La Casa

1. No Puedo Negar (É O Amor)

2. Cuidate Mi Nino

3. Concorona Especial

4. Tambores Pa' Yemaya

5. Perdóname [Disco]

6. No Tiene Perdon

7. Casa

8. Advertencia

9. Esa Mujercita

10. Cuando Calienta el Sol [Disco]

La Casa,Raúl Marrero,Sony International,Latin,Latin Music,Salsa,Tropical

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Average customer rating: Very Bad Different is not always bad! Pay special attention to this new promise ! A tenor who wishes he were a baritone Finally, a SPINTO tenor!!!

Jose Cura - Puccini Arias / Domingo Giacomo Puccini , London Philharmonia Orchestra , Plácido Domingo , and Jose Cura Manufacturer: Erato ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Cura, José | ( C ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Tenors | Voices | Opera & Vocal | Styles | Music Similar Items: Artist Portrait Jose Cura Verdi Arias Anhelo: Argentinian Songs Verismo Boleros ASIN: B000005E5L Release Date: 1997-10-28

Tracks:

1. Turandot (Act III): Nessun dorma
2. Turandot (Act I): Non piangere Liu!
3. Gianni Schicchi: Avete torto! - Firenze ome un albero fiorito
4. Il Tabarro: Hai ben ragione
5. Il Tabarro: Io voglio la tua bocca - Folle di gelosia
6. La Rondine (Act I): Parigi! a cittei desideri
7. La Rondine (ActIII): Dimmi che vuoi seguirmi
8. La Fanciulla del West (Act II): Una parola sola - Or son sei mesi
9. La Fanciulla del West (Act III): Risparmiate lo scherno - Ch'ella mi creda
10. Madame Butterfly (Act I): Dipende dal grado di cottura - Amore o grillo
11. Madame Butterfly (Act III): Addio fiorito asil
12. Tosca (Act I): Recondita armonia
13. Tosca (Act III): E lucevan le stelle
14. La Boh (Act I): Che gelida manina
15. Manon Lescaut (Act I): Tra voi, belle
16. Manon Lescaut (Act I): Donna non vidi mai
17. Manon Lescaut (Act II): Ah, Manon mi tradisce
18. Manon Lescaut (Act III): Ah! non v'avvicinate! - No, pazzo son
19. Manon Lescaut (Act IV): Manon...senti, amor mio - Vedi, son io che piango
20. Edgar (Act II): Orgia, chimera dall'occhio vitreo
21. Le Villi (Act II): Ecco la casa - Torna ai felici di

Amazon.com essential recording

Good tenors are always in short supply, a particularly lamentable circumstance given the great demand for them in the operatic and symphonic repertoire. Thus, the advent of a good young tenor is always cause for rejoicing. A tenor of the caliber of Jose Cura--a composer, conductor and guitarist as well as a singer--is really good news. There is nothing wimpy about Cura's singing, nothing strained; he sings with baritonal beef and strong, chesty high notes. A protege of Placido Domingo, he shares some qualities with the older tenor, but is definitely an artist with something to say for himself. This is a career to watch. --Sarah Bryan Miller

Customer Reviews:

Very Bad.......2007-03-29

First of all, his voice does not suit for Puccini(I do not know what is fitting for him). If you buy this cd, you may listen the worst "Non piangere liu" "E Lucevan Stella" etc. He can not bring a little emotion. But Puccini demands it.

Different is not always bad!.......2006-11-26

It's very interesting to read all the reviews smashing Jose Cura for his "baritone-like" voice and supposed stiff and unvaried interpretation. The first opera I ever saw was The Washington Opera's 1997 production of Samson et Dalila (I was 13) with Jose Cura and Denyce Graves. Immediately I was converted into an opera lover! (specifically an opera-goer-lover) I don't necessarily like listening to all opera, and a lot of singer's voices still annoy me, but Jose Cura's voice is different (the source of much of the controversy...). The richness and deep quality of his voice that so contrasts with most tenor's voices (which can be rather squeaky at times) is what attracts me. And you should see this man act! A refreshing experience against the stereotypical stiff opera singer standing in the middle of the stage bellowing his/her lungs out. So please, try to actually see the man before you form an unshakeable opinion. I think his voice alone is gorgeous (especially with Puccini's incomparable work!), but pared with his charisma and ability on stage, it's irresistable.

Pay special attention to this new promise !.......2006-06-30

A talented artist, a potent and polished voice emerges to satisfy the Opera lovers all over the world.

Jose Cura is nowadays, one the most prominent figures of the Bel Canto. His charismatic presence and his timber have deserved him the best praises all over the world.

In this opportunity we may listen him singing a selection of Puccini's Arias, accompanied by Placido Domingo with the Philharmonia orchestra, a magnificent occasion to enjoy his art and impeccable timber.

A tenor who wishes he were a baritone.......2005-12-14

I bought this CD because I love Puccini above all other composers, due to the sheer emotion that he could put into his music. I also wanted to hear Placido Domingo conduct and I'm always on the lookout for a good tenor. However, this is not the CD to buy if you're looking for a good tenor. I can't help but agree with the reviewer who gave only one star, at first Jose Cura sounds great. But after I really listened I had to change my opinion. Cura sings ridiculously heavy to be a tenor. If you listen to him with the mindset that this is a tenor it's really laughable how heavy and pressed his voice is. I was reminded of Placido Domingo (Ugh) or Franco Corelli who also depressed his larynx giving him a very baritonal sound but by the time he was in his forties, when most voices really blossom, his was declining do to the tremendous weight he sang with. Cura scoops up even to middle register notes because he is unable to start on the pitch, and has one tone to his voice (except when he goes bellow mezzo forte when he has almost no control) and very little in the way of vocal expression due to the restrictions this weight puts on the voice. Now don't get me wrong, I'm not usually an opera snob (I listen to and love Josh Groban, Russel Watson, and Andrea Bocelli), but Cura truly warranted a review. I gave it two stars because I didn't think Placido did a bad job at conducting (not the best by any means but certainly not bad) and despite everything I just said, I really like Cura's performance of Nessun Dorma (I don't get why it's weak).

Finally, a SPINTO tenor!!!.......2005-10-14

I am SO happy that there is finally a tenor out there with the vocal power to sing over a Puccini orchestra but still keep the lyricism for the upper register! If your preference is for a sweeter, lighter sound, check out recordings of Carlo Bergonzi and Roberto Alagna. This is a voice meant for singing over large orchestras with some "muscle" in the low register and the ability to make high notes soar. (It also doesn't hurt that Sr. Cura is as gorgeous as his voice! :) )

Average customer rating: One of Savall's finest Nearly every night for 6 months! Diáspora sefardí / Hespèrion XXI

Diáspora Sefardí Manufacturer: Alia Vox Spain ProductGroup: Music Binding: Audio CD Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems General | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: Orient - Occident Lux Feminae Villancicos y Danzas Criollas Isabel I: Reina de Castilla El Cant de la Sibil-la, Mallorca & València, 1400-1560 ASIN: B00004RBWV Release Date: 2000-03-14

Tracks:

1. El Moro De Antequera
2. Levantose El Conde Nino
3. El Rey De Francia
4. Por Alli Paso Un Cavallero
5. Por Que Llorax Blanca Nina
6. La Guirnalda De Rosas
7. Nani Nani
8. El Rey Que Tanto Madruga

Tracks:

1. Las Estrellas De Los Cielos
2. En La Santa Helena
3. A La Una Yo Naci
4. Improvisacion
5. Paxarico Tu Te Llamas
6. Yo Era Nina De Casa Alta
7. Longe De Mi Tu Estaras
8. Hermoza Muchachica
9. Axerico De Quinze Anos
10. Improvisacion Sobre 'Axerico'

Amazon.com essential recording

The Sephardic Jews, scattered through the world after their expulsion from Spain in 1492, kept alive for centuries not only their language, Ladino, but an extraordinary repertory of "folk" songs, many of them quite sophisticated. As Ladino culture began to slowly fade away over the course of the 20th century, musicologists collected and transcribed these melodies from Ladino-speaking communities in Sarajevo, Sofia, Salonika, Smyrna, Jerusalem, and other cities. Beginning in the 1970s, these extraordinary songs were revived (to considerable excitement) for concert audiences--a revival sparked in large part by a 1976 recording by Hesperion XX. This now-legendary early music ensemble, renamed Hesperion XXI for the new century, has returned to the music of the Sephardic Diaspora with this beautifully produced and packaged release. Disc 1 contains eight songs performed lovingly by the magnetic Montserrat Figueras (who sings with an appropriately unstudied tone). The second disc includes eight more melodies performed instrumentally; the choice of instruments reflects the influence of the Muslim-ruled areas where the Sephardim settled with the oud, rebab, and qanun (Middle Eastern equivalents of the lute, fiddle, and dulcimer) performing alongside harps, lutes, flutes, and frame drums. (Inexplicably, however, the final track of this second CD--an improvisation for the sarod and tabla--sounds nice but feels completely foreign to the theme of this release.) It may have been more effective programming to mingle the vocal and instrumental tracks across the two CDs rather than segregating them. --Matthew Westphal

