | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Granados, Enrique | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Pergolesi | Pergolesi, Gio Battista | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Stravinsky | Stravinsky, Igor | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Turina | Turina, Joaquin | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Ballets & Dances | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Lute | Strings | Instruments | Classical | Styles | Music Berganza, Teresa | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Mozart, Wolfgang Amadeus | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Una voce poco fa: A Portrait of Teresa Berganza ASIN: B0007DHPRG Release Date: 2005-04-12

Average customer rating: great interpretation! A landmark recording, finally on CD

The Art of the Recorder Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Arne | Arne, Thomas Augustin | ( A ) | Featured Composers, A-Z | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Byrd, William | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Couperin, François | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Dufay | Dufay, Guillaume | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Hindemith | Hindemith, Paul | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Holborne, Anthony | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Machaut | Machaut, Guillaume de | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Purcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schmelzer | Schmelzer, Johann H. | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Ballads | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music General | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems Ballets & Dances | Renaissance (c.1450-1600) | Historical Periods | Classical | Styles | Music Electronic | Instruments | Classical | Styles | Music | Computer General | Keyboard | Instruments | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Madrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music Virelais | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: The Art of the Recorder Handel: The Complete Sonatas for Recorder Early Music Festival / David Munrow, Early Music Consort Music of the Gothic Era Henry VIII & His Six Wives ASIN: B0007VXZDQ Release Date: 2005-06-14

Customer Reviews:

great interpretation!.......2007-05-13

Great interpretation on this tribute to magnificient Early music player as David Munrow, superb! principally at the CD number one! thanks...

A landmark recording, finally on CD.......2005-07-11

David Munrow is often credited as an essential force in the revival of old instruments for modern performance; while many felt that this would be a passing fad, old instrument performance seems as strong as ever today, some 30 years later. I first obtained an LP set of "The Art of the Recorder" in 1980; it immediately became and has remained one of my favorites. I've been waiting for a CD reissue of since I got my first CD player. In its LP form, the audio textures were novel and enrapturing to me even in its 1970's audio, and Testament has carefully transferred the EMI recording to compact disc.

Speaking as a music lover, the repertoire in "The Art of the Recorder" went a long way to feed my interest in early music, spanning from medieval to 20th century works, solo recorders to ensembles that represent all the musical instruments, including vocal selections from the late baroque. The performance practices may seem a bit dated now (perhaps the baroque era more than others), but it's played with liveliness and conviction from start to finish.

The CD set also includes 36 tracks from Munrow's "Instruments of the Middle Ages". In the LP form where I first knew it, Munrow narrates with descriptions of the instruments; the narration is unfortunately absent, and the audio transfer sounds fuzzy compared with my memory of the LP. But it's still nice to have if you want to hear a gittern contrasted with a citole.

If you collect period instrument recordings, I heartily recommend "The Art of the Recorder" for your library.

Average customer rating: Terrible How Can You Give This Less Then Five Stars ??? This is really very nice! Below Their Standards

Star Crossed Lovers / Domingo, Fleming, Barenboim, Chicago SO Leonard Bernstein , Giuseppe Verdi , Carlos Gardel , Federico Moreno Torroba , Charles Gounod , Edward Duke Ellington , Franz Lehar , Chicago Symphony Orchestra , Daniel Barenboim , Renée Fleming , Plácido Domingo , and Duke Ellington Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ellington | Ellington, Edward Duke | ( E ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Barenboim, Daniel | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Fleming, Renee | C to G | Featured Performers, A-Z | Opera & Vocal | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Classic | Vocal Pop | Pop | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Renee and Bryn: Under the Stars Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss Renée Fleming - Visions of Love ~ Mozart Arias / Mackerras Renee Fleming: By Request HOMAGE: The Age of the Diva ASIN: B00000I088 Release Date: 1999-02-02

Tracks:

1. West Side Story: Prologue
2. West Side Story: Tonight
3. West Side Story: Rumble
4. West Side Story: Somewhere
5. Faust: Il se fait tard...O nuit d'amour!
6. El dia que me quieras
7. !Quisiera verte y no verte!
8. Jota castellana
9. Otello: Gia nella notte densa
10. In a Sentimental Mood
11. Do Nothin' Till You Hear From Me
12. Prelude to a Kiss
13. Das Land des Lachelns: Dein ist mein ganzes Herz
14. Die lustige Witwe: Lippen schweigen

Amazon.com

Romeo and Juliet were the original star-crossed lovers; Shakespeare coined the phrase in his tragedy about their young love and tragic death. But the expression can be applied to doomed couples of all kinds: Faust and Marguerite, Othello and Desdemona, and of course Tony and Maria in West Side Story, which updates Romeo and Juliet to modern New York. This recording, taped at a gala concert in Chicago in 1998 and videotaped for a telecast on the PBS series Great Performances, presents music about doomed love composed by Leonard Bernstein, Charles Gounod, Franz Lehar, Duke Ellington, and others, including several Spanish songs that show Plácido Domingo in top form. After all the tragedy, there is a duet that signals one happy ending: the Merry Widow waltz. Domingo and Renée Fleming are two of today's greatest singers, and they live up to their reputations. The voices are too operatic for West Side Story, but Bernstein would have disagreed. For his definitive recording of the show, he chose similar voices: José Carreras and Kiri Te Kanawa. --Joe McLellan

Customer Reviews:

Terrible.......2002-09-01

I must say that this album was not what I had hoped, and as it was my introduction to Renee Fleming, it was sometime before I bought another of her CDs. Domingo, I would hope, would have better judgement in his recordings, for I found this album nowhere near standard.

Please only purchase this item if you have enjoyed better works from both artists, for it was my introdution to them both, and I regret to say that I was most dissapointed! ~

How Can You Give This Less Then Five Stars ???.......2002-08-16

This recording is just great. When I first saw it in the store, I was so affraid that this would be a live recording. Its not! Yay! The only thing I did not like about this recording was the West Side Store Prologue. Renée would make a really good Maria. Placdio would not make that great of a Tony. He really is limited to opera and art song. Renée, however, can do it all. I really love Renée's "Prelude to a Kiss". I have this song on a recording with Kathleen Battle and I have to say that I really prefer Renée's rendition much better. I say so because I think jazz should be for bigger voices. Renée shines on this recording and blows Placido out of the water. Get this for Renée but not for Placido.

