-
Rigoletto, opera
Composed by
Giuseppe Verdi
with
Cornell MacNeil,
Richard Tucker,
William Wildermann
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Lucia di Lammermoor, opera Lucia, Perdona...Verranno A Te
Composed by
Gaetano Donizetti
with
Richard Tucker
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Lucia di Lammermoor, opera Sconsigliato! In Queste Porte
Composed by
Gaetano Donizetti
with
Richard Tucker,
Matteo Manuguerra,
Robert Hale
Conducted by
Anton Guadagno
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Lucia di Lammermoor, opera Il Dolce Suono
Composed by
Gaetano Donizetti
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Lucia di Lammermoor, opera Non Mi Guardar Si Fiero...Spargi Damaro Pianto
Composed by
Gaetano Donizetti
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Lucia di Lammermoor, opera Tombe Degli Avi Mieri...Fra Poco A Me Ricovero
Composed by
Gaetano Donizetti
with
Richard Tucker
-
Lucia di Lammermoor, opera Tu Che A Dio Spiegasti L'ali
Composed by
Gaetano Donizetti
with
Richard Tucker
Giuseppe Verdi: Rigoletto/Gaetano Donizetti: Lucia Di Lammermoor,Cornell MacNeil,Matteo Manuguerra,William Wildermann,Gaetano Donizetti,Giuseppe Verdi,Anton Guadagno,Richard Tucker,Robert Hale,Legato Classics,Classical,Italian Romantic Opera,Opera
Average customer rating:
- Great Stuff
- A Great Introduction to Italian Opera
- Best of the best!
- Fabulous bargain for anyone
- Great songs for a low price.
|
The Best of Italian Opera
Manufacturer: EMI Classics
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- The Most Famous Opera Arias
- The Most Famous Opera Duets
- The #1 Opera Album
- Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
- The Best Opera Album in the World...Ever!
ASIN: B000000UXN
Release Date: 1997-01-21 |
Tracks:
- La Traviata: 'Libiamo, Libiamo'
- Rigoletto: 'La donna e' Mobile'
- The Barber Of Seville: 'Una voce poco fa'
- La Boheme: 'Che gelida manina'
- Rigoletto: 'Gualtier Malde!' Caro nome'
- Il Trovatore: 'Vedi! le fosche'
- Il Trovatore: 'Il balen del suo sorriso...Per me ora fatale'
- TOSCA: 'Vissi d'arte'
- La Traviata: 'Di Provenza il mar, il suol'
- The Marriage Of Figaro: 'Voi che sapete'
- Aida: 'Se quel guerrier io fossi...Celeste Aida'
- Madama Butterfly: 'Un bel di vedremo'
- La Gioconda: 'Cielo e mar'
- Lucia di Lammernoor: 'Ardon gl' incesi'
Customer Reviews:
Great Stuff.......2007-07-22
The sound quality of this disc is surprisingly good, very good for an ADD. All the selections captured each singer in his/her top form. It is a real treat that this disc contains many work that were not normally in certain singer's repertoire. Gedda's Aida, Moffo's Rossini-Rosina and Cherobino, for example, all were superbly sung. Even Moffo's Lucia sounds much better than I have ever heard in other places.
A Great Introduction to Italian Opera.......2005-05-01
The artists on this CD succeed in their goal to create a CD that displays great Italian opera. Carlo del Monte and Victoria de los Angeles open the disc with the Brindisi from La Traviata. Victoria de los Angeles is not the best Violetta, but she does the job, along with her parner Carlo del Monte, an underappreciated tenor. Victoria de los Angeles also appears on the CD in "Un bel di vedremo" from Madama Butterfly, a role she was well known for. Swedish tenor Nicolai Gedda appears on the disc twice. His first appearence is a superb rendition of "La donna e mobile" from Rigoletto. His final performance on this disc is in the heroric aria "Celeste Aida", a performance in a role that was not in his voice range. Anna Moffo is the star on this CD, appearing three times in three very different roles. First is her beautiful "Una voce poco fa", normally a role that calls for a mezzo-soprano. Her second is "Voi che sapete" from Le Nozze di Figaro, another mezzo-soprano role. Her final appearence is her best, "The Mad Scene" from Lucia di Lammermoor. Underrated tenor Giuseppe Campora performs "Che gelida manina" with a great tenor voice. Soprano Reri Girst is excellent in her performance of "Caro nome" from Rigoletto. One of my favorite baritones appears on this CD. Robert Merrill is a perfect Count di Luna, and it is evident in his rendition of "Il balen del suo sorriso". Another baritone appears on this CD: mario Sereni. He is not a world famous baritone, but he should have been. Overall, this is an excellent introduction to the world of Italian opera.
Best of the best!.......2003-01-11
The performers, the selections, the quality... almost divine!
Fabulous bargain for anyone.......2002-11-24
I would recommend this CD to anyone, from opera novice to experienced listener...
These are older recordings -- I would guess mostly from the 1960's. The recording quality is exceptional for the day and, while not the equivalent of modern engineering, is sufficient to allow sheer physical pleasure from the music and an immediate appreciation of the vocal qualities of the artists. The sound quality is the only mild drawback...
The performances are magnificent! The voices are almost entirely lighter and more agile than the great voices of the 80's and 90's. In fact, the ear of the editor is apparent in his preference for lighter and more agile voices.
For example, there is a beautiful rendition of "Che Gelida Manina" from someone I had never heard before, Guiseppe Campora. He does not have the weight or volume of Pavarotti or Domingo, but has more elegance and a pure, charming tone. A connoisseur performance, but nevertheless a true operatic rendition by a tenor who can hit the high C with authority -- as good for a newcomer to opera who wants to hear the real thing, as for an opera lover who would like to hear something a bit different.