Customer Reviews:

One of Savall's finest.......2004-05-19

Hespérion XXI (formerly Hespérion XX, but renamed to honour the new century) is one of the most accomplished ensembles specialising in the early music of the Iberian peninsula. It is one of the ongoing collectives led by the formidable Jordi Savall, renowned for his interpretations on the viol da gamba. The members are always changing, which makes the ensemble simply a name for a grouping of artists and interpreters of this immensely rich musical heritage, yet always under Savall's masterful direction. Diaspora Sefardi is a double-CD of music of the Sephardic Jews, a diverse culture originating in Spain and later settling in countries around the Mediterranean after their expulsion from most of Spain in 1492. Never losing sight of their basic identity as Jews or their awareness of their Spanish origins, the Sephardic culture gradually incorporated numerous influences from the peoples among whom it evolved: from the Arab culture of north Africa, from the Turks, Greeks, Bulgarians, Rumanians, Serbocroats, etc. In short, Sephardic music is an amazing blend of all these influences, immediately recognisable for its unique manifestation of this diversity.

Led by the impeccable soprano Montserrat Figueras, a generous collection of sephardic romances resides on disc one, and ten instrumental pieces are found on disc two. Savall (performing on lira, viola and rebab) is joined by some virtuoso players here: Pedro Estevan on percussions, Yair Dalal on oud, Andrew Lawrence-King on arpa doppia, Pedro Memelsdorff on flutes, and a handful of others on psaltry, qanun, laud, sarod and medieval harp. This recording differs in kind from other interpretations (by Savall or by countless other interpreters of this music) in that it employs a more diverse instrumentation that lies beyond the standard western European grouping of percussion, viol, flutes and harps, and rather embraces the instrumentations of eastern influences of this music (oud, qanun, sarod, etc.).

Disc one, subtitled "Por que llorax blanca nina" (Why do you weep fair child?) is a selection of beautiful songs, mostly from 16th and 17th century documents, though all of them look back much earlier to a very old tradition of songs. Montserrat Figueras is full of vitality, her breathtaking voice and accomplished techniques show her complete mastery of this challenging material.

Disc two, "Las estrellas de los cielos" (The stars in the sky), is a diverse collection of instrumental pieces, interpreted and performed to perfection by this ensemble. This second disc is the real jewel here. Even in the complexity of rhythms, fostered by Pedro Estevan's challenging techniques, the rhythms are extremely accessible, allowing the listener to move around within the multifaceted and subtle instrumentations. Some are traditional dance pieces, while others more meditative reflections and variations on the music of the popular romances.

Listening to this music is always a rewarding enterprise. Full of surprises, it never provokes the same response twice. This release comes highly recommended for the curious listener. It comes beautifully packaged with lyrics and an informative essay by Paloma Diaz-Mas.

Nearly every night for 6 months!.......2003-05-01

After owning this CD for about 4 years, when my newborn daughter needed bedtime soothing I grabbed this (the 2nd CD). We listen to it nearly every night and I am never bored with it. It only bothers me a little when I find it getting stuck in my head during the day. I still enjoy sitting in the dark listening to it after 6 months. Beautiful moving music.

Diáspora sefardí / Hespèrion XXI.......2000-11-13

En este disco Jordi Savall y su grupo retoman el trabajo que emprendieron en discos anteriores sobre la música de origen judío ("Secular music from christian and jewish Spain" y los dedicados a la Sibila). El primer disco está compuesto por obras vocales que pertenecen a distintas expresiones de la diáspora judía a través de Europa, pero todas en ladino (lengua de los sefarditas o judíos españoles), interpretadas con una gran variedad de instrumentos (percusiones, flauta dulce, salterio, arpa, laúdes, etc.) sobre las que se alza la voz de Monserrat Figueras, que maneja bastante bien el estilo y el dramatismo requeridos, a pesar de que a mi juicio su interpretación es poco variada, y no se distingue tanto de sus versiones de música barroca italiana, por ej. El segundo disco trae sólo obras instrumentales, en las que se da un mayor espacio a la improvisación y la ornamentación, lo que considero bastante pertinente pare este tipo de música, y que realmente está muy bien lograda en este caso, permitiendo trabajar toda suerte de matices (el uso del aire por parte del flautista Pedro Memmelsdorff, por ejemplo). En todo caso, es necesario señalar que éste es un disco muy fresco, donde realmente se percibe un compromiso emotivo de los músicos con las obras, que pertenecen a un repertorio bastante poco trabajado en el campo de la música antigua, y sobre el cual todavía debe quedar mucho por investigar.

Average customer rating: Lovely rendition of Italian songs Best 'Italian' Selection yet. Salon pieces to delight the listener The Italian Songbook...... che bella..

Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini) Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | 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 Bartoli, Cecilia | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music All Works Featuring Bartoli | Bartoli, Cecilia | A to B | Featured Performers, A-Z | Opera & Vocal | Styles | Music Bellini, Vincenzo | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Rossini, Gioacchino | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bellini, Vincenzo | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Donizetti, Gaetano | ( D ) | Composers, A-Z | Classical Music Blowout | Stores | Music Rossini, Gioacchino | ( R ) | Composers, A-Z | Classical Music Blowout | Stores | Music Bartoli, Cecilia | ( B ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet Cecilia Bartoli - Chant d'amour (Mélodies française) / Myung-Whung Chung ASIN: B0000042H2 Release Date: 1997-09-16

Tracks:

1. Bel Canto Songs: Aragonese
2. Bel Canto Songs: Vaga luna che inargenti
3. Bel Canto Songs: II barcaiolo
4. Bel Canto Songs: Ah! rammenta, o bella Irene
5. Bel Canto Songs: L'abbandono
6. Bel Canto Songs: Or che di fiori adorno
7. Bel Canto Songs: Malinconia, ninfa gentile
8. Bel Canto Songs: Amore e morte
9. Bel Canto Songs: Bolero
10. Bel Canto Songs: La conocchia
11. Bel Canto Songs: II fervido desiderio
12. Bel Canto Songs: Torna, vezzosa Fillide
13. Bel Canto Songs: Vanne, o rosa fortunata
14. Bel Canto Songs: Dolente immagine di Fille mia
15. Bel Canto Songs: La farfalletta
16. Bel Canto Songs: A ma belle mere
17. Bel Canto Songs: Per pieta, bell'idol mio
18. Bel Canto Songs: Me voglio fa 'na casa
19. Bel Canto Songs: L'esule
20. Bel Canto Songs: La danza (tarantella napoletana)

Amazon.com

The Italian mezzo-soprano Cecilia Bartoli is one of the most charming and talented singers to appear on the scene in recent years, and this collection of Italian songs by three great opera composers--Bellini, Donizetti, and Rossini--is a most deserving bestseller. There are many small pleasures in the selections, which reflect the bel canto predilections of their authors, and Bartoli renders them artfully. Some will be familiar even to casual listeners (Rossini's La Danza, the famous tarantella); others will be new to most, but equally deserving of a hearing. The sensitive and skillful accompaniment is by conductor-pianist James Levine. --Sarah Bryan Miller

Customer Reviews:

Lovely rendition of Italian songs.......2007-03-11

The booklet coming with the CD says of Cecilia Bartoli that she "is justly famous for her coloratura mezzo-soprano voice and her interpretations of Rossini and Mozart." This CD features her lush voice taking on songs of three great Bel Canto composers--Rossini, Bellini, and Donizetti. Some might think of these as trifles, but the singing and musicality is rich and the songs evocative. The piano accompaniment is by famed conductor James Levine, and he does a splendid job.

Some sampling of the songs. . . . The CD begins with a song by Rossini, "Aragones." This is lushly sung; Bartoli has a wondrously rich and textured voice. The pace is contemplative, altogether consistent with the words of the song, the reflection of a disappointed lover. Well done.