This is really very nice!.......2002-02-17

I loved this. I thought Renée was just wonderful. It's so wonderful when we have opera singers who grace our ears with doing something out of there element and doing it PHENOMINALLY!! So it's nice to have Renée singing the "Tonight" duet with Domingo in West Side Story. But I do agree with the reviewer below me, in that Domingo sounds a little operatic for this role. After all, it is a musical (not everyone's as versatile as our diva). Her "Somewhere" is just gorgeous, althought, my favorite "Somewhere" is sung by Jessye Norman (for all you West Side Story finatics out there). My personal favorites on this disc are the jazz songs by Renée. Who knew she had such a talent for jazz? I wish there were more Renée Fleming jazz recordings out there.

Below Their Standards.......2000-02-22

While both Domingo and Fleming are among today's outstanding singers, this is a very dissappointing disc. Even in the Othello selection, which comes from their normal operatic repetoire, they are not engaging. The dramatic tension is suprisingly slack. Unless you need to have every disk they made, pass this one up.

Average customer rating: Not a flawless version, but one to be REALLY loved The best of a mediocre-to-bad lot Hoffman contines to elude the recording world Excellent but not definitive O Dieu, de quelle ivresse embrasse-tu mon âme?

Offenbach - Les Contes d'Hoffmann / Alagna, van Dam, Dessay, Vaduva, Jo, Lascarro, Dubosc, Ragon, Sénéchal, Bacquier, Lamprecht, Nagano Jacques Offenbach , Roberto Alagna , Natalie Dessay , Kent Nagano , Choeur et Orchestre de l'Opéra National de Lyon , Leontina Vaduva , Sumi Jo , José van Dam , Catherine Dubosc , Gilles Ragon , Gabriel Bacquier , Doris Lamprecht , and Juanita Lascarro Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music Alagna, Roberto | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Donizetti: Lucie de Lammermoor; Natalie Dessay, Roberto Alagna Russian Album ASIN: B000005E4D Release Date: 1996-10-29

Tracks:

1. Les Contes D' Hoffmann: Prelude - Kent Nagano
2. Les Contes D' Hoffmann: Act 1, Scene 1: Glou! Glou! - Kent Nagano
3. Les Contes D' Hoffmann: Couplets de la muse: La verite, dit-on, sortait d'un puits - Kent Nagano
4. Les Contes D' Hoffmann: Elle est sur la scene, un peuple l'acclame - La Muse - Kent Nagano
5. Les Contes D' Hoffmann: Scene 2: Le conseiller Lindorf, morbleu! - Lindorf, Andres - Kent Nagano
6. Les Contes D' Hoffmann: Scene 3: Vayons? Pour Hoffmann! - Kent Nagano
7. Les Contes D' Hoffmann: Couplets: Dans les roles d'amoureux - Kent Nagano
8. Les Contes D' Hoffmann: Deux heures devant moi - Scene 4: Vite, vite, qu'on se remue! - Lindorf, Luther - Kent Nagano
9. Les Contes D' Hoffmann: Scene 5: Choeur des Etudiants - Drig, drig - Kent Nagano
10. Les Contes D' Hoffmann: Vrai Dieu! Mes amis - Kent Nagano
11. Les Contes D' Hoffmann: Eh! Luther! Ma grosse tonne - Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
12. Les Contes D' Hoffmann: Scene 6: Bonjour, amis! - Kent Nagano
13. Les Contes D' Hoffmann: Couplets and Andante: Va pour Kleinzach! - Kent Nagano
14. Les Contes D' Hoffmann: Peuh! Cette biere est detestable! - Kent Nagano
15. Les Contes D' Hoffmann: Duo: Et par ou votre Diablerie - Kent Nagano
16. Les Contes D' Hoffmann: Simple echange de politesse - Kent Nagano
17. Les Contes D' Hoffmann: Je vous dis, moi - Kent Nagano
18. Les Contes D' Hoffmann: Ma maitresse? - Kent Nagano
19. Les Contes D' Hoffmann: Final: Messieurs, on va lever le rideau! - Hoffmann, Nicklausse, Lindorf, Luther, Nathanael, Hermann, Wolfram, Wilhelm - Kent Nagano
20. Les Contes D' Hoffmann: Act 2: Entracte - Kent Nagano
21. Les Contes D' Hoffmann: Scene 1: La! Dors en paix - Spalanzani - Scene 2: Ah! Bonjour! Enchacte! - Spalanzani, Hoffmann - Scene 3: Fais allumer partout! - Spalanzani, Cochenille - Kent Nagano
22. Les Contes D' Hoffmann: Scene 4: Allons! Courage et confiance! - Kent Nagano
23. Les Contes D' Hoffmann: Pardieu! J'etais bien sur - Kent Nagano
24. Les Contes D' Hoffmann: Couplets: Une poupee aux yeux d'email - Nicklausse, Hoffmann - Kent Nagano
25. Les Contes D' Hoffmann: Scene 5: C'est moi, Coppelius! - Kent Nagano
26. Les Contes D' Hoffmann: Je me nomme Coppelius - Kent Nagano
27. Les Contes D' Hoffmann: J'ai deux jeux, de beaux yeux - Kent Nagano
28. Les Contes D' Hoffmann: Serviteur - Kent Nagano
29. Les Contes D' Hoffmann: Ah! Ange du ciel, est-ce bien toi? - Nicklausse, Hoffmann, Coppelius - Kent Nagano
30. Les Contes D' Hoffmann: Scene 6: Hein! Vous! - Hoffmann, Coppelius, Spalanzani - Kent Nagano
31. Les Contes D' Hoffmann: Scene 7: Choeur des Invites: Non aucun hote vraiment - Kent Nagano
32. Les Contes D' Hoffmann: Vous serez satisfaits, messieurs - Hoffmann, Spalanzani, Nicklausse - Kent Nagano
33. Les Contes D' Hoffmann: Scene 8: Mesdames et Messieurs - Kent Nagano
34. Les Contes D' Hoffmann: Mesdames et Meisseurs, fiere de vos bravos - Kent Nagano
35. Les Contes D' Hoffmann: Air: Les oiseaux dans la charmille - Kent Nagano
36. Les Contes D' Hoffmann: Ah! Mon ami! Quel accent! - Hoffmann, Spalanzani, Nicklausse, Olympia, Cochenille - Kent Nagano
37. Les Contes D' Hoffmann: Scene 9: Ils se sont eloignes! Enfin! - Kent Nagano
38. Les Contes D' Hoffmann: Ah! Vivre deux! - Kent Nagano
39. Les Contes D' Hoffmann: Tu me fuis? - Hoffmann, Olympia - Scene 10: Eh! morbleu! modere ton zele! - Hoffmann, Nicklausse - Kent Nagano
40. Les Contes D' Hoffmann: Scene 11: Voleur! Brigand! Quelle deroute! - Coppelius - Kent Nagano
41. Les Contes D' Hoffmann: Scene 12: En place les danseurs - Kent Nagano
42. Les Contes D' Hoffmann: Voila! Assez, assez, ma fille - Kent Nagano
43. Les Contes D' Hoffmann: Ah! Quoi? L'homme aux lunettes, la! - Spalanzani, Cochenille, Hoffmann, Olympia, Nicklausse, Coppelius - Kent Nagano