Some of the artists were among the most famous singers of their day: Moffo, de los Angeles, Gedda.
Anna Moffo, one of the greatest sopranos of her day (and all time), is in magnificent voice in famous blockbusters from Rossini's Barber of Seville, Mozart's Marriage of Figaro, and the Mad Scene from Lucia di Lammermoor.
De Los Angeles is at her best in "Libiamo" from La Traviata, but the recording quality (the one inadequately engineered track on the CD) and her lack of oomph make for a second-rate version of "Un bel di".
In keeping with the light and lyrical orientation of the selections, Moffo -- a famous Gilda and hardly a dramatic voice -- is bypassed for the even lighter, sweeter and more agile colatura Reri Grist (while she still had her voice), in a lovely "Caro Nome".
Another nice selection is Mario Sereni performing "Di provenza, il mar". Both this and "Libiamo" are taken from one of my favorite recordings of Traviata -- also a great chance to hear Serafin at the helm of the Rome Opera House orchestra. (The 2-CD version of this is still available from EMI, I think.) Newcomers will love this pretty tune, and Sereni's archtypal Verdi baritone is good, although hardly the best ever.
Franco Corelli has never been a favorite of mine, but he sounds the best I've ever heard him in his rendition of "Cielo et mar".
Anyway, I didn't intend to list every cut. Whether you are an opera lover who would like to hear some of opera's most famous arias performed in a new light, or an opera lover who would like to hear great performances at a cut-rate price, this CD gets my unqualified approval.
Great songs for a low price........2001-08-16
Ranging from selections of La Traviata, Il Trovatore and other popular Italian operas, this is a great cd for under four bucks. The singers may not be well recognized, but they do possess powerful voices.
Average customer rating:
- Can't go wrong
- Most Famous???
- Only one song knew well
- The Most Famous Opera Duets
- Good selection of opera highlights
|
The Most Famous Opera Duets
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- Rapture: Opera's Most Heavenly Moments
ASIN: B000002SCA
Release Date: 1994-04-12 |
Tracks:
- Les Peurs des perles Act 1 - Au fond du temple saint
- Madama Butterfly Act 1- Vogliatemi bene, un bene piccolino
- Le Nozze di Figaro Act III - Sull'aria - Le Nozze di Figaro
- La Traviata Act I - Un di, felice, eterea
- Lucia Di Lammermoor Act I - Ah! Verranna a te sull'aure
- Tristan und Isolde Act II - O sink hernieder, Nacht der Liebe
- Carmen Act I - Parle-moi de m
- Die ZauberflAct I - Bei Mern, welche Liebe F
- Lakmct I - Viens, Mallika
- Rigoletto Act I - il sol dell'anima
- Der Rosenkavalier Act II - Mir ist die Ehre wilderfahren
- Don Giovanni Act I - Li darem la mano
- La Boh Act IV - O Mimi, tu pi torni
- Il Trovatore Act IV - Miserere...Quel suon, quelle preci
Amazon.com
This is a misnomer--not all of these duets are all that famous--but it's a fine compilation nonetheless. You'll hear selections from Bizet's The Pearl Fishers (Nicolai Gedda and Ernest Blanc at their most elegant French), Madama Butterfly (Carlo Bergonzi and Renata Scotto--an impassioned pair), Lucia di Lammermoor (a classy Alfredo Kraus and Edita Gruberova), the lovely Lakme duet, The Presentation of the Silver Rose from Der Rosenkavalier (with the earnest Christa Ludwig and the other-worldly Teresa Stich-Randall), and a fine Trovatore "Miserere" (with Leontyne Price and Franco Bonisolli singing up a storm). There are many others, too--a veritable cornucopia of couplings--and a treat for the opera lover. --Robert Levine
Customer Reviews:
Can't go wrong.......2007-07-14
This is a really great CD for the price. It has many of the famous Arias on it and although the singers may not be the best out there they are certainly very good. This is cheaper than the price of a take away lunch; you can't go wrong with this CD.
Most Famous???.......2007-05-14
The title of this cd is misleading and I found myself wondering whose list did they use. That is not to say that there aren't some real treasures included here. The duet from Lakme is lovely in every way, Mady Mesple in particular, very beautful and very french, and far superior to Sutherlands hooty approach. Scotto and Bergonzi are superb, the Tristan and Isolde of Vickers and Dernesch truly other worldly, and the presentation of the rose duet with the young Ludwig and the astonishing Teresa Stich- Randell had me playing it over and over and I still can't believe it, but the most famous??? This cd is definitly worth buying, and I hated giving it only 3 stars but if you're talking most famous you could fill a couple of cd's with Puccini, not to mention Verdi, Mozart, etc. before Bizet's Les Pecheurs des perles, beautiful as it is, made the most famous list.
Only one song knew well.......2007-05-14
I should have done more research. The last song is the only one I could easily recognize. Live and learn.
The Most Famous Opera Duets.......2007-01-05
This seller truly makes a purchaser confident in the product as well the time in which is promised.
Thanks again!!!!!
Good selection of opera highlights.......2006-11-04
Super performances by famous opera artists of the 20th century, most of them no longer performing and some of them deceased. I enjoy having their voices available at home.
Average customer rating:
- Andrea Bocelli - Sogno
- Not bad!