Donizetti's "Il barcaiolo" is also well done. Bartoli shows her vocal agility in this tune. This is a spirited song, and her coloratura technique animates her rendition. There are segments sung forte, showing the power of her voice. There is a nice soft closing to the song, so she ranges from forte to piano.

Bellini is represented, too. His "Vaga luna che inargenti" is a pleasant love song. Bartoli sings this tenderly, creating a melancholy spirit, fitting the song's words.

To close, there is Rossini's wonderful tarantella, "La danza." Levine plays at a quick pace, as he must for this spirited song. Bartoli shows great vocal agility and strong breath control (this is a tough song to get right!). A wonderfully spirited version. She even takes a pass at a trill toward the close. All in all, most satisfying.

Thus, this represents a nice CD, showing Bartoli's skills with the songs of some of the great Bel Canto composers. An album that is a lot of fun to listen to!

Best 'Italian' Selection yet........2006-06-16

'An Italian Songbook' by mezzo-soprano Cecilia Bartoli and accompaniest extraordinare, James Levine is the best of the three collections of Italian material from Bartoli I have reviewed to date. Much of this may be due to Levine, but I believe it is more due to the quality of the material selected. All songs are by 'heaviweights Vincenzo Belline, Gaetano Donizetti, and Gioachino Rossini. It is certainly not due to a difference in the quality of Ms. Bartoli's singing, which is uniformly beautiful throughout.

This would be my first choice for Italian material with only piano accompaniment. For a very first Bartoli album, see her 'flagship' recording, 'Cecilia Bartoli' where she is backed by full orchestra and chorus.

Salon pieces to delight the listener.......2006-03-13

Italian art song never became the serious and high form of art that it did within Germany, and hasn't the same place in culture that the French mélodies had. Rather, Italian operatic composers wrote lighter vocal pieces with fairly simple piano accompaniment, designed to be performed in a more intimate setting. One hears immediately the Bellini line (so familiar to those who love Bellini's operas) in his songs - ditto with the Donizetti and Rossini songs.

This in no way robs the songs of immense charm. It would be easy to perform these songs without a great deal of thought, simply making them sound "pretty". But Cecilia Bartoli never does that - she always gives everything, voice, intelligence, musicality, to her performance.

That is what makes this recording so superb. I can see there are some less-than-satisfied reviewers - I am surprised by the comments. For rest assured, there is no vocal difficulty here at all. Cecilia Bartoli's voice is in superb condition throughout, and her interpretation is of course second to none. Having recorded "Vaga luna" myself, I would be the first to say if I thought anything was lacking in Ms Bartoli's performance - but there's nothing adverse I can say at all. It's simply gorgeous singing, with immaculate phrasing, an intensely personal approach, and some of the most beautiful sounds you're likely to hear.

It is hard to imagine anyone being disappointed by this recording. The comments made about squally sound are not just unfair, they're totally inaccurate. I remember purchasing this CD on the very day it was released in Australia, and it's a firm favourite of mine.

In all... delightful.

The Italian Songbook.............2005-12-09

...........sung like a string of pearls. I have never heard "Vaga luna che inargenti" sung so beautifully radiant and lucid. What a contrast when listening to her mournful "L'abbandono" where she sounds so utterly sad and full of melancholy. Brilliant vocal colouring here. "Malincolia, ninfa gentile" is sung with the appropriate pathos but without gimmicks and tricks. Utterly gorgeous Bellinian line. "II fervido desiderio" is sung with just the right amount of yearning and passion. "Per pieta, bell'idol mio" finds her beautifully charming and endearing, who could say no to her? The closing piece, "La Danza" is a tasty little song that suits her to a T. In my humble opinion every young voice student should not only study the Italian Songbook but own this in order to hear how it's done. This is still my favourite Bartoli album.

che bella.........2004-12-23

Cecilia Bartolia is such a refreshing singer in the current state of vocal affairs. For one thing, she is a serious student of the music she sings, and scorns all the 'popera' and crossover artists. She has sought out plenty of unknown/lesser known material to record (Salieri, Vivaldi, Gluck, etc). In the CD in question she does wonderful work with these Italian pezzi. Her voice is now dark, now breathy, now intense, always altered to reflect the words she is singing. Her vocal agility and control are simply remarkable. Pay no attention to the Bartoli nay-sayers, she is a first rate singer.

Average customer rating: Buy two and give one to someone you love! A joyful sample of the human voice. A sheer delight from start to finish Exquisite Cecilia Live

Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet George Frideric Handel , Antonio Vivaldi , Giulio Caccini , Wolfgang Amadeus Mozart , Franz Schubert , Pauline Viardot , Hector Berlioz , Vincenzo Bellini , Gaetano Donizetti , Gioachino Rossini , Umberto Giordano , Xavier Montsalvatge , Georges Bizet , Sonatori de la Gioiosa Marca , Cecilia Bartoli , and Jean-Yves Thibaudet Manufacturer: Decca ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( 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 Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | 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 Vocal & Song | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Bartoli, Cecilia | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music All Works Featuring Bartoli | Bartoli, Cecilia | A to B | Featured Performers, A-Z | Opera & Vocal | 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 Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico Cecilia Bartoli - A Portrait Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini) Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski Cecilia Bartoli - Mozart Portraits ASIN: B00000DBTM Release Date: 1998-10-20

Tracks:

1. Tu ch'hai le penne, Amore
2. Amarilli
3. Al fonte, al prato
4. Lascia la spina
5. Agitata da due venti
6. Oiseaux, si tous les ans, K. 307
7. La Pastorella, D 528
8. Havanaise
9. Hai luli!
10. Zaide
11. Malinconia, ninfa gentile
12. Ma rendi pur contento
13. La conocchia
14. Me voglio fa 'na casa
15. Mi lagnero tacendo
16. Mi lagnero tacendo (Il Risentimento)
17. Mi lagnero tacendo (Sorzico)
18. L' Orpheline du Tyrol
19. Riedi al soglio (Zelmira)
20. Le nozze di Figaro: Voi che sapete
21. Canzonetta Spagnuola
22. Caro mio ben
23. Cinco Canciones negras, No. 5: Canto negro
24. Carmen: Seguedille (Carmen)

Amazon.com essential recording

In the beginning, Cecilia Bartoli seemed to do one thing better than anybody, i.e., Rossini arias, which would not guarantee a long career even for a singer of her ebullience. This live performance from the Teatro Olympico in Vincenza, Italy, shows how much she's expanded, both linguistically and musically. The first five selections reflect her newfound specialty, early opera. The three Caccini selections from the 17th century--accompanied by small string ensemble--are deeply felt and stylistically convincing enough to make one eager for future forays. She's guilty of spinning out Handel's "Lascia la spina" excessively but hits new heights of virtuosity in Vivaldi's "Agitata da due venti." The rest of the disc is for voice and piano, in a program including both some genuine discoveries by French composer Pauline Viardot-Garcia that reveal the singer's increasing emotional depths and less consequential ones by Donizetti and Rossini. Bartoli also sings Spanish songs, most notably Montsalvatge's "Canto negro," proving that the singer doesn't venture into a new language until she can truly feel in it. Remarkably, her voice maintains its strength and body in the deeper, mezzo-ish regions as well as in the high, soprano-range areas. Might she have two voices? --David Patrick Stearns

Customer Reviews:

Buy two and give one to someone you love!.......2007-03-08

(That way, you can get free shipping!) Or, buy Opera Proibita also.

If you think you don't like listening to soprano soloists, you should buy this CD. I must say that I HATE listening to solo singing in general and soprano solo in particular! Well, this lady has stolen my heart! If you see her anywhere on the N American continent, please tell me.

The one-minute limit for listening on-line will simply not allow you to make a judgement. If I could legally allow you to hear track 5 "Griselda - Agitata da Due Venti" (Vivaldi), you would buy the CD without hearing anything else.

When I first heard Cecilia Bartoli on "Performance Today", the subject was "Opera Proibita" and I wrote to a friend who teaches voice at a local college and asked "Is she as good as I think, or am I just overreacting?" His simple response was "She's THAT good!"

This CD is of a live performance and you won't be disappointed except to realize that you COULD have been there, but weren't!

If she ever performs where I am able to see her, I'll be there. If I can talk to her, I will -- but I won't ask for my heart.

Highly recommended!