Tracks:

1. Les Contes d'Hoffmann: Act 3: Entracte - Jacques Offenbach
2. Les Contes d'Hoffmann: Scene 1: Elle a fui, la tourterelle - Antonia - Jacques Offenbach
3. Les Contes d'Hoffmann: Scene 2: Malheureuse enfant! - Crespel, Antonia - Scene 3: Desespoir! Tout a l'heure, encore! - Crespel - Scene 4: Frantz! n'ouvre a personne! - Crespel, Frantz - Jacques Offenbach
4. Les Contes d'Hoffmann: Scene 5: Jour et nuit je me mets en quatre - Frantz - Jacques Offenbach
5. Les Contes d'Hoffmann: Scene 6: Frantz, c'est ici! - Hoffmann, Frantz - Jacques Offenbach
6. Les Contes d'Hoffmann: Scene 7: Enfin je vais savoir pourquoi - Jacques Offenbach
7. Les Contes d'Hoffmann: Romance: Vois sous l'archet fremissant - Jacques Offenbach
8. Les Contes d'Hoffmann: C'est une chanson d'amour - Hoffmann, Antonia, Nicklausse - Jacques Offenbach
9. Les Contes d'Hoffmann: Scene 8: Ah! Je le savais bien - Jacques Offenbach
10. Les Contes d'Hoffmann: Ah! J'ai le bonheur dans l'ame - Jacques Offenbach
11. Les Contes d'Hoffmann: Pourtant, o ma fiancee - Jacques Offenbach
12. Les Contes d'Hoffmann: Viens la comme autrefois - Jacques Offenbach
13. Les Contes d'Hoffmann: Qu'as-tu donc? - Antonia, Hoffmann - Scene 9: Rien! J'ai cru qu'Hoffmann etait ici! - Hoffmann, Crespel, Frantz, Miracle - Jacques Offenbach
14. Les Contes d'Hoffmann: Scene 10: Pour conjurer la danger - Jacques Offenbach
15. Les Contes d'Hoffmann: Allons, parle! et sois bref! - Jacques Offenbach
16. Les Contes d'Hoffmann: J'ai la certains flacons - Miracle, Crespel, Hoffmann, Antonia - Jacques Offenbach
17. Les Contes d'Hoffmann: Scene 11: Ne plus chanter - Hoffmann, Antonia - Jacques Offenbach
18. Les Contes d'Hoffmann: Scene 12: Tu ne chanteras plus? - Jacques Offenbach
19. Les Contes d'Hoffmann: Ah! Quelle est cette voix? - Jacques Offenbach
20. Les Contes d'Hoffmann: Ta mere, oses-tu l'interroger? - Jacques Offenbach
21. Les Contes d'Hoffmann: Non! Assez! - Jacques Offenbach
22. Les Contes d'Hoffmann: Ja cede au transport qui m'enivre! - Miracle, Antonia, La Voix - Jacques Offenbach
23. Les Contes d'Hoffmann: Scene 13: Mon enfant, ma fille! - Crespel, Antonia, Hoffmann, Nicklausse, Miracle - Jacques Offenbach

Tracks:

1. Les Contes d'Hoffmann: Act IV: Entracte - Jacques Offenbach
2. Les Contes d'Hoffmann: Scene 1: Messieurs, silence! - Jacques Offenbach
3. Les Contes d'Hoffmann: Recit et Chant bachique: Et moi, ce n'est pas la - Jacques Offenbach
4. Les Contes d'Hoffmann: Amis, l'amour tendre et reveur - Hoffmann, Nicklausse, Giulietta - Jacques Offenbach
5. Les Contes d'Hoffmann: Scene 2: Je vois qu'on est en fete! - Schlemil, Giulietta, Pitchinaccio, Hoffmann - Scene 3: Au premier reve je t'enleve - Nicklausse, Hoffmann - Jacques Offenbach
6. Les Contes d'Hoffmann: Scene 4: Tourne, tourne, miroir - Dapertutto - Jacques Offenbach
7. Les Contes d'Hoffmann: Scene 5: Cher ange! - Dapertutto, Giulietta - Jacques Offenbach
8. Les Contes d'Hoffmann: Scene 6: Melodrame: Vivat! J'ai tout gagne! - Giulietta, Schlemil, Dapertutto - Jacques Offenbach
9. Les Contes d'Hoffmann: Scene 7: Giulietta, palsembleu! - Jacques Offenbach
10. Les Contes d'Hoffmann: Air de Giulietta: Vous ne jouez pas? - Jacques Offenbach
11. Les Contes d'Hoffmann: Que dit-elle? - Jacques Offenbach
12. Les Contes d'Hoffmann: Giulietta, je vous jure! - Jacques Offenbach
13. Les Contes d'Hoffmann: Oui, fut-ce au prix de ma vie - Jacques Offenbach
14. Les Contes d'Hoffmann: Sextuor and Choeur: Helas! Je vais encore la suivre - Jacques Offenbach
15. Les Contes d'Hoffmann: Morbleu! - Jacques Offenbach
16. Les Contes d'Hoffmann: Il a ma cle - Jacques Offenbach
17. Les Contes d'Hoffmann: Scene 1: Ton ami dit vrai! - Jacques Offenbach
18. Les Contes d'Hoffmann: Romance: O Dieu, de quelle ivresse - Jacques Offenbach
19. Les Contes d'Hoffmann: Jusque-la, cependant - Jacques Offenbach
20. Les Contes d'Hoffmann: Si ta presence m'est ravie - Jacques Offenbach
21. Les Contes d'Hoffmann: Ah! Tu m'as defiee - Giulietta, Hoffmann, Dapertutto, Pitchinaccio - Jacques Offenbach
22. Les Contes d'Hoffmann: Scene 2: Alerte, Hoffmann! - Jacques Offenbach
23. Les Contes d'Hoffmann: Voyez! Il n'a plus le moindre reflet! - Jacques Offenbach
24. Les Contes d'Hoffmann: Je n'aime pas qu'on me defie! - Jacques Offenbach
25. Les Contes d'Hoffmann: Ainsi, tu mentais! - Nicklausse, Hoffmann, Dapertutto, Pitchinaccio, Giulietta - Jacques Offenbach
26. Les Contes d'Hoffmann: Act V: Entracte - Jacques Offenbach
27. Les Contes d'Hoffmann: Scene 1: Choeur: Folie! Oublie tes douleurs - Jacques Offenbach
28. Les Contes d'Hoffmann: Voila quelle fut l'histoire - Jacques Offenbach
29. Les Contes d'Hoffmann: Choeur des Esprits et des Etudiants: Glou! Glou! - Hoffmann, Luther, Lindorf, Nathanael, Nicklausse - Jacques Offenbach
30. Les Contes d'Hoffmann: Scene 2: Stella, Stella! - Jacques Offenbach
31. Les Contes d'Hoffmann: Couplet: Pour le coeur de Phrygne - Jacques Offenbach
32. Les Contes d'Hoffmann: Denouement: Hola! Quelqu'un de fort pour emporter Hoffmann! - Jacques Offenbach
33. Les Contes d'Hoffmann: Ingrat! Et moi? - Jacques Offenbach
34. Les Contes d'Hoffmann: Adieu! Je t'abandonne - Andres, Hoffmann, Nicklausse, Stella, La Muse, Lindorf - Jacques Offenbach