- pleasure to lilsten
- Bocelli - Aria
- Why...?
|
Andrea Bocelli - The Opera Album ~ Aria
Manufacturer: Philips
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ASIN: B0000069CO
Release Date: 1998-04-07 |
Tracks:
- Rigoletto: Questa o quella
- La Boheme: Che gelida manina
- TOSCA: Recondita armonia
- TOSCA: E lucevan le stelle
- Madama Butterfly: Addio, fiorito asil
- Andrea Chenier: Come un bel di di maggio
- I Puritani: A te, o cara
- Der Rosenkavalier: Di rigori armato il seno
- Fedora: Amor ti vieta
- La Fanciulla del West: Ch'ella mi creda
- La Gioconda: Cielo e mar!
- Adriana Lecouvreur: La dolcissima effigie
- La Boheme: Musetta! - Testa adorata
- Lucia di Lammermoor: Tombe degli avi miei - Fra poco a me ricovero
- Werther: Pourquoi me reveiller
- Carmen: La fleur que tu m'avais jetee
- La Fille Du Regiment: Pour mon ame
Amazon.com
Andre Bocelli is no opera singer, but he shows far more potential in this album than does another pop-vocalist tenor-wannabe, Michael Bolton. For one thing, he can shake off the crooner mannerisms and really sing when performing music that calls for it. At his best, he has a rich, dark timbre and an easy, unforced top. At other times, however, the tone turns dry and thin and the high notes are constricted, the inconsistency suggesting a lack of technique. Never does one get the impression that he could be heard over a medium-sized orchestra without amplification. This isn't bad singing per se, but there is much better out there, readily available on disc. --Sarah Bryan Miller
Album Description
Exclusive Australian Gold pressing released to coincide with his first public appearance in Australia. He'll be performing at the opening ceremonies and then onto to tour the land down under. His back catalogue will be released & re-packaged in slipcases with his signature on them as well as all of them pressed on gold plated CD's. This pressing includes 17 tracks, all sung in his native Italian Tongue. 1998 release. Standard jewel case.
Customer Reviews:
Andrea Bocelli - Sogno.......2007-06-27
I am 45 years old. The reason why this is something I am mentioning, is to let all of you reading my review know what age group I am in. It might be important to the age you are in knowing what I have to say. I have four Andrea Bocelli CD's and they are all wonderful. I love each of them. My mom turned me on to him, and, since I love Josh Groban, I decided to listen to Andrea Bocelli and see what all her fuss over him was about. I'm glad I did. I am half Italian and half Spanish. I don't know either language, but when I listen to both Andrea and Josh, I don't have to. They make the music tell a story, and instantly, you understand something about the words from just the sound of their voices. If you love Josh Groban, then Andrea Bocelli is someone you should give a listen to. His voice is soothing, powerful, and romantic. I am looking forward to getting more of his CD's. Great Stuff!!!
Not bad!.......2007-04-09
What I have heard about Andrea Bocelli is bimodal--some think that he is not up to the operatic repertoire and is way overrated; others see him as a fine singer, from a nontraditional background and career path. What I hear on this CD is fine singing, with some limitations. He was once a law school student; he played in piano bars. He took lessons from the great Franco Corelli. Some examples of his work illustrate his skills:
"Questa O quella" is a nice romp. His smooth voice moves through this aria nicely. His voice is not a big one. On the other hand, his musicianship seems fine (thank goodness none of the sobbing and catches that some tenors adopt).
In Puccini's "Che gelida manina" (from "La Boheme"), he again sings smoothly. He has a nice sound to his voice. The high note is a bit thin, but certainly not as bad as some critics would have it. A serviceable version, in short.
Then, the twin arias from "Tosca"--"Recondita armonia" and "E lucevan le stelle." Both are well sung. His version of "Recondita armonia" compares well with other versions. He certainly has no reason to hang his head. When he amps up the volume, his voice is not quite as rich as many other tenors, bit it is still fine. Top notes, as observed before, are a bit thin, but--again--hardly reason for lamentation. This is nicely sung. My notes for "E lucevan le stelle" simply say "Ibid." That is, one could write a very similar set of comments.
The last piece is from a different tradition--a selection from Donizetti's "Lucia di Lammermoor," "Tome degli avi miei." Smoothly sung. A bit thin on higher notes. Overall, though, a nice job.
As I listen to his work, I think that Bocelli does a good job in the standard tenor repertoire. Is he a great tenor? No. Is he a good tenor? Yes.
pleasure to lilsten.......2007-01-19
This album is a pleasure. The selections are spirited and well executed. I was very satisfied with this purchse and would recommend it to any one who enjoys opera.
Bocelli - Aria.......2006-11-05
Introduced me to arias that were not known to me, and I find to be
quite beautiful. As usual, Bocelli does not fail.
Why...?.......2006-03-13
Why is there all this continuing controversy after so many years about whether or not Andrea Bocelli is - or is not - Operatically sound? All I know (and that's not saying much for me in this genre), is that after having listened to Amazon.com's sampling of the music on this Audio CD a few moments ago, I wept. Andrea Bocelli always makes me weep - because of his profound spiritual depth. And I don't care what anyone thinks on that issue. All I do know is this. The man sings from his soul...and nothing could surpass that - ever.
Average customer rating:
- Beautiful Collection of Songs
- A Legend in all.....La Callas.
- Excellent compilation of La Divina's arias
- Some people have no business reviewing this
- BELLA BELLA BELLA!