A joyful sample of the human voice........2006-06-12

'Live in Italy' by mezzo-soprano Cecilia Bartoli, accompanied by pianist Jean-Yves Thibaudet is, for those of us who do not know Italian and are not avid opera fans, a simply delightful essay in the beauty of the human voice. I am really happy this is not the first Bartoli album I have bought, as others, such as her recordings of French and Italian love songs have more substance to offer (if you don't know the operas from which these pieces are taken) but this recording, with its live ambiance, is a great pleasure all by itself, a very nice change from the somewhat frostier Fraulain Von Otter from the northern climes.

A sheer delight from start to finish.......2005-07-14

Although I rarely follow singers, even I am totally disarmed by Cecilia's magic spell of charm that criticism fails me. You will see that most of my reviews of music are about modern or Renaissance music, so for me to go out and lavish praise on her is really something totally out of the ordinary. Then again her singing is out of the ordinary in that it has an instantly recognisable warmth and captivating personality that makes her the outstanding singer of the current generation for me.

I have been impressed by Cecilia's tendency to avoid the well worn paths of 19th century Italian operas in favour of championing neglected earlier music whether that be Vivaldi, Haydn, or Salieri. She has always talked about how the centre of gravity of Western music seems to be shifting backwards in time, and in her case this means away from the Austro-German tradition to the time when the Italians dominated music. After all the musical elite of even Wagner's time could be still be heard muttering 'but he just isn't as good as those Italian...' at premiers of works such as Tannhäuser and it took a lot of convincing before the the idea of German opera became accepted. This shift backward in time here is exemplified by way the recital begins with the music of Caccini, the father of opera.

Here on this recording I particularly love the spontaneity of the live music making. Her ability to capture the declamatory nature of much older music such as with Caccini, Vivaldi and Handel suite live recording perfectly. Her manner of conveying the meaning of the words especially when singing in Italian is simply unrivalled in this situation. This is the sort of thing that all too often gets lost in studio recordings so it is a blessing that this is a live recording, where Cecilia seems to just glow. The spontaneity, the sheer magic of the moment - it is all a sheer delight from start to finish. At moments her voice seems so etheral, the hushed and rapt awe of the music making so breathtaking, that it simply beggers belief that the human voice can be so beautiful an instrument. This is what great music making should be all about.

As far as the recording itself goes I have never noticed any disturbing audience noises anywhere even on my system which tends to makes the slightest of rustling blatantly obvious. The recording engineers do an excellent job of capturing the ambience of the acoustic of the Teatro Olimpico in Vincenzo despite the presence of the audience.

A stunning recording and an absolute favourite to relax to or just to be inspired by.

Exquisite.......2003-01-31

"Her natural command of messa di voce phrasing, willingness to shade the voice away to the quietest pianissimo and acute sensitivity to the words of Caccini's love songs proved irresistible, attracting a generous mix of applause and foot stamping."

Such was the appreciation from the audience that the director had to request that the audience not stamp their feet as they would set off the alarm system.

There are hardly words to describe Cecilia Bartoli's remarkable vocal qualities, emotional range and warmth. When I listen to this CD, I am calmed completely. There is an element of comfort in her style. Maybe one could explain it as a lullaby for the soul.

She has the ability to support the longest of phrases on the back of a single breath all while varying the tone color and dynamic level. Singing seems as effortless as breathing as she becomes emotion all while capturing the drama and mood.

In this live performance from the Teatro Olympico in Vincenza, Italy, she performs each piece as if she is intimately entwined with the notes. How can music be this sensual and this comforting all at once? It just is. She can express a wide range of emotions, from profound despair to extreme joy.

The Teatro Olimpico is the worlds' oldest surviving covered theatre. It has fine acoustics, a sky-blue ceiling and marble. Cecilia Bartoli wanted to perform in one of the great treasures of Italy's cultural heritage and this led to this live performance with concert pianist Jean-Yves Thibaudet who seems to sense every emotion in Cecilia's voice. It is a sublime combination of talent which is further enhanced by violins, viola, cello, violone, archlute and harpsichord.

Tu ch'hai le penne, Amore - A song to love asking love to fly to where the heart lies and to promise that his heart and soul were ever hers.

Amarilli - Delicate and beautiful expression of true love.

Al fonte, al prato - You can feel spring approaching and this song has a certain energy Cecilia embraces as she sings away troubles and sadness to allow in merriment.

Lascia la spina - Melancholy. "Old age will creep up on you when your heart does not expect it."

Agitata da due venti - Cecilia's voice takes flight in this song about waves raging in a stormy sea. She almost becomes the force of the ocean as her voice surges and dives and wow.

Oiseaux, si tous les ans, K307 - She embodies a haunting vulnerability and the freshness of spring/summer. This song ends far too quickly.

La pastorella, D528 - Calm beauty to reflect a shepherdess in a meadow. Innocent love.

Havanaise - It seems like she has a completely different voice in this song as she reaches
to new ranges in depth. Charmed by a song? Perhaps.

Hai luli! - A seductive treatment of a song asking "where can my love be?"

"What's the point of living without a lover?"

Zaide - High energy and fast paced. A song about an orphan.

Malinconia, ninfa gentile - Gorgeous and poetic song.

Ma rendi pur contento - She really captures longing and an almost delicate purity.

La conocchia - Light and breezy.

Me voglio fa 'na casa - A song about the desire to build a house surrounded by the sea. Fantasy and happiness.

Mi langero tacendo - Poignant moment.

"I shall not complain of my bitter fate;
but, my beloved, do not hope for me not to love you."

Mi lagnero tacendo ll resentimento - the sorrow continues. The lover is said to be cruel.

Mi lagnero tacendo Sorzico - more complaints of cruelty and sorrow. She seems to capture frustration so exquisitely and is that stomping I hear? ;)

L'Orpheline du Tyrol - The Tyrolean orphan girl. Jean-Yves Thibaudet really takes the stage at first and Cecilia follows almost timidly. A song of tragedy, hunger and suffering.

Riedi al soglio from Rossini's opera Zelmira left seasoned connoisseurs dazzled. After the aria's final cadence, they broke from their awe-struck silence to add to the shouts of "encore."

Voi che sapete - Light and yet still dramatic. Desire, torment, ice. All explored fully by her voice. You can hear "torment" when she sings "martir" even if you could not see the words or follow along. Her voice really "flutters" when she sings "palpito e tremo." It is just amazing.

Canzonetta spagnuola - A muse comes to torment a painter.

Caro mio ben - A lover grows faint without love. Solitary melodies and you can almost feel the chill in the room or the feeling of despair the lover feels.

Canto negro - Is there anything she can't sing? This piece might seem completely out of place, but by now everyone is completely drunk with emotion from this performance.

Seguidille - Pleasure comes when two people are together. Definitely so when Cecilia Bartoli and Jean-Yves Thibaudet perform together. This song is almost a metaphor of the entire intoxicating experience. I just love how the audience goes absolutely wild after this song.

And too soon, it is over. I look forward to one day viewing the performance on DVD. It will be so much easier to understand the words now that I've literally studied this performance. Knowing the words definitely adds to the subtle emotions and more expressive moments.

~TheRebeccaReview.com

Cecilia Live.......2002-07-12

I have loved her low and warm voice ever since the first time I listened to her, the Italian mezzo-soprano Cecilia Bartoli. With respect and tenderness she treats the composers, whose works she performs while adding her own dimension. She transports me with her art. It is as if we become one person, and I experience her joy of music. Together we share a glimpse of eternity.

On this album which was recorded live at the Teatro Olimpico, Vicenza, Italy in 1998 Cecilia Bartoli offers her listeners a varied programme comprised of several composers: Caccini, Haendel, Vivaldi, Mozart, Rossini, Donizetti, Bellini, Viardot, Schubert, Montsalvatge and Bizet. She's accompanied in Caccini, Haendel and Vivaldi by the Sonatori de la Gioiosa Marca (Baroque string ensemble) and for the other pieces by Jean-Yves Thibaudet on piano. The accompanying booklet contains the lyrics, translations and further information.

Ms. Bartoli certainly has expanded her musical horizons here in several ways. On this disc she sings in Italian, French and Spanish. I loved her intense and heartfelt rendition of Caccini's and Haendel's arias. The passionate acrobatics of Vivaldi. And the Sonatori de la Gioiosa Marca gave her a fine support. She made a warm and lovely Cherubino in Mozart's famous 'Voi che sapete'. I also loved her sparkling interpretations of Viardot's 'Havanaise', Rossini's 'Mi lagnero tacendo' or his 'Canzonetta spagnuola'. But Montsalvatge's 'Canto negro' made me feel definitely uncomfortable and Ms. Bartoli herself didn't connect with it. Although I liked her rendition of Bizet's 'Seguedille, I still missed something there. Jean-Yves Thibaudet lends her an excellent, attentive and expressive support.