Amazon.com

Of all the revisionist Hoffmanns, this one is the best, using the latest (and one trusts) last version of Michael Kaye's edition, based on sketches recently discovered for the unfinished opera. Most of the changes are in the Giulietta act; it now tracks better dramatically, and unlike some restoration attempts, its length is sensible. In the title role, Roberto Alagna is full of imaginative touches of characterization, singing the famous Kleinzach song with an intentional vocal roughness in a worthy effort to convey the Hoffmann's debauched state. As the mechanical doll Olympia, Natalie Dessay proves she's not only a phenomenal singer but a great comedienne. Kent Nagano deploys his Lyon Opera forces with great stylistic authority. --David Patrick Stearns

Customer Reviews:

Not a flawless version, but one to be REALLY loved.......2006-05-09

This is a recording with significant highs and lows. But in overall it is an excellent account of this wonderfully tuneful and beloved opera.
First, about the edition. The Kaye edition restores a lot of music including recitatives written by Offenbach and a number of musical numbers. It also goes for the Guiraud recitatives which some versions totally omit and replace by the dialogues which Offenbach likely might have intended. Compared to, say, the historical Sutherland/Domingo/Bonynge version, this version is significantly longer and more substantial, musically speaking. With more than 30 minutes of music compared to the Bonynge edition, it is understandable why the Kaye version needs up to 3 CDs to bear the substantial amount of music.
While fans of Contes d'Hoffmann would likely be grateful at the ressurrection of so much musical material, I personally find this version sometimes just too painfully long. The Guiraud recitatives sometimes simply are bland and cause the opera to just drag along. Yes, Guiraud obviously has a lot of skills and bright ideas in these recitatives, mostly shown by the quoting of music by Offenbach in these recitatives to give the opera a better sense of unison. But compared to the simpler recitatives that Offenbach himself wrote, the Guiraud sometimes just seems aloof. Unless you really have a lot of time, you might want to stick to the more important musical numbers. Also, the new ending, with Hoffmann facing the Muse in the apotheose is a wonderful ensemble, with sounds from the church organ that gives the scene its necessary "holy" feel.
Now to the singers. Alagna has a masculine voice and is dramatically very effective. He also has a perfect French diction-crisp, idiomatic and a real joy to listen to. His instrument naturally is not very beautiful; and I personally find his Hoffmann a bit beefy and hysterical; but his good understanding of the role still helps him come across as a better Hoffmann. The best Hoffmann is in my opinion either Domingo or Schicoff.
The ladies are provided with quite a luxury cast. Natalie Dessay's Olympia is perhaps second only to Sutherland and Sills. To everyone who honors La Stupenda's E flats, listen: Dessay presents the role of the mechanical doll with FOUR Gs, yes 4 full-voiced, stunning, jaw-dropping Gs!!! Musically speaking, Dessay is not as comedic as Sutherland; her tone is a little thin and nasal but her coloratura and lovely portrayal of the role is simply untterly convincing.
Vaduva's Antonia is excellent: excellent diction, girly tone and very successfully portrays the youngsinger's vulnerability and sensibility. She however lacks power in the trio and that C sharp falls flat. Her "Elle a fui la tourterelle" is however wonderfully touching and moving. The best Antonia, in my opinion, is Victoria de Los Angeles. To one of the reviewers here, Vaduva is not a Slavic singer. She is a French singer of Romanian origin. A totally Latin singer!
Sumi Jo portrays a very convincing Giulietta with very believable spinto qualities, which she provides effectively with chaning in tone. The rediscovered coloratura, with a couple of E flats and spellbinding runs, well, brings the wonderful Korean coloratura soprano to her prime best. Her French is surprisingly idiomatic.
Lascarro's got a small role as Stella. I personally don't like her tone; but she is good enough in the beautiful apotheose ensemble.
Jose Van Dam's quartet villain almost matches Bacquier's famous portrayal. His voice is not as dark or evil-sounding as Bacquier's but still gives a top-notch interpretation. His doctor Miracle might have been the best on record if he took some of those melodramatic laughs in the Trio. His reluctance, combined with Vaduva's small voice, creates a flat Trio. This being said, the French bass's quartet of villains stills ranks among the undisputed best. My favorite villain quartet, Gabriel Bacquier has a cameo role here as Crespel, which he does a great job.
Gilles Ragon's a good tenor and his stuttering in the portrayal of Cochenille is very convincing. I however find him a bit too serious and heavy for these tenore buffo roles. The same can be said for Senechal's Spalanzani. Compared to Charon's Spalanzani on the Bonynge recording, he is very unfunny. The "brigand! Bandit!" quarrel after the destruction of the doll is bland and lifeless.
Catherine's Dubosc has a lovely voice and does great job as Nicklausse. There is nothing to criticize about her singing qualities. My only objection is that the casting of this trouser role for a soprano harms the overall balance of the opera: 5 soprano roles and 1 mezzo role (the voice of the mother): this is not a good balance. The Barcarolle duet, in particular, suffers from both a misbalance and a ridiculous fast tempo.
Kent Nagano's conducting does not have the solid tempos of Bonynge and sometimes overwhelms the singers: most notably in that C sharp of the Trio. But he has really interesting ideas and provides invaluable support.
With the exception of a bland Spalanzani, some strange tempos and the unusual length of the edition, this is a very good Hoffmann. Together with the Bonynge version, this is another very good all-around recording. The set is a tad expensive, but given the substantial amount of music and a very informative booklet, this is a recording to really consider. It will provide a lot of listening pleasures. You will not be disappointed.