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Maria Callas, the Voice of the Century
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Similar Items:
- The Very Best Of Maria Callas
- Maria Callas - La Divina
- Maria Callas: The Legend
- Puccini: Arias
- The Most Famous Opera Duets
ASIN: B00000631B
Release Date: 1998-03-17 |
Tracks:
- Norma: Casta Diva (Atto I): Norma
- La Sonnambula: Compagne, teneri amici...Come per me sereno (Atto I): La Sonnambula
- Il Barbieri Di Siviglia: Una Voce poco fa (Atto I): Il barbiere di Siviglia
- Lucia di Lammermoor: Regnava nel silenzio...Quando, rapito in estasi (Atto I): Lucia di Siviglia
- Rigoletto: Gualtier Mald...Caro Nome (Atto I): Rigoletto
- La Traviata: E Strano!...Ah, Fors'e lui...Sempre libera (Atto I): La traviata
- La Boheme: Si, Mi chiamo Mimi (Atto I): La boheme
- La Boheme: Donde Lieta Usci (Atto III) (Mimi's Farewell): La boheme
- Madama Butterfly: Un Bel di Vedremo (Atto II): Madama Butterfly
- TOSCA: Vissi D'arte (Atto II): tosca
- Turandot: In questa reggia (Atto II): Turandot
- La Wally: Ebben? ne andro lontana (Atto I): La Wally
- Andrea Chenier: La mamma morta (Atto III): Andrea Chenier
Tracks:
- Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
- Alceste: Divinites du Styx (Acte I)
- Dinorah: Ombra leggiera (Atto II) (Shadow Song)
- Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
- Faust: Les grand seigneurs...Ah! je ris (Acte III)
- Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
- Samson et Dalila: Printemps qui commence (Acte I)
- Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
- Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
- Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
- Carmen: Les tringles des sistre tintaient (Acte II)
- Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
- Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
- Louise: Depuis le jour (Acte III)
Customer Reviews:
Beautiful Collection of Songs.......2006-07-15
I have listened samples of 5 Callas CDs before buying this one. This one has a very beautiful collection of songs on just 2 CDs. he sings with so much expression. Most the recordings are from the fifties and early sixties when her voice was very young and lovely. I'll try to get her on DVD so I can see her sing.
A Legend in all.....La Callas........2005-04-24
I would just like to refer to an article that was published by a German Newspaper in 1959, mentioned on the Callas Edition (CED:100342)
'...her voice is of unparalleled beauty, having an inimitable, completely own timbre of sopranos and altos...a performance of superior musical quality..a phenomenon amongst contemporary singers'
' ...One of the most spectacular Verdi arias, of Elizabeth from Don Carlo, and one, In Germany tottaly unknown, terrific scene from Bellini's opera Il Pirata were enough to enchant huge numers of television viewers, who can say at her next performance: 'we have seen La Callas''(Hamburg concert 1959)
'- from the contra-alt-f to the f - thats Callas' voice range, spanning over 37 half-tones. Callas herself has drawn the range of her voice. In her concert repertoire the contra-alt-f can be found in e.g. the aria from I Vespri Siciliani. In an aria from Rossini's opera Armida she reaches the 'F'. five half-tones above the high C. Normal voices couldnt possibly even whistle this high F. Though there are other singers, whose voices contain these three octaves - Erna Sack with her coloratura soprano, the lyrical singer Ema Berger and the dramatical singer Zinka Milanov from the New York Metropolitan Opera - simple fact is that the phenomenon Meneghini-Callas lies in her fabulous vocal versatility. She is a coloratura singer, drama-player and lyrist in one person - and an exceptionally talented ac-tress at that.'
Excuse from a journalist of the German Newspaper for the Diva :
Article Title : 'I am sorry!'
'I owe Maria Callas an apology. She is a unique vocal talent, a great artist. She is a primadonna. And she has her moods. Moods for which i ask her to forgive me. Because i misunderstood them - and many others too. That much i gathered from her latest television concert. Even in the flickering of the screen this woman's nervousness and enormous effort were visible.
La Callas is a fragile, rather shy person. Her moods are fear of failure. The moloch audience expects her to always go to any lenght, show the brilliance others just dont have. She is not allowed to get weak. Decent country singers are not decapitated for a false note. La Callas, on the other hand, is the identifying mark of the extraordinary. Even the slightest hint of a mistake would cost her her uniqueness, her stardom....a perverse triumph for all bathtube singers.
That explains her inhibitation to perform when she isnt well, her cancellations when she is not in the right mood. I understand them now. If she werent moody, she wouldnt be a primadonna, would not be La Callas.
Stars like her do not fit in our world of standards and programmed data. They pay dearly for their moods, have to put up fights and, undoubtedly, shed many a tear. So one more, my apologies, Maria Callas'
(Hans im Bild)
That's all folks!:D
Excellent compilation of La Divina's arias.......2005-03-21
This is one of the best compilations EMI has ever made for Maria Callas' arias. Each and every aria lets us listen to the best of her voice from each period of her career. An excellent collection!
Holly Mathews doesn't know how to appreciate art. Kathleen Battle and Renee Fleming themselves have admitted to the supremacy of Callas' singing over theirs, even if their voices seem more beautiful than La Divina. Why else would Callas be a legend and they wouldn't? They are equally good in their own right, but none of them would surpass the accuracy of La Divina's singing and phrasing. Holly Mathews' left side of the brain must be made of clay or foam, dead material that couldn't absorb any beauty.
Some people have no business reviewing this.......2005-01-25
My goodness, what is a non-musical person like Holly Mathews doing in this board? Do you know what other album she has reviewed? Hayley Westenra! And she's not even an opera singer! She obviously doesn't know her business! Disgraceful review! Ignore it! It obviously was not based on good judgement. I'm sure she is a pop fan who just likes tender music. Oh, her insulting language! What an ignorant Maria basher!