Although I would have preferred some more Baroque pieces at this concert, this live album is a keeper for me. Everytime the bundle of pure joy that is Cecilia Bartoli has the power to move me deeply!

Average customer rating: FABULOUS! Eduardo Carlos Leon Unique and pleasant. Emotional, Powerful, Fizzy Infernal Violins

Infernal Violins Manufacturer: Analekta ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music All Works by Boccherini | Boccherini, Luigi | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Falla | Falla, Manuel de | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music General | Paganini, Niccolò | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tartini | Tartini, Giuseppe | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Vocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances Ballets & Dances | 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 Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Classical | Imports | Stores | Music Similar Items: Passion Let's Dance String Serenades Violin Adagios Diamond Music ASIN: B00015EDL6 Release Date: 2007-04-03

Tracks:

1. Danse Macabre
2. Allegro Con Fuoco - Lento - Allegro Vivace - Andante
3. Allegro
4. I. Larghetto Affettuoso
5. II. Allegro Energico / III. Grave - Allegro Assai
6. Les Beautes Du Diable
7. Pantomima
8. Danza Ritual Del Fuego
9. Mephisto Waltz No.1
10. Le Diable Matou
11. Caprice No.24
12. Le Reel Du Diable
13. Andante Sostenuto
14. Allegro Con Molto
15. Paint It Black / Sympathy For The Devil
16. Once Upon A Time... The Devil

Amazon.com

Angèle Dubeau is a remarkable violinist, and here, she and her all-woman, 12-strong (including herself) group, La Pieta, tackle some of the showiest---and most interesting---virtuoso pieces composed or transposed for solo violin and strings, in various combinations, and occasionally featuring a piano. The violin tone at the start of Saint-Saens' Danse Macabre has a warmth which stays with us throughout the disc, despite the fact that so many of the pieces are razzle-dazzle. Hearing the delicious can-can from the overture to Orpheus in the Underworld so thrillingly played, with as much emphasis on the piano as the violin, is a treat, and the "Fire dance" from El amor brujo positively throbs. There's great skill---even daring---in the Tartini "Devil's Trill" sonata and a Boccherini Sonata, but the string tone never turns strident. And as a complete surprise, Dubeau and her group offer an arrangement of The Rolling Stones' "Paint it Black" which teases and riffs before getting into the melody, then plays it in the lower reaches of the instrument, and is then joined by the piano, allowing it to reach upwards and jazzily improvise---and then she throws in a moment or two of "Sympathy for the Devil" (!) before it concludes with the original melody. There are other joys on this CD as well---this is not your everyday violin bon-bon recital. It's all highly recommended. --Robert Levine

Album Description

This mischievious recital celebrates works inspired by the Devil: from Tartini's Devil's Trill, written after the composer dreamt that he had sold his soul to the Devil, to the infernal whirlwinds of Saint-Saën's Danse Macabre and Dompierre's Les Beautés du diable, composed specifically for La Pietà. It also pays homage to Paganini, the famed violinist who once confided to a friend that the Devil led him by the hand. This program shows an impish sense of humor as well... it features a unique arrangement of The Rolling Stones' Paint it Black and Sympathy for the Devil! • Angèle Dubeau is one of Canada's most prominent recording artists. belonging to the exclusive group of Canadian classical soloists who can boast of having attained "gold" sales status. She is also the founder and director La Pietá. • This CD is packaged with a bonus DVD featuring video clips and live concert excerpts.

Customer Reviews:

FABULOUS!.......2007-02-15

I ADORE this CD. I first heard it on the local classical music station and my ears picked right up. "What IS that?" It was so alive, so vibrant. The station only plays it about once a year, but each time it catches my attention. "Ah, that's Angele Dubeau." The selections are a mix of new and old. Two of the new pieces are by Francois Dompierre; his "Le Diable matou" is one of my favorites. I play this CD over and over and over...

I disagree with the reviewer who said you must love violin music to enjoy this. I do enjoy the violin, but I think the CD's power and reach go far beyond violin lovers.

The CD also includes a DVD of concert excerpts.

Give this CD a try. I'm so glad I did.

Eduardo Carlos Leon.......2007-02-01

The sound is tight and fresh.But take heed--only a person who love`s violin works would enjoy this c-d.And i would be one of those persons.ESP.Hot Women with violins!!!

Unique and pleasant........2006-12-23

It is refreshing to hear something new. The tracks are old favorites but the sound is new. Different. And in a good way.
Not the same old interpretations sped up or slowed down. But a genuine new groove down a familiar road.
She is a great violinist and has a knack for interplay with the rest of the band. It's not a flashy highly technical performance like you may expect from Perlman or Mutter. But not on the emotional ragged edge like Sonnenberg. But something in between with a new twist.

Emotional, Powerful, Fizzy.......2005-05-19

Long a stodgy devotee of baroque music, with the first few notes of this strong stuff I became an addict. Over and over again I play this CD, never quite anticipating the power and emotional bang of the music as it plays - even though I know the notes by now. If you ever studied Walter Piston's "harmony" the structures and transitions are back-of-the-book stuff, but the push is all elemental, basic, built-in, the familiar 1-4-5 with musical sequins, trampolines, backflips, and gelginite. Wow. And then some.

I'm so besotted, I had a couple of 13-year old boys (my son and a friend) listen to it in the car one day. They were bug-eyed after a couple of cuts, and not with horror. Now they ask for it, and yell with glee when the musical tension breaks over their heads in crashing chords.

Can I add a few more stars?

Infernal Violins.......2004-04-12

This music is fantastic. Because the violin she uses is a Stradovarius, the music pours like liquid velvet out of it. The choices of compositions are fantastic also. I think her interpretation of them along with the violin and her back-up group are what make this album so outstanding.

Average customer rating: Callas in Turandot Despite fine singing, mono sound disappoints If , and only if, you are a Callas fan: Get this! The best Liu on disc A great moment - a revelation

Puccini: Turandot (Complete Opera) Maria Callas; Elisabeth Schwarzkopf: Eugenio Fernandi; Tullio Serafin Eugenio Fernandi , Giuseppe Nessi , Nicola Zaccaria , Giulio Mauri , Mario Borriello , and Milan Chorus & Orchestra of La Scala Theatre Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Similar Items: Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan ASIN: B000002RY0 Release Date: 1997-08-19

Tracks:

1. Turandot: Act One: Popolo di Pekino!
2. Turandot: Act One: Padre! Mio padre!
3. Turandot: Act One: Perduta la battaglia
4. Turandot: Act One: Gira la cote! Gira!
5. Turandot: Act One: Perche tarda la luna?
6. Turandot: Act One: La, sui monti dell'est
7. Turandot: Act One: O giovinetto!
8. Turandot: Act One: Figlio, che fai?
9. Turandot: Act One: Fermo! che fai? T'arresta!
10. Turandot: Act One: Silenzio, ola!
11. Turandot: Act One: Guardalo, Pong!
12. Turandot: Act One: Non indugiare!
13. Turandot: Act One: Signore, ascolta!
14. Turandot: Act One: Non piangere, Liu!
15. Turandot: Act One: Ah! per l'ultima volta!
16. Turandot: Act Two: Scene One: Ola, Pang! Ola, Pong!
17. Turandot: Act Two: Scene One: O Cina, o Cina
18. Turandot: Act Two: Scene One: Ho una casa nell'Honan
19. Turandot: Act Two: Scene One: O mondo, pieno di pazzi innamorati!
20. Turandot: Act Two: Scene One: Addio, amore!
21. Turandot: Act Two: Scene One: Noi si sogna
22. Turandot: Act Two: Scene Two: Gravi, enormi ed imponenti
23. Turandot: Act Two: Scene Two: Un giuramento atroce mi costringe
24. Turandot: Act Two: Scene Two: Diecimila anni ai nostro Imperatore!
25. Turandot: Act Two: Scene Two: In questa reggia
26. Turandot: Act Two: Scene Two: Straniero, ascolta! Nella cupa notte
27. Turandot: Act Two: Scene Two: Guizza al pari di fiamma
28. Turandot: Act Two: Scene Two: Gelo che ti da foco
29. Turandot: Act Two: Scene Two: Gloria, o vincitore!
30. Turandot: Act Two: Scene Two: Figlio del cielo!
31. Turandot: Act Two: Scene Two: Tre enigmi m'Hai proposto!
32. Turandot: Act Two: Scene Two: Ai tuoi piedi ci prostriam

Tracks:

1. Turandot: Act Three: Scene One: Cosi comanda Turandot
2. Turandot: Act Three: Scene One: Nessun dorma!
3. Turandot: Act Three: Scene One: Tu che guardi le stelle
4. Turandot: Act Three: Scene One: Principessa divina!
5. Turandot: Act Three: Scene One: Quel nome!
6. Turandot: Act Three: Scene One: L'amore? ... Tanto amore, segreto e inconfessato
7. Turandot: Act Three: Scene One: Tu, che di gel sei cinta
8. Turandot: Act Three: Scene One: Liu...bonta!
9. Turandot: Act Three: Scene One: Principessa di morte!
10. Turandot: Act Three: Scene One: Che e mai di me? Perduta!
11. Turandot: Act Three: Scene One: Del primo pianto, si...La mia gloria e il tuo amplesso!
12. Turandot: Act Three: Scene One: Diecimilla anni al nostro Imperatore!