The best of a mediocre-to-bad lot.......2003-10-30

I have heard six recordings of "Hoffmann," an opera that is particularly dear to me for sentimental reasons. None of them are perfect, all have flaws, but on balance this is the best of the lot.

Now that musicologists have finished playing with the Mahler 10th Symphony (which ended rather well) and the Beethoven 10th (which ended rather badly), they have been taking a whack at "Hoffmann," rushing to revise music the composer never sanctioned and adding music found in buckets and boxes long after his death. My personal feeling was, if it ain't broke, don't fix it: you're not Offenbach, and to speak for him requires a tremendous amount of chutzpah. And a lot of the revisions, to my ear, simply do not work well, such as turning Giulietta into a coloratura soprano, spinning out an aria that ends much like Olympia's doll song as on this recording.

I'm also not fond of switching the Antonia and Giulietta acts from their traditional positions for both dramatic and musical reasons. To begin with, having the "tales" end with Antonia gives Hoffmann's character a certain sense of redemption that simply isn't there the other way. Also, the Giulietta act is musically the weakest: as primiarily an operetta composer, Offenbach simply had a hard time creating music for this act which is darker and more tensely dramatic than anything else in the work. The superp trio that climaxes the Antonia act, on the other hand, is one of the most brilliant and transcendent things he wrote.

That being said, there is much to admire in this set. Kent Nagano conducts briskly, which is his wont, thereby tying together the music in a cohesive and satisfying way where others (particularly Cluytens and Cambreling) sound slow and rambling. On the other hand, his chorus of the spirits, though light and brisk, just misses the rapt, enchanting sound achieved by Bonynge; and though it was probably Offenbach's intent to have only a few strings play the violin motif in the Antonia trio, they sound too thin, not sweeping or driven enough, for the dramatic situation. Nagano also conducts the famed "Barcarolle" at a shade-too-fast tempo, thus robbing the music of its mysterious charm (even Arthur Fiedler made a better recording of the instrumental version). These moments point to a lack of "theatricality" in Nagano's conducting style that Bonynge, Rudel and even Beecham managed to capture.

Alagna is not as suavely beautiful or haunting in the role as Robert Rounseville or Stuart Burrows were. This is something of an abrupt, nervous reading, though if one knows something about E.T.A. Hoffmann and his tales it is perfectly in keeping with his character. (I have yet, however, to see ANY tenor perform the role made up to LOOK like Hoffmann, a scrawny little man with a square jaw, popping eyes and a shock of unruly, frizzy hair. I guess no tenor really wants to look like that!)

This is unquestionably the finest performance Dessay has ever recorded: her voice is brilliant, in focus, on pitch and wonderfully secure. Only Bond in the Beecham performance and Sutherland come close, though I personally feel that Sutherland was funnier in the role. She had a real flair for comedy, whereas she did not possess enough personal warmth for Antonia or Giulietta.

The Sutherland recording also had the best "villains" in Gabriel Bacquier in his prime, but to my ears Van Dam is an excellent second. (Treigle, in the Sills set, was good but not great, his somewhat gruff voice rather overwhelimg the roles with too much histrionics.)

Vaduva has a pretty tone but your typical "Slavic wobble," more noticeable in the early and late parts of her act. For some reason, the voice is better focused in the middle sections, but she does not efface memories of de los Angeles who was the best Antonia ever.

Jo is surprisingly good as Giulietta: though her voice is even smaller than Dessay's, it had a fuller lyric sound in the mid-range which captured well on records. (I have beel told that her "live" career is just about over on stage as the voice is too small to carry in most modern theaters.) I liked Margherita Grandi in the old Beecham film, but a chesty, spinto Giulietta is apparently persona non grata in the new Michael Kaye edition of the work.

Dubosc is a good Nicklausse, though I preferred Tourangeau and the singer (I forget her name) from the Beecham film. Bacquier, with far less voice, is still predictably good as Crespel; the timeless Senechal is a classic Spalanzani; Ragon is an excellent Cochenille, not so memorable as Franz. (I miss Andrea Velis, the old Met comp, who was brilliant in these roles but was never recorded in them.) The other small roles range from excellent (Tezier as Schlemil) to poor (Juanita Lascarre as Stella).

An ideal modern "Hoffmann" would have Elisabeth Vidal as Olympia, Hong as Antonia, Fleming as Giulietta, Alvarez as Hoffmann, Rene Pape as the three villains, and someone like Pappano or Plasson conducting.....but we can dream all we want. The era of complete opera recordings, according to many inside sources, is over as we know it--even the Bobby & Angela act is being shelved--so we must pick from what we have, and this is simply the finest over all "Hoffmann" on record, with Bonynge's being a good second choice, though I do not like Domingo's hard-voiced, beefy Hoffmann.

Hoffman contines to elude the recording world.......2001-10-03

This is a very good Hoffman, with the new edition of the score and a lot more music than in earlier editions. There is MUCH here to be admired and enjoyed as there is in the classic Domingo/Sutherland recording.

I prefer Domingo's more passionate Hoffman to Alagna's workmanlike effort, which is still quite fine.