Anyway, this is an excellent compilation of SOME of Maria Callas' greatest arias. Although I do wish some arias like Pace Pace Mio Dio were included here, I do think it is a very good compilation all in all. Although she has many detractors, they still have to admit that Callas is the sheer embodiment of singing and drama. She was an actress...a panther on the stage. Listen to her La Mamma Morta and her Suicidio...those brought chills to my spine when I listened to them. Maria is the only singer in the history of opera besides the great Caruso-tenor Franco Corelli who touched me, moved me even. This is probably the reason why I love Maria Callas' music so much. If you want to hear Medea's anger and Norma's anguish and Butterfly's hopeful blindness, listen to Maria Callas. If you just want a golden voice, then go to Renata Tebaldi or Joan Sutherland. And don't even compare her with Charlotte Church or Hayley Westenra! The distaste of some people!
BELLA BELLA BELLA!.......2004-11-23
THIS WAS THE FIRST ALBUM I EVER BOUGHT FEATURING ANY OPERATIC SOPRANO. I WAS 15 AND WAS GIVEN MY VERY FIRST CLASSICAL PIECE "CARO MIO BEN" WHICH WAS NOT AN OPERA ARIA BUT DUE TOTHIS SONG I WAS SUDDENLY IN LOVE WITH OPERA. I HAD HEAR OF HER A FEW TIMES IN THE PAST BUT MY IDEA OF A GOOD SOPRANO AT THE TIME WAS SARAH BIRGHTMAN (YES I KNOW I KNOW!!!BUT I WAS YOUNG!)BUT IT DIDN'T TAKE LONG TO REALIZE HOW WRONG I WAS!! THIS CALLAS RECORDING HAD THE MOST PROFOUND EFFECT ON ME WHICH LED TO MY OBSESSION WITH MY OWN OPERATIC ASPIRATIONS. IT WAS STRANGE AS SHE DID NOT SOUND LIKE A FAT WOMAN SCREAMING HER HEAD OFF IN FULL BODY ARMOR. YES YES...I AND MANY MANY SAD AMERICANS HAVE THOUGH OF THIS WHEN GIVEN THE WORD OPERA. (NOW NOW, WE ALL FELT LIKE THAT AT SOME POINT) I NEVER REALIZED THAT THERE COULD BE SUCH PASSION. HER NORMA WAS IS SO BEAUTIFUL IN IT'S SIMPLICITY AND UNDERLINING STRENGTH. HER TAKE ON "COME OER ME SERENO" AND "UNA VOCE POCO FA" WERE SWEET AND APPROPRIATELY INNOCENT. HER BEL CANTO ROLES WHICH INCLUDED HER FANTASTIC LUCIA (ALTHOUGH LATER I WOULD PREFER SUTHERLAND) AND GILDA JUST THRILLED ME. I HAD NO IDEA SOMEONE COULD ACTUALLY SING THOSE PIECES! OF COURSE UP UNTIL THIS POINT I DIDN'T EVEN KNOW OPERA COULD SOUND LIKE THAT!! (SILLY ME!) I WAS SURPRISED TO REALIZED I KNEW THE ARIAS SHE SUNG FROM LA BOHEME, LA TRAVIATA, AND MADAME BUTTERFLY. THEY DIDN'T MAKE A HUGE IMPRESSION BECAUSE THEY DID NOT HAVE THE FIREWORKS I WAS LOOKING FOR BUT I STILL FOUND THEM TO BE BEAUTIFUL. AFTER ALL OF THIS I LANDED ON CALLAS' TAKE OF TOSCA'S "VISSI D'ARTE". IT WAS AND HAS BEEN THE ONLY TIME I'VE BEEN SO MOVED BY A PERFORMER THAT I CRIED. IT WAS SO PURE BUT THE PAIN WAS SO EVIDENT THAT IT JUST CHILLED ME. I MUST HAVE LISTENED TO IT THOUSANDS OF TIMES OVER THE YEARS AND STILL HAVE YET TO HEAR A MORE STIRRING RENDITION. DUE TO THE OVERWHELMING FIRST CD I MUST ADMIT I KIND OF IGNORED THE SECOND HALF. EVENTUALLY I DID GET TO IT AND FOUND WHAT I FELT WAS THE GREATEST SONG EVER WRITTEN. MY WHOLE BEING LIVED FOR LAKME'S BELL SONG. AFTER LISTENING TO HER I WAS CONVINCED THIS WOMAN WAS MAGICAL BECAUSE I COULDN'T FIGURE OUT HOW SHE OR ANY HUMAN COULD SING LIKE THAT! HER SECOND DISC WAS INTERESTING BECAUSE IT WENT FROM WHITE HOT COLORATURA TO MEZZO? AAHHH BUT YES SHE WENT THERE. INTO THE INTENSITY OF SAMSON ET DELILA. I THOUGHT THEY WERE BEAUTIFUL!!! OF COURSE I KNOW PREFER MARILYN HORNE TO CALLAS ON THOSE SONGS....BUT IT SHOWED ME THAT NOT EVERY SONG HAS TO BE HIGH TO BE BEAUTIFUL. I LOVED AND STILL DUE LOVE THIS COLLECTION....IN FACT I HAVE BOUGHT IT THREE TIMES AS MINE DETERIORATED QUICKLY 'CAS I PLAYED THEM SO MUCH! AND I'VE GIVEN THIS COLLECTION TO COUNTLESS FRIENDS AND FAMILY. THIS IS THE BEST COLLECTION OF CALLAS' WORK AND I WOULD RECOMMEND IT TO EVERYONE AND ANYONE! VIVA LA DIVA!