Amazon.com

This is a would-be classic. The younger, pudgier Maria Callas sang the role of Turandot with a hurricane force that's rarely been equaled. But by 1958--when this recording was made--the slimmer, wiser Callas had less of the vocal power required by the opera's Act II shouting match (also known as "The Riddle Scene"), and the character's simplistic motivation (beheading suitors as a way of not dealing with her sexual frigidity) offered little for her sophisticated theatrical imagination. As the suitor who breaks through her barriers, tenor Eugenio Fernandi is little better than adequate. Elsewhere, there are strong pluses: In the uncharacteristic role of Liu, Elisabeth Schwarzkopf summons the honeyed tone of her earlier years as well as the dramatic specificity of her maturity. Conductor Tullio Serafin gives one of his most individualistic, dramatically memorable interpretations. He never lets you forget this is an ugly story about barbaric people, underscoring Puccini's every dissonance and inspiring a supremely vivid performance from the La Scala chorus. --David Patrick Stearns

Customer Reviews:

Callas in Turandot.......2006-12-03

I would recommend this recording to Callas lovers. It is the only true Turandot available in full form. They claim there is one from 1949 with del Monaco, but it was only partly recorded. This is Callas's only full recording of Turandot, with Serafin conducting, so I would also recommend it to people who love Turandot. Serafin gives an exciting, insightful performance (one of those we rarely get from Serafin) and is very well-done by the Teatro alla Scala's Chorus and Orchestra. This is where the glory ends. Callas's drama is almost undectable, her '47, '48, and '49 Turandots were all about vocal glory, which is something Callas by now is on her way to... redefining. So, she is conserving her voice, something one does not do and pull off a Turandot, unless one is Callas. And here, one is. This is a very good Turandot for collectors, but don't make it your first. For that I would recommend the Turandot with Nilsson and Corelli with Molinari-Pradelli conducting. Quatre stelle!

Despite fine singing, mono sound disappoints.......2006-06-02

Callas fans will want to own this, but I cannot recommend it as a first Turandot. It is an opera of lush orchestration and complex ensembles more than of melodies, and the mono recording just can't handle it; the ear struggles to pick out the different parts, and at times it is impossible even to follow along in the libretto. The chorus in particular tends to disappear in quieter passages, of which there are many. This work cries out for a lush modern stereo recording.

If , and only if, you are a Callas fan: Get this! .......2005-04-14

This recording is only for Callas-fans. Serafin is allways good, but he does nothing spesial here. Schwarzkopf is nothing more than adequat as Liù and the Calaf of Fernandi is not even that.

Even Callas - the only reason to by this set - is in unsteady voce. Here top often gets out of control, and some times it gets really ugly. Listen to the frase "quell grido e quella morte" in "In questa regga": she lacks control here!

But still: If you are - like I am - a fan of Callas, you simply must have this. She may have lost some of the brilliant voce she had before 1955 (give or take a year), but she still is an amazing acter. She colores everything so beautifully, and she gives the unhuman Turandot a human, beleveble "face".

The best Liu on disc.......2005-03-05

This may come as a surprise but I truly believe that Schwarzkopf is the most touching Liu on disc. It is also amazing to realise in this site how many people simply fail to have an opinion of their own regarding the singing and just repeat some classical reviews made by certain People in a certain Era and for certain Reasons which I care not to explain.
All you have to do is play the part where Callas sings the phrase: "Chi posa tanta forza nel tuo core?" and Elisabeth responds: "Principessa, l'amoooreeee" On the word "amore" we have one of the subtlest and most expressive pianissisimi ever made by a human throat. It can melt your heart...it is not a pianisimo made by the singer in order to sound beautiful or to sing a high note that could not be reached forte (like by Caballe whose pianissimi always served her technique and nothing else). It is a pianissimo made by the most profound musicality and the most sensitive intention towards the composer's description of Liu's character. Because Schwarzkopf as well as Callas never sang a pianissimo unless they wanted to say something with it...
This is a heart breaking Liu and I dare to say that the "Cold Diva" is a thousand times warmer and more expressive than supposedly succesful Lius on disc whose singing I find completely COLD. I also believe that this performance is the most mis-judged performance in the 20th century Anyone with a heart remains cold and unmoved by Liu when sung by Caballe or Tebaldi or Gheorghiou...but here! This is so unbelievable touching that it brings tears... The Ultimate Exmaple of Schwarzkopf's lesson in Opera: that precision, accuracy and subtle colors are sometimes enough to reveal the beauty of music.
I won;t even mention Elisabeth's "Tu che di gel" ... it is not necessairy to make my point. Just listen to that phrase:
"Principessa, l'amooooooooooooreeeeeee" and you will realise what makes the difference of a Genius singing.

Callas here sings with more passion that Nilsson did in her entire career. The only rival for this Turandot is Borkh's...

A great moment - a revelation.......2004-10-23

I read all the reviews in this page and hoped for some reason and some musical criticism but as usual with Amazon the negative "reviews" are nothing except insipid, bottom-showing crap. One even plagiarised an entire review from somebody else. One can see how much hatred great talent can provoke. Then the bashing is written in awful grammar and unmusical nonsense is sold as the "truth". If Callas' voice HAD been "weak" and "thin" she could hardly have performed Aida, Tosca, Brünnhilde, Isolde, Kundry and Turandot to great critical acclaim. This Turandor really "bursts with colour" as another reviewer wrote. Schwarzkopf, ever intelligent and idiomatic, redeemed the lovely role of Liu of all the verismo-mannerisms that had plagued it before. Callas, in 1957 her voice was in beautiful shape though not as tough as it used to be, creates the most insightful, impressive Turandot that doesn't merely blow out her guts but shows feeling and emotion to. Listen how she phrases the word "Amore" and be floored by such beauty. Fernandi might not be a Corelli but I found his Prince to be very charming and truly heart-warming. Serafin conducts Puccini to perfection, nobody ever did it as well as he, who had witnessed Puccini himself. Two thumbs up indeed!

Average customer rating: Excellent Disc Does not disappoint They still do write `em like that anymore. Mexican talent continues to grow maravilloso segundo disco

Casa Natalia y la Forquetina Manufacturer: Sony International ProductGroup: Music Binding: Audio CD General | Latin Music | Styles | Music Latin Pop | Latin Music | Styles | Music Tejano | Latin Music | Styles | Music Singer-Songwriters | Pop | Styles | Music General | Rock | Styles | Music Similar Items: Natalia Lafourcade Limo`n y Sal Bueninvento Aquí Dulce Beat ASIN: B0009VI53O Release Date: 2005-08-30

Tracks:

1. En Tus Ojos
2. El Amor Es Rosa
3. Casa
4. Gusano
5. Cuarto Encima
6. Alimento De La Vida
7. Suelo
8. En Direccion Contraria
9. Saul
10. Ser Humano
11. Tic Tac
12. Con Las Hojas Las Hormigas
13. Solamente Te Lo Doy A Ti
14. Cuando Todo Cambia
15. O Pato (Un Pato) (Bonus Track)

Amazon.com

Natalia La Fourcade has joined her own band for Casa, the jangly and mature follow-up to her 2003 self-titled debut album. That may seem like a step backward for La Fourcade, but it makes perfect musical sense. She has known the trio that comprises La Forquetina since high school and toured extensively with them in support of her critically acclaimed first disc. That connection makes Casa a tight, focused affair: it incorporates cruchier guitars, heavier percussion and more thoughtful lyrics than its predecessor. La Fourcade has weathered constant comparisons to fellow edgy divas Nelly Furtado, Shakira, and Julieta Venegas, but the earthy vibe of Casa is all her own. "En Tus Ojos" is a pleading opener, the precious title track bounces on a wistful pop groove, and "Alimento" is a fragile highlight. It's all framed by a casual rock vibe, but there's enough musical diversity inside this Casa to put a smile on anyone's face. --Joey Guerra

Customer Reviews:

Excellent Disc.......2006-03-11

The group is excellent. And the disc i bought it for a friend of mine and she love it. Thanks.