On the other hand, having different female vocalists, as this recording does is preferable to my ear than having the same throughout as the Domingo/Sutherland recording does. The three female leads here range from good (Dessay) to excellent (Jo). Having heard Sumi Jo sing Olympia on record and in person, I find it hard to enjoy Dessay's quite as much. Jo is here as Antonia however.

No single recording of Hoffman is clearly preferable and listening to each is recommended. In the meanwhile, there is still an opening here for a more fully satisying Hoffman.

Excellent but not definitive.......2001-04-20

This recording has given me many hours of listening pleasure. Pretty much every artist featured in it gives an excellent performance, and the greatness of Offenbach's opera is conveyed more fully than can be done by other performances that contain less of what he composed for "Hoffmann" before his untimely death. However, the recording has several specific faults that result in my giving it only 4 stars, even though it is among my favorite operatic recordings.

First, the good points. Listening to this recording one definitely thinks of the opera's characters rather than the artists portraying them.... I find Alagna's voice quite beautiful on this recording and feel that he portrays the character of Hoffmann with spectacular success....

Van Dam is one of the recording's great assets as the villains. The three main heroines are each memorable(.).......(Jo's) interpretation of Giulietta's long-lost coloratura aria is spectacular and features a spine-chilling moment in her climactic cadenza ...she sings a rising series of notes almost identical to one sung by Dessay as Olympia in Act II, emphasizing the connection of the heroines. ...Lascarro does a very good job in the small role of Stella (....Dubosc is excellent as the Muse and Nicklausse, giving a truly memorable performance of nearly the entire role. Unfortunately, Nicklausse's Antonia-act aria, arguably the artistic and emotional heart of the entire opera ...,seems somehow disappointing on this recording. Dubosc's voice does not cut through the orchestra as it should when she sings in her lower register, and as a result the aria fails to have the cathartic impact on me that it has when I have heard it in Metropolitan Opera broadcasts. .... Ragon gives an excellent, highly memorable performance in the four "grotesque" roles.

Now I may turn to the disappointing features of this recording. ....(T)his recording contains no extra-musical sound effects whatsoever. To a certain extent this is a valid approach to recording an opera. The problem is that "Hoffmann" contains an unusually high number of passages which were composed with the extra-musical sounds that would be heard from the stage in mind and which lack some of their intended impact without sound effects. The effectiveness of the students' drinking song is reduced when we don't hear them banging their glasses together and on the tables, and without the winding-up sound the pauses in Olympia's song when she runs down make less sense. We also should hear Coppelius smashing Olympia, Hoffmann and Schlemil moving around heavily as they duel, the death-gasp of another character who dies in the new ending of the Giulietta act (I won't spoil the unfamiliar twists of plot here), and various other sound effects which would add to the drama of the story. Moreover, Van Dam's villains never laugh except when their laughter is notated in the score, even though the libretto specifies some additional evil laughs, notably the one as Dr. Miracle disappears and Antonia falls dying at the end of the trio for Miracle, Antonia and the voice of Antonia's mother.

One of the main problems with the recording is that Van Dam, Ragon and Dubosc are the only performers to play multiple roles. Not only are the heroines played by four different sopranos, but none of the artists who play Luther and the students reappear in other roles in the acts devoted to Hoffmann's three stories. All of this goes against what are presumed to be Offenbach's wishes for his opera, despite the fact that this is a recording of Kaye's critical edition (in its "grand opera" version). Moreover, this recording was, unfortunately, made before Offenbach's own finished finale for the Giulietta act, written very shortly before his death, became available for inclusion in Kaye's edition. ....

Finally, it seems bizarre that the aria "Scintille, diamant," which has been one of the most popular numbers in the opera for a long time, is not included on this recording. ....

Despite these flaws, this recording is recommended. It is extremely enjoyable and represents the totality of Offenbach's intentions for "Hoffmann" more fully than any other recording currently available. One hopes that a new recording of Kaye's edition, with the definitive ending for the Giulietta act and with a single soprano playing all four heroines, will be made in the not-too-distant future.

O Dieu, de quelle ivresse embrasse-tu mon âme?.......1999-11-21

Comme un concert divin ta voix m'a pénétré!....

This recording is undoubtedly one of the two benchmark recordings of this opera, the other one being the classic Sutherland/Domingo/Bonynge set. It is the most complete set with the "newly-discovered" Giuletta ending, and even includes the terrific but apocryphal sextet that is missing in the Bonynge recording. Alagna is the true star here, reflecting the spirit of Hoffmann throughout the opera, and singing in a very ideomatic French (unlike Domingo). The four heroines are marvellous, even though I prefer a single soprano singing all the four roles. Van Dam is great as the four villians, but he could have been more sinister in the trio in the Antonia act. Nagano is fine, but has some problems with the tempi at times.

Average customer rating: A brilliant collection from a great soprano If I could have only one collection...... Yes this is great! The Grandest Collection of Leontyne Price Arias The Greatest Soprano Ever Recorded

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Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss ASIN: B000003FAF Release Date: 1992-08-11

Tracks:

1. Dido and Aeneas: Act 3: Thy Hand, Belinda!
2. Dido and Aeneas: Act 3: When I Am Laid In Earth
3. Le nozze di Figaro: Act 3: E Susanna non vien!
4. Le nozze di Figaro: Act 3: Dove sono
5. La traviata: Act 3: Teneste la promessa
6. La traviata: Act 3: Addio del passato
7. L'africaine: Act 2: Sur mes genoux, fils du soleil
8. Manon: Act 2: Allons! il le faut!
9. Manon: Act 2: Adieu, notre petite table
10. Otello: Act 4: Era piu calma?
11. Otello: Act 4: Mia madre aveva una povera ancella (Willow Song)
12. Otello: Act 4: Ave Maria
13. Adriana Lecouvreur: Act 1: Ecco: respiro appena
14. Adriana Lecouvreur: Act 1: Io son l'umile ancella
15. Louise: Act 3: Depuis le jour
16. Turandot: Act 2: In questa reggia
17. Die tote Stadt: Act 1: Marietta's Lied
18. Vanessa: Act 1: He Has Come, He Has Come!
19. Vanessa: Act 1: Do Not Utter A Word

Tracks:

1. Atalanta: Act 1: Care Selve
2. Don Giovanni: Act 1: Don, Ottavio, son morta!
3. Don Giovanni: Act 1: Or sai chi l'onore
4. Der Freischuetz: Act 2: Wie nahte mir der Schlummer
5. Der Freischuetz: Act 2: Liese, leise
6. Tannhaeuser: Act 2: Dich, teure Halle
7. Macbeth: Act 2: La luce langue
8. Macbeth: Act 4: Vegliammo invan due notti (Sleepwalking Scene)
9. Macbeth: Act 4: Una macchia e qui tuttora
10. Mefistofele: Act 3: L'altra notte in fondo al mare
11. Rusalka: Act 1: Song To The Moon
12. L'Enfant Prodigue: Air de Lia: L'annee en vain
13. Andrea Chenier: Act 3: La mamma morta
14. Francesca da Ramini: Act 3: Paolo, datemi pace
15. Suor Angelica: Senza mammo, o bimbo, tu sei morto!
16. Amelia Goes To The Ball: While I Waste These Precious Hours

Tracks:

1. Alceste: Act 1: Divinites du Styx
2. Don Giovanni: Act 2: Crudele? Ah, no, mio bene
3. Don Giovanni: Act 2: Non mi dir
4. I lombardi: Act 2: O madre, dal cielo
5. I lombardi: Act 2: Se vano e il pregare
6. Martha: Act 2: The Last Rose Of Summer
7. Simon Boccanegra: Act 1: Come in quest'ora bruna
8. La Perichole: Act 3: Tu n'es pas beau
9. Die Walkuere: Act 1: Du bist der Lenz
10. Die Fledermaus: Act 2: Czardas: Klange der Heimat
11. Carmen: Act 3: Ces des contrebandiers
12. Carmen: Act 3: Je dis que rien ne m'epouvante
13. Cavalleria Rusticana: Voi lo sapete
14. Thais: Act 2: Ah! je suis seule
15. Thais: Act 2: Dis-moi que je suis belle
16. Gianni Schicchi: O mio babbino caro
17. Les dialogues des Carmelites: Act 3: Mes filles, voila s'acheve

Tracks:

1. Semele: Act 2: Where 'er You Walk
2. Idomeneo: Act 3: O smania! O Furie!
3. Idomeneo: Act 3: D 'Oreste, d' Ajace!
4. La damnation de Faust: Part 4: D'amour l'ardente flamme
5. Oberon: Act 2: Ozean, du Ungeheuer!
6. Norma: Act 1: Sediziose voci, voci di guerra
7. Norma: Act 1: Casta diva
8. Norma: Act 1: Ah! bello a me ritorna
9. Rigoletto: Act 1: Gualtier Malde
10. Rigoletto: Act 1: Caro Nome
11. Tristan und Isolde: Act 3: Liebestod: Mild und leise
12. Pagliacci: Act 1: Ballatella: Qual fiamma avea nel guardo
13. Adriana Lecouvreur: Act 4: Poveri fiori
14. Gloriana: Act 1, Scene 2: Soliloquy & Prayer: On Rivalries 'tis Safe For Kings
15. Gloriana: Act 1, Scene 2: Soliloquy & Prayer: O God, My King, Sole Ruler Of The World

Customer Reviews:

A brilliant collection from a great soprano.......2007-04-30

Leontyne Price was much admired and this 4CD collection shows her outstanding vocal gifts to the best advantage. Numerous reviewers have commented on the wide-ranging styles present and I can agree wholeheartedly with them. You would be hard-pressed to find a greater compilation of Ms Price, showcasing her amazing gifts as a great singer!

If I could have only one collection.............2006-11-12

....it would be this. Such fine singing in so many periods, languages, and styles. She is truley a great artist and this set helps you see just HOW GREAT she is. I won't go thru all the tracks but will say Cara Selve drives me wild. "When I am Laid in Earth..." comes across very nicely. There are some rare exerpts too like Gloriana, Menotti's Amelia goes to the Ball. Overall most tracks are inspired. The musicianship is to the highest standards. I JUST lOVE IT!

Yes this is great!.......2006-10-14

But "When I am Laid in Earth" was written by PURCELL! Handel's "Care Selve", however, is also on this set, and it is GORGEOUS!!! I love just about everything on here. A few items from the fourth CD are a bit telling of her age (D'oreste d'ajace!")- but even they are fabulous. THe price of this set is unfortunate - however, it has dropped a little! :) I originally purchased it from BMG in 1994, for next-to-nothing, then "gave" it to my best friend! Two years ago, she lost hers to Hurricane Ivan, and paid a LOT for a new set!

The Grandest Collection of Leontyne Price Arias.......2005-08-08

If you're a fan of Leontyne Price, this should be at the top of your list of her recording albums. I don't know when this was issued, but it's from the RCA Label which was her best promotional record company. It's a box set featuring dozens of arias from magnificent grand operas (some of which Leontyne Price never sang on stage in full and instead sang some bits in concert). Leontyne Price sings in fresh, beautiful and strong voice in dramatic and versatile roles, mastering each music from each composer. She masters such strikingly different masters's works as Samuel Barber (Vannessa) Webber (Der Freischutz) Wagner (Tristan and Isolde, Tannhauser) Falla (Atalanta) Mozart (Le Nozze Di Figaro). She sings the title roles of Massenet's Manon, Bizet's Carmen, Bellini's Norma, Verdi's Lady Macbeth, Amelia in Un Ballo Di Maschera, Nedda in I Pagliacci, Turandot and Suor Angelica, Flotow's Martha, and even oratorio such as Handel's Semele and Benjamin Britten's Gloriana. This is a vast repertoire, far grander in variety than I have ever known any one soprano sang. While critics will indeed compare Leontyne Price to Maria Callas (as another review critic brought up) these two sopranos could not have been any more different. It's not even a matter of their different racial backgrounds- Callas was born in Greece and became an American citizen then gave it up for French citizenship..and Price was born in Mississippi and was African-American) it's a matter of how different their approach at opera was and their vocal category. Callas was a dramatic soprano sforzando (literally "forced dramatic soprano")who would prefer to produce a choking, ugly, harsh sound merely for the dramatic effect and the integrity of the text in her lines. Leontyne Price was the definition of a soprano lyrico-spinto ("pushed" lyric-dramatic singing)which meant above all, to sound beautiful and to fill up those dramatic lines with as much vocal and tonal beauty as possible. Price had a more thrilling mezzo di voce and high soaring top register and a cleaner, smoother sound than the wobbly Callas, no offense to Callas fanatics of which there are many. It is true that Price did lose her touch in a sense in her older years (the 1970's and 80's) when her voice lacked the vibrant lyricism and attention to diction. Her 1970's Toscas and Aidas are therefore a sloppier than her 1950's and 60's Toscas and the same went for her Leonoras in both Trovatore and Forza Del Destino. Nevertheless, Price is an ageless singer. Her voice, dark, messy or bright and smooth, is still what was said of her in her debut at the Met as Leonora in Trovatore - a "bright, unfurling banner". She was goddess of the opera and paved the way for the new generation of black sopranos of today.