Average customer rating:
- La Stupenda at her best
- this is the one to buy
- La Stupenda lives up to her name
- La Stupenda, Amore, amore, amore
- La Stupenda - well deserved title for Joan
|
La Stupenda ~ The Supreme Voice of Joan Sutherland
Gaetano Donizetti , Jules Massenet , Giuseppe Verdi , Richard Bonynge , and Joan Sutherland
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Similar Items:
- Joan Sutherland - The Greatest Hits
- The Art of the Prima Donna
- The Great Recordings
- Great Duets & Trios / Sutherland, Horne, Pavarotti
- Joan Sutherland: BBC-Recitals 1958, 1960, 1961
ASIN: B00005OC0E
Release Date: 2001-10-09 |
Tracks:
- Attila: Santo Di Patria... Allor Che I Forti Corrono - Joan Sutherland
- Lakme: Viens, Mallika... Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
- Les Contes D'Hoffmann: Les Oiseaux Dans La Charmille - Joan Sutherland
- Die Zauberflote: O Zittre Nicht, Mein Lieber Sohn... Zum Leiden Bin Ich Auserkoren - Joan Sutherland
- Linda Di Chamounix: Ah! Tardai Troppo... O Luce Di Quest'anima - Joan Sutherland
- Semiramide: Serbami Ognor Si Fido - Joan Sutherland/Marilyn Horne
- Beatrice Di Tenda Bellini: Eccomi Pronta... Deh, Se Un'urna - Joan Sutherland/Ambrosian Singers
- La Fille Du Regiment Donizetti: Pour Ce Contrat Fatal... Ah! Salut A La France - Joan Sutherland/Chor Of The ROHCG
- La Traviata: Un Di Felice - Joan Sutherland/Carlo Bergonzi
- The Bohemian Girl: I Dreamt I Dwelt In Marble Halls - Joan Sutherland
- Home Sweet Home - Joan Sutherland
- Casanova: Nuns' Chorus - Joan Sutherland/Ambrosian Light Opr Chor
- Lucia Di Lammermoor: (O Giusto Cielo!)... Il Dolce Suono Mi Colpi Di Sua Voce!... Ardon Gl'incensi.. - Joan Sutherland/Chor De L'Opera De Paris/Rene Duclos
Tracks:
- Norma: Sediziose Voci... Casta Diva - Joan Sutherland/Chor Of The ROHCG/Douglas Robinson
- Alcina: Tornami A Vagheggiar - Joan Sutherland
- Con For Coloratura Soprano, Op.82: Andante - Joan Sutherland
- Con For Coloratura Soprano, Op.82: Allegro - Joan Sutherland
- Lucia Di Lammermoor: Sulla Tomba... Ah! Verranno A Te Sull'aure - Joan Sutherland/Luciano Pavarotti
- Rigoletto: Gualtier Malde... Caro Nome - Joan Sutherland/Riccardo Cassinelli/Christian Du Plessis/John Gibbs/Ambrosian Opr Chor
- Esclarmonde Massenet: Esprits De L'air! Esprits De L'onde! ... Roland! Roland! Roland! - Joan Sutherland/Huguette Tourangeau/John Alldis Chor
- Operette: Where Are The Songs We Sung? - Joan Sutherland
- The Boys From Syracuse: Falling In Love With Love - Joan Sutherland/Ambrosian Light Opr Chor
- I Puritani: Son Vergin Vezzosa - Joan Sutherland/Margreta Elkins/Pierre Duval/Ezio Flagello
- Turandot: In Questa Reggia - Joan Sutherland/Luciano Pavarotti/John Alldis Choir/Wandsworth School Boys' Choir/Russell Burgess
- Tristan Und Isolde: Mild Und Leise Wie Er Lachelt - Joan Sutherland
- Adriana Lecouvreur: Poveri Fiori - Joan Sutherland
- La Sonnambula: Ah! Non Giunge Uman Pensiero - Joan Sutherland/London Opr Chor/Terry Edwards
Customer Reviews:
La Stupenda at her best.......2007-05-06
This 2 CD set is entitled "La Stupenda," which creates extremely high expectations. Joan Sutherland meets those expectations on this CD; she is, indeed, "La Stupenda." One of the interesting aspects of this set is Dame Joan's singing some non operatic works (such as "Home Sweet Home" or "Where Are the Songs We Sung?" or "Falling in Love with Love"). In the end, this is a wonderful compilation of the art of Joan Sutherland.
First, let's consider a sampling of the cuts on these CDs.
"O Zittre Nicht" is from Mozart's "Magic Flute" and it is a challenge to sopranos, with its series of staccato high notes. Sutherland essays this well. There are some nice trills; she hits the high notes well. The series of (treacherous) high notes toward the end is handled very nicely by Sutherland. In short, she scintillates, with a closing high note well hit.
From Donizetti's "Linda di Chamounix," she sings "O luce di questi'anima." Her voice and technique are well suited for Donizetti (and Bellini). The cantabile is smoothly sung. The cabaletta is rollicking. Her coloratura technique is on target; the ornamentation is compelling. There are trills, runs, high notes and other ornamentation well done. The close is nice (although there may be a bit of a scoop on the final high note).
From "Beatrice di Tenda" (by Bellini), we hear ""Eccomi pronta. . .Deh, se un'urna." The cantabile is sung well. She hits notes clearly. The spirited cabaletta follows. Sutherland exhibits somewhat less ornamentation than usual, but trills are well done and, overall, the piece is nicely sung. The close features clean high notes.
"Home Sweet Home." This kind of illustrates Joan Sutherland's work nicely. I can hardly make out the words (and it is sung in English). But it is an interesting version. She sings the song straight, without overpowering the song with operatic technique (an occasional trill actually works out well).
Elsewhere, I have commented on her 1959 version of the "Mad Scene" from "Lucia di Lammermoor" (from her album "The Greatest Hits").