Does not disappoint.......2005-12-02

I saw Natalia y la Fourquetina in concert in San Luis Potosi this summer. I was very impressed with their sound. Natalia's voice, her sound, and her band are the real thing. I was especially excited to hear a couple of songs that she was playing in public for the first time. We liked these so much that my wife and I checked websites everyday waiting for this album to be released.

When we finally got the album and listened to it for the first time, I was slightly let down--but mostly because I was in a really big mood to listen to some bossa nova and only two or three songs were recognizably of that genre (or at least influenced by it).

The truth is, that once I sat down to listen to this album from beginning to end, I coudln't help but play it over and over again--non bossa nova songs and all.

Without a doubt, my favorites are "Casa" and "Cuando todo Cambia." Her version of "O Pato" is not my favorite (It's kinda cutesy, I like a sax version by Coleman Hawkins), but it's playful, fun, and an honest interpretation by a playful and fun band. But the album doesn't end there. There are many influences apparent here, from slightly punk to slightly pop to slightly jazzy. The key to this album is that you can't play it becuase you're in the mood for something specific. You play it because you're in the mood to sit back and experience a variation of genres, moods and sounds and simply see where it will all lead.

No comparisons to other artists should be made here. Natalia Lafourcade has very much become her own artist despite her strong musical influences. Let's hope more artists like her keep popping up in a suddenly rich and talented mexican pop music scene.

They still do write `em like that anymore........2005-11-27

This is the kind of rock album that most of us thought could have only been made in the LP era. Substantive, mind-expanding, and frighteningly catchy. Bass, guitar and keyboards are all played with gusto and without time-wasting solos. The band, La Forquetina, comes up with the kind of classic-rock, superficially meaningless lyrics that can be interpreted in many different ways and convey general emotions. And those lyrics are wedded to outstanding melodies, thanks to the genius of singer Natalia LaFourcade. Oh - and she's only 20. Paul and John were just getting to "she loves you, yeah, yeah yeah!" by then.

Natalia is blessed with a slightly quirky voice that will never be confused with anyone else's. Gone are the Julieta Venegas comparisons that surfaced with her 2002 debut single "Busca un Problema," and LaFourcade's apparent aping ("za-pa-a-to-os") of Venegas' tendency to stretch out words like Silly Putty. The fact is, LaFourcade can get away with some mannered vocals (such as on the title track and second single "Casa") because she's 20 and beautiful. Venegas is 34 and, well, it just wouldn't be as cute if she sang like that. Not fair, but true.

Most intriguing is "Saul," which Natalia sings from the point of view of a transvestite who was born male (hence Saul). She even lisps at one point: "solo quiero nieve de fressasss..." Is the song a sympathetic portrait or a frat-boy joke? Feel free to sit around all night discussing this with your friends. I said this was a new classic-rock album, right?

Mexican talent continues to grow.......2005-09-16

I must say, this album is not nearly as good as the first one. But let me first explain that "Natalia LaFourcade" was a brilliant album, of a world-class calibre.

I don't know if Natalia truly was a singer-song writer; the complexity and maturity of the songs and the craft of the compilations led me to question how an 18 year old girl could originate such wonderful music. I have never seen her in concert: perhaps her performance may yet verify the veracity of this claim. Nonetheless, the resulting "Natalia Lafourcade" was a great flow of melody and song. It was, in effect a great delicacy of a promising young artist.

To return to the current disc, let me praise the courage of all the artists and producers. Despite falling short of the first production, "Casa" includes the bossa nova roots (O Pato, a previous production) as well new experiments like "Tic Tac". The words of the songs, again, denote a maturity lacking in contemporary Mexican artists, young and old alike. This continues a trend in the improvement of the quality of Mexican music, of what once was a romantic-ballad wasteland during the 70's and the 80's.

Natalia has been compared to Bebe, the flamenco fusion artist. This comparison must be based in talent alone, as the music genres are quite different. Julieta Venegas, a closer comparison, succeeds much like Natalia in maintaining a distinct musical character. Bebel Gilberto also comes to mind, for the exact same reason.

No matter what genre you prefer, however, I dare say that you would be pleased to hear the soft melody of Natalia's voice. Don't be fooled by her young looks: both her albums denote a complexity often lacking in young pop stars. But don't take my word for it. Buy it, and make your own judgment. I doubt you will be disappointed. Greetings from Vancouver, BC.

maravilloso segundo disco.......2005-09-13

este disco supera por mucho al primero las canciones estan muy buenas ademas no importa que natalia haya estado en el grupo twist este disco es muy bueno comprenlo original y no pirata pero si quieren un buen disco compren el cd y dvd ese esta muy suave la caja y el art work estan mejor ademas de que el dvd trae cosas muy suaves

Average customer rating:

Best of Luciano Pavarotti Manufacturer: Golden Classics ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Liszt | Liszt, Franz | ( 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 Ponchielli | Ponchielli, Amilcare | ( 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 Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Stradella | Stradella, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( 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 Requiems | Forms & Genres | Early Music | 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 All Works Featuring Luciano Pavarotti | Pavarotti, Luciano | ( P ) | Featured Performers, A-Z | 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 Bellini, Vincenzo | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Boito, Arrigo | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Beethoven | Beethoven, Ludwig van | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Liszt, Franz | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Massenet, Jules | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Ponchielli, Amilcare | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Rossini, Gioacchino | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Schubert, Franz | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Scarlatti, Alessandro | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Italy | Continental Europe | Europe | International | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 International | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Luciano Pavarotti - Nessun dorma (Arias & Duets) The Best of Luciano Pavarotti: 20th Century Masters/The Millennium Collection Romanza ASIN: B00013NDKU Release Date: 2004-02-10

Tracks:

1. A' Vucchella
2. Ultima Canzone
3. Non T'Amo Piu
4. Malia
5. Serenata
6. Mattinata
7. Per la Gloria d'Adorarvi
8. Gia' il Sole Dal Gange
9. Pace Non Trovo
10. Che Fiero Costume
11. Dolente Immegine Di Fille Mia
12. Bella Nice Che d'Amore
13. Vaga Luna Che Innargenti
14. In Questa Tomba Uscura
15. Ave Maria
16. Pieta Signore
17. Messa Di Requiem, "Ingemisco"
18. Agnus Dei

Tracks:

1. Cielo Mar, "La Gioconda"
2. E Lucevan le Stelle, "Tosca"
3. Recondita Armonia, "Tosca"
4. Giunto Sul Passo Estremo, "Mefistofele"
5. Nessun Dorma, "Turandot"
6. Una Furtiva Lagrima "L'Elisir d'Amore"
7. Lunga da Lei...De' Miei Bollenti Spiriti...I Mio Rimorso Infame, ...
8. Mia Letizia Infondere...Come Poteva un Angelo, "I Lombardi Alla ..."
9. Pourquoi Me Reveiller, "Werther"
10. Ideale
11. Donna Non Vidi Mai, "Manon Lescaut"
12. Vaga Luna Che Inargenti
13. Me Voglio Fa' Na Casa
14. Tarantella

Average customer rating: Makes a Masterpiece out of Cavalleria Beautiful opera, but recording volume too extreme... Wonderful...look no further wangerian verismo The Best Cavalleria Rusticana Recording Ever!