This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.

The Greatest Soprano Ever Recorded.......2005-03-20

O.K. So that is only my opinion. But Leontyne Price was one of the most dedicated singers of the 20th century. Her vast repertoire is showcased in this extensive collection of arias. While to many Maria Callas will forever be the ultimate and the greatest of them all, Leontyne Price had the same poswerful, high dramatic voice, in addition a more generous chest register and a regial presence. Moreover, she overcame so much to get to the top. In her day, African-American women in opera was new. Marian Anderson was the first to get into the mainstream opera world, with much difficulty and intervention, such as Eleanor Roosevelt's support. After Marian Anderson finally landed her first role at the Met in the 50's, a new generation of black women in opera began. The 60's and 70's would see the rise of mezzo sopranos later turned to dramatic sopranos such as Grace Bumbry, Shirley Verrett and it would follow into the 80's with Jessie Norman and Kathleen Battle. Today, black women have made opera one of their highest achievements. Leontyne Price began singing in the 50's. A televised production of Tosca was not shown in some Southern states that were racistad opposed the idea of seeing a black woman in a "white" role. Leontyne Price would master the role of Tosca as successfully as Maria Callas. I think that while she is at her best in the Puccini and Verdi operas she recorded and performed (not showcased here)- Trovatore, Aida, Forza Del Destino, Madame Butterfly, Tosca, Suor Angelica. However, there is so much that she is absolutely remarkable in. I love her as Violetta in Traviata (few black women sing the traditionally white role of Violetta), Massenet's Manon, Verdi's Lady Macbeth (which was another of Shirley Verrett's great roles)Dido from Dido and Aneas, Dona Ana and Elvira in Don Giovanni, The Countess in Figaro, Bellini's Norma (she is outstanding in that powerful druid diva role). I think if we narrow it down to a few roles that she really made her own it would be 1: Aida....2:Tosca...3Dona Ana/Dona Elvira 4 Desdemona from Otello and 5..Leonoras from Trovatore and Forza.

This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.

Average customer rating:

The Best of José Carreras Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Franck, César | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music ASIN: B00000411R Release Date: 1990-10-25

Tracks:

1. Torna A Surriento
2. Fenesta Che Lucive
3. E Lucevan Le Stelle (Tosca)
4. My Own True Love (Gone With The Wind)
5. Nessun Dorma (Turandot)
6. Non Ti Scordar Di Me
7. Una Furtiva Lagrima (L'elisir D'amore)
8. Granada
9. Core 'Ngrato
10. Che Gelida Manina (la Boheme)
11. Love Is A Many Splendoured Thing
12. Pourquoi Me Reveiller? (Werther)
13. Memory (Cats)
14. Mattinata
15. Ave Maria
16. Tonight
17. Tu Che A Dio Spiegasti L'ali

Tracks:

1. Because You're Mine
2. 'A Vucchella
3. Di Rigori Armato Il Seno (Der Rosenkavalier)
4. Forse La Soglia Attinse - ma Se M'e Forza Perderti
5. Parlami D'amore, Mariu
6. Vesti La Giubba (I Pagliacci)
7. As Time Goes By
8. Oh, Fede Negar Potessi - Quando Le Sere Al Placido (Luisa Miller)
9. Panis Angelicus
10. 'O Sole Mio
11. E La Silita Storia (L' Arlesiana)
12. Be My Love
13. Dein Ist Mein Ganzes Herz (Das Land Des Lachelns)
14. Because
15. Donna Non Vidi Mai (Manon Lescaut)
16. You Belong To My Heart
17. Di Quella Pira

Average customer rating:

The World's Greatest Tenors Manufacturer: Eagle ProductGroup: Music Binding: Audio CD Waltzes | Ballets & Dances | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Flotow | Flotow, Friedrich von | ( F ) | Featured Composers, A-Z | Classical | Styles | Music General | Franck, César | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Moore | Moore, Thomas | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Strauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music Classical | Box Sets | Stores | Music ASIN: B000001YBQ Release Date: 1996-04-23

Average customer rating:

Das Buxheimer Orgelbuch (The Buxheim Organ Book): Chanson and basse danse intabulations), Volume 2 - Joseph Payne Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Dufay | Dufay, Guillaume | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Ballads | Forms & Genres | Classical | Styles | Music Rondos | Forms & Genres | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Das Buxheimer Orgelbuch (The Buxheim Organ Book): Fifteenth Century Organ Transcriptions, Volume 1 - Joseph Payne Das Buxheimer Orgelbuch (The Buxheim Organ Book), Volume 3 - Joseph Payne ASIN: B000001495 Release Date: 1996-03-26

Tracks:

1. Tout a par moy (252) Walter Frye
2. Colinetto tertium notarum (56)
3. Colinetto quartum notarum (57)
4. Mi ut re ut (Venise)(118)
5. Annavasanna quarta (Une fois avant que mourir)(89)
6. Annavasanna tertia (90)
7. Annavasanna tertia (91)
8. Stublin (Languir en mille destresse) (135)
9. Stublin (136)
10. Franc cuer gentil (116) Guilaume Dufay
11. Adieu mes tres belle (143)
12. Portugaler (43)
13. Le souvenir (256) Robert Morten
14. Deuil angoiddeux (59) Gilles Binchois
15. Longus Tenor (54)
16. Longus tenor quartum noterum (55)
17. Qui veut mesdire (128) Gilles Binchois
18. Je loe amours (16) Gilles Binchois
19. L'ardant desire (128)
20. J'ay pris amours (16)
21. Je loe amours (133)
22. J'ay pris amours (239)
23. Se la face ay pale (255) Guilauame Dufay

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