"Falling in Love with Love" is an interesting cut. This is a classic Rodgers and Hart song. Sutherland sings it pretty well, and one can pick up the words cleanly. However, one might compare this with Anna Moffo's version, which is more musical. Sutherland's version is a bit too operatic for what the song is about.
Finally, "Ah non giunge" from Bellini's "La Sonnambula," a great coloratura tune! This is taken at a sprightly pace. Sutherland exhibits good coloratura technique. There is nice ornamentation. She precisely nails high notes. In the repeat, the florid singing ramps up. This is a compelling version, with series of staccato high notes to close the work out.
Thus, this 2 CD set is a welcome entrée to the body of work of Dame Joan Sutherland. Sometimes (as with "Home Sweet Home") one has a hard time picking out the words. But with Sutherland, the skills and techniques create a compelling oeuvre that is well worth attending to.
this is the one to buy.......2007-04-18
I'm not an opera expert I just enjoy it. La Stupenda has the best of Joan Sutherland in a two CD set and it's amazing. She looked like a nice, quiet housewife but an indescribalbe voice. Her aria from Norma gave me chills and her version of "I Dreamed I Dwelt in Marble Halls" is flat out one of the prettiest things I've ever heard.
La Stupenda lives up to her name.......2006-11-12
Joan Sutherland was undeniably one of the greatest operatic sopranos of the 20th century. This comprehensive two-CD retrospective of her long career will delight her many fans, and serve as a fitting introduction for those unfamiliar with her artistry. The two CDs span a period of nearly thirty years, from 1959 to 1988, with the majority of the 27 tracks recorded during the 1960s and 1970s, when her voice was at its' astounding best. Sutherland was renowned first and foremost as a dramatic coloratura, and her supple technique is brilliantly illustrated in selections such as the Mad Scene from Lucia di Lammermoor; Doll Song from The Tales of Hoffmann; Queen of the Night aria from The Magic Flute; and the seldom-performed Concerto for Coloratura Soprano by Gliere. As her career progressed, her voice became larger and more powerful, as demonstrated by the Liebestod from Wagner's Tristan and Isolde, and In Questa Reggia from Puccini's Turandot. Lastly, Sutherland was a diva who was not afraid to let her hair down once in a while, and we are treated to lighter selections such as Where are the songs we sung? by Noel Coward, and Falling in love with love, by Rogers and Hart. Highly recommended for all lovers of great singing.
La Stupenda, Amore, amore, amore.......2006-01-28
I adore this woman's voice. And I love this cd. I was really happy to find an aria of "Esclarmonde" which is virtually impossible to find as well as some of the more lesser known works of hers such as Mozart's Queen of Night, although I wish she had done a recording of the revenge aria (Der Holle Roche) The whole cd was wonderful to hear but if I had to make on complaint it's that I didn't buy her Isolde's Liebestod but the woman can sing Lucia better than just about anyone so I'll forgive her for not sticking with the Wagner. In fact I am thrilled that she chose Lucia over Isolde because frankly acting and interperation was never her strong suit, it was the pure beauty of her voice. It's always a grand pleasure to listen to Joan kick butt in any coloratura arias but of course she set the bar so high that there is yet a coloratura since her that can do those arias half as well. She has spoiled me for life and that's why she is La Stupenda.
La Stupenda - well deserved title for Joan.......2006-01-12
I am not an opera expert by any stretch of the imagination - but I love opera. I love the expertise and beautiful voices of these hardworking singers. When I first heard Joan sing, it was from a recording she made late in her career and I honestly thought, what's the big deal about her? So, I decided to get The Art of Prima Donna album, and all I have to say is WOW! In her prime, this woman was a fantastic singer! While she wasn't the dramatist like Callas was (I also love Callas), her range and the way she hit each note so precisely was amazing! So, I bought La Stupenda. I loved the piece she did from Handel's Alcia and the fantastic Rossini duet she did with Marilyn Horn. The entire album is wonderful. I particularly like how Joan's high notes are never screechy - she makes those high notes sound so effortless. I also appreciate how she had such control over her vibrato - not too trilly (I like trilly - especially by Beverly Sills - however, not every song should be all trill). Finally, I think that Joan was one of the few sopranos that didn't try to drown everyone out. When she sang a duet, she blended with the other singer - how rare! Not all singers seem to be able to accomplish that - duets shouldn't be a competition. This album is worth every penny. Joan was one of the great singers of the 20th century and she deserves her title of La Stupenda!
Average customer rating:
- Another supeb tenor.
- The one.