Mascagni: Cavalleria Rusticana / Herbert von Karajan Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Leoncavallo: Pagliacci Mascagni: Cavalleria Rusticana Verdi:Otello Beethoven: Fidelio Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini ASIN: B000031WYP Release Date: 2000-01-11

Tracks:

1. Cavalleria Rusticana: Preludio - Siciliana
2. Cavalleria Rusticana: O Lola ch'hai di latti la cammisa
3. Cavalleria Rusticana: Tempo I
4. Cavalleria Rusticana: Allegro giocoso
5. Cavalleria Rusticana: Gli aranci olezzano
6. Cavalleria Rusticana: Largo
7. Cavalleria Rusticana: Dite, mamma Lucia...
8. Cavalleria Rusticana: Il cavallo scalpita
9. Cavalleria Rusticana: Beato voi, compar Alfio
10. Cavalleria Rusticana: Regina coeli laetare
11. Cavalleria Rusticana: Inneggiamo
12. Cavalleria Rusticana: Voi lo saoete, o mamma
13. Cavalleria Rusticana: Tu qui, Santuzza?
14. Cavalleria Rusticana: Fior di giaggiolo
15. Cavalleria Rusticana: Ah! lo vedi!
16. Cavalleria Rusticana: Oh! il Signore vi manda
17. Cavalleria Rusticana: Comare Santa
18. Cavalleria Rusticana: Intermezzo sinfonico
19. Cavalleria Rusticana: A casa, a casa
20. Cavalleria Rusticana: Viva il vino spumeggiante
21. Cavalleria Rusticana: A voi tutti salute!
22. Cavalleria Rusticana: Mamma, quel vino e generoso

Customer Reviews:

Makes a Masterpiece out of Cavalleria.......2006-04-22

This disc proves how important it is to choose the right cast.

Karajan's restrained, wagnerian-influenced aproach is the apropriate way to interpret this opera!
The problem lies with the execution of Karajan's(/Mascagni's? ) vision, which demands a very able tenor, with perfect italian and flexibility of a lyric tenor together with the long breath of a heldentenor.
Such a tenor was found - Carlo Bergonzi.

Another important decision is who shall sing the part of Santuzza.
I think that a dramatic soprano/mezzo is the most effective.
Mezzo-soprano Fiorenza Cossotto as Santuzza is an excellent choice.
She sings beautifully without ever yelling, crying or screaming, but still with a certain dramatic impact.
The fact that she's a mezzo and not a soprano is also an advantage, for there are many low notes which should have dramatic strength many sopranos don't posses.
Nevertheless, she has no problem with the high notes either, and she could have easily developed into a fine dramatic soprano, but then we would have lost the greatest mezzo of the century.
Still, I would love to find a recording of her portraying a wagnerian role.

The rest of the cast is good, Allegri and Martino have beautiful voices and Guelfi is an apropriately violent Alfio.
The Chorus and Orchestra of La-Scala are the best.

Is there anything more to ask for?

Beautiful opera, but recording volume too extreme..........2006-01-02

I am not a sophisitcated opera afficiando. My love of opera is limited mostly to the operas I recall my father listening to on Sunday afternoons, Madame Butterfly, Aida, Tosca, and Cavalleria Rusticana. Cavalleria is my favorite, but unfortunately, this recording is not.

The volume extremes make it essentially impossible to listen to and enjoy. Listening in my car (a Jaguar XJ12), if the volume is loud enough to hear the softer portions, then when the louder portions arrive, I'm nearly scared into having an accident. I think my point is important to consider because nowadays about the only place you can listen to opera is in a car.

I'm online now to buy a different recording.

Wonderful...look no further.......2004-12-10

I think the story of this famous opera needs no telling. It is very accessible and very exciting....and it's short. All in all, a brilliant package.

The singers, however, are paired with one of my favourite conductors of all time. Herbert von Karajan has been criticised for making his music "too beautiful". Well, for me there can be no such thing. His conducting here is typically sensitive and his devotion to the singers was just pure genius. The chorus is excellent and their hymn with Santuzza goes the full way in making the audience sympathetic to the circumstances leading to her drastic actions.

So we come to Santuzza. Fiorenza Cossotto is one of those singers who give it her all. You hear it in her voice. She can rise, soar and float her notes like a warm current as well as stop your world with her chest register. Naturally, she excels in both mezzo and soprano roles. Not to eclipse her esteemed art, I would concur that she is every bit as astounding as the great Simionato.

Allegri's Mama Lucia seems an improvement over all the others I've heard. Not a wobbly, fruity note in sight, yet not the sort of melo-drama to leave you feeling overindulged. Her "Aiutateci noi..." for example, feels genuinely 'winded'- like someone who has heard the sort of new to make her quietly sit down. To complete the female protagonists, Martino's Lola made me applaud the CD-player as if it were a live performance! There she came along, singing sweetly, only to be caught unawares...in other words, the vocal acting and singing were excellent. BUT it get's better. The exchange with Santuzza (and here Cossoto deserves even more high praise) builds to an electrifying tension that gets released in sheer genius: Martino's "Io me ne vado"! I dare you not to laugh at the cat-fight metaphor when you listen to it!!

Bergonzi has always been a reliable tenor for me...in fact, perhaps more than that. While I can't claim that he was particularly amazing, he was amazing nonetheless. His Turridu is faultless...I only wish I hadn't heard Bjorling! But these should not be reasons to under-rate a great singer. Once again, Bergonzi gives a wholly Italian and aesthetically appealing performance. Nowhere is this more apparent than the cavatina at the beginning.

Finally, Guelfi's Alfio, with his resonant, secure baritone, is simply dashing. He colours his voice superbly (e.g., "Io me ne vado").

This is for me a first choice.

wangerian verismo.......2004-07-20

this is one of the recordings that made me believe that hvk knew what he was doing. he brings out details in the music that i'd never heard in other recordings. it was a revelation. one reviewer put it well: this is a wagnerian treatment of an italian opera, the music telling the story even w/o the words. i was impressed. a first rate version of cav. highly recommended. good price, too, considering it includes the libretto.

The Best Cavalleria Rusticana Recording Ever!.......2003-10-18

This is the ultimate live recording of Mascagni's Cavalleria Rusticana. The audience noise doesn't even exist in the recording. Karajan's choice of casting characters is very good. The La Scala Orchestra plays excellently like both Karajan and Mascagni himself wanted. And the La Scala chorus is the same way. Carlo Bergonzi is a Beniamino Gigli-like Turiddu and really sounds excellent the whole way through, especially in "O Lola, ch'ai di latti la cammisa" or "No, No, Turiddu" or "Compar Alfio, Lo So Che il Torto e mio", or even in "Mamma, Quel Vino e Generoso". Carlo Bergonzi is the best Turiddu ever. And Fiorenza Cossotto as Santuzza is as great as Mascagni wanted Santuzza to be like. Cossotto is like no other Santuzza: One who never oversings and one who's not a "Zinka Milanov acting like Maria Callas" like singer. She sings "Turiddu mi tolse l'Onore" and "Voi lo Sapete, O Mamma" nicely. Mariagrazia Allegri sings the role of Mamma Lucia excellently and she sounds as old as Mascagni wanted the character to sound. Giangiacomo Guelfi is the loudest and greatest Alfio to cast. He's a super-villain in "Il Cavallo Scalpita" and "Ad Essi Non Perdono". This is by far the only Cavalleria Rusticana for people to get.

Average customer rating: Excellent introduction to Tebaldi's art Wonderfull Classic Renata

Classic Puccini Recordings Puccini , and Tebaldi Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music General | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Andrea Chenier Giacomo Puccini: La Rondine Verdi: La Forza del Destino Verdi: Un Ballo in Maschera The Complete Recordings, 1902-1920 (Box Set) ASIN: B00006IU8W Release Date: 2003-03-11

Album Details

Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.

Customer Reviews:

Excellent introduction to Tebaldi's art.......2005-09-29

This set covers the entire productive years of Tebaldi's recording career. Turandot, Butterfly and Boheme are from her earlier career while Tosca is from her later career. Since this Tosca recording is now out of print and is somewhat hard to find, this recording itself almost worth the cost of the set. In Turandot, you will find Tebaldi at her fresher voice, lovely and melting. Eventhough I would still rate Callas' first recorded Tosca as my first choice, this Tosca comes very close. Enjoy.

Wonderfull.......2005-08-19

Fantastic recordings at a very good price. Tebaldi and Del Monaco rule. You should definetely own this set.

Classic Renata.......2005-03-16

To say that these 12 disks contain some of the finest singing ever committed to disk is no exaggeration, but a simple statement of fact. Historical fact. In the 100 years (more or less) that Puccini operas have been around, only a few sopranos in each generation have been the equal of Renata Tebaldi. One cannot objectively say that anyone has surpassed her. Some opera lovers find her peerless in many of these performances. Personal tastes in singers vary, but no one ever sang these roles better. Few anywhere nearly so well. There is not a single note on any of these recordings that is not heartfelt to the core of her being. Like Maria Callas and Franco Corelli, she was luminous, gargantuan in her talent that personified an age. This is one of the great compilations.

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