- A New Star voice
- Quite Good
- Promising debut by new lyric tenor
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Similar Items:
- Rolando Villazon - Gounod · Massenet Arias
- Rolando Villazon: Opera Recital
- Opera Recital [Includes Bonus DVD]
- Verdi: La Traviata
- Gitano
ASIN: B00018TIOA
Release Date: 2004-02-10 |
Tracks:
- Lamento: E La Solita Storia
- Recitativo E Romanza: Inosservato...Angelo Casto E Bel
- Aria: Quanto E Bella
- Aria: Una Furtiva Lagrima
- Recitativo Ed Aria: Tombe Degli Avi Miei...Fra Poco
- Aria: Il L'ho Perduta...Io La Vidi
- Aria: Io L'ho Perduta...Io La Vidi
- Aria: O Figli...Ah! La Paterna Mano
- Scena Ed Aria: Ella Mi Fu Rapita...Parmi Veder
- Canzone: La Donna E Mobile
- Scena, Aria E Cabaletta: Lunge De Iei...De' Miei Bollenti...O Mio Rimorso
- Aria: Che Gelida Manina
- Aria: E Lucevan Le Stelle
- Aria: Anche Tu Beppe Giungi...O Amore
- Aria: Vergini, Muse...Quando Al Soave Anelito
Amazon.com
This is a glorious debut recital by a tenor, from whom, if he sings the right roles and keeps way from jet-setting and too much singing, might just be the lyrico-spinto tenor we've been waiting for. He has the class of Carlo Bergonzi and a ringing tone which is somewhere between Domingo's big, dark sound and Pavarotti's brightness; he sings with a true mezza voce (not a falsetto); he always obeys the composer's markings and delineates character. He seems incapable of vulgarity, refusing to gulp or sob when a musically expressive gesture will do. The opening aria here--from L'Arlesiana--is so beautifully, touchingly sung that it's a heartbreaker; he doesn't take the usually opted-for high note near the end, but never fear: in the Traviata and Bohème excerpts, Villazon offers big, whopping high Cs. This CD is a knockout; let's hope it's only the beginning of an illustrious career, both recorded and live. --Robert Levine
Customer Reviews:
Another supeb tenor........2007-05-13
We can be thankful that the old guard of the opera stage has been replaced by a trio of youthful artists. Villazon along with Calleja and Florez makes a great addition to the world of opera.
The one........2006-06-24
He's the real deal. Domingo-like burnished voice, great actor. Not just hype, he's genuinely worthy of all the praise.
A New Star voice.......2005-09-25
Rollando Villazon can't fail to impress a listener. He is an enourmous breath of fresh air for people waiting for a new generation of Opera superstars to emerge. Those somewhat dissapointed by the somewhat ncomfortable edge to Salvator Licitra's voice, may take refuge in the freshness of Villazon.
I don't really want to ruin the magic of his singing, with caddy comparisons, but it is sufficient to say that he excellent. Many compare his to Domingo, to that I would say that Villazon has an ease to his top that Domingo never had, but perhaps lacks the focus and thickness of Domingo's lower registers.
Overall what hits you most about Villazons performance, is the induviduality of his interpretations and voice. The top of his voice has a ring and tone that sets his apart from the pack.
To my ear, he sounds at his best in the Mid Period verdi, where the cut of voice come through in the long high-lying passage, (expecially the cut from Traviata,
Enjoy this incredible singer
Quite Good.......2005-05-26
A very promising debut album with some excellent burnished tenor sound. To the reviewer who went on and on about Mr. Villazon only being in his 20's -- I hate to burst your bubble, but he was born in 1972, which makes him 33! And, by the way, the age of the singer is not a "huge" advantage; let us remember that some of our greatest singers didn't come into their element until their 40's (e.g., Flagstad, Milanov...)
Promising debut by new lyric tenor.......2005-05-05
Rolando Villazon immediately made himself a name we should all watch out for, after his appearance on a NY City Opera telecast of Boheme, as Rodolfo. Since then he has become a regular artist in leading lyric roles at the Deutsche Oper Berlin, has sung two parts at the Met already, and obviously has much ahead for him. The voice itself has a number of virtues, evenness of tone across the different registers, and the ability to encompass long lines without taking unnecessary breaths and showing the control to taper many lines off softly. It has also taken on perhaps a prematurely dark quality, in contrast with what I remember of the La Boheme telecast.
This recital of Italian opera arias presents Villazon near the alpha of his career (one appearance as the Steersman on the Barenboim Flying Dutchman before, for Teldec) and the conductor at his omega - the just deceased Marcello Viotti, at the age of 52, who suddenly replaced Sinopoli in Berlin for the second of two performances of Verdi's Aida in 2001. Sinopoli had passed away at 54 the night of the first performance that weekend in Berlin.
On first impression, Federico's lament from Cilea's L'Arlesiana is taken too slowly, and yet from repeated listening to this disc, it is one of nearly half a dozen selections that contribute the most to making this an interesting recital. The lachrymose manner and delivery here, though, sets a little too much of an overall tone for the rest of the recital, including its several or so lighter numbers. Said to also be a Caruso favorite, the aria from Donizetti's Duca d'Alba is a real highlight as close to being Schubertian in feeling as some Verdi - as late into Verdi's work as Forza and Don Carlo. Villazon's singing here is as warmly ardent as you'll find anywhere on this disc, and his personal identification with the character of Don Carlo, several tracks later, is as complete as that of its best interpreters of the recent past, Placido Domingo especially.
The two Elisir d'amore selections are pleasant vocally, but too dark, especially the start to so many phrases of "Una furtiva." The remorse felt during the opening aria of the Tomb Scene from Lucia, after a slightly uncertain start, is entirely felt. Oronte's brief aria from Verdi's Lombardi is handled with an easy, pleasant swagger from both Villazon and Viotti, leading one to expect similar lightness in selections that soon follow, and which is not entirely forthcoming; the beginning of the recitative to "Parmi veder" from Rigoletto shows a palpable anxiety in this peculiar moment for the Duke in which he finds himself. Intonation falters momentarily at the end of this aria. "Ah! la paterna mano", after good recitative, gets pushed a little too forward, robbing the crest of several lines in it their full expressive potential. Contrast of expression between Alfredo's aria and cabaletta from Traviata is so minimal, almost to have been erased altogether; Viotti here, so deft and highly musical an accompanist he is for most of the rest of this disc, is similarly disengaged. Connecting music between aria and cabaletta and repeat of the latter both get awkwardly cut.
That leaves four verismo tracks for the remainder of this disc. Most distinctively sung is "E lucevan le stelle" from Tosca, but frequently quite close to sounding a copy of Domingo's interpretation. The honeyed placement for the top of the staff, once the voice takes on the melodic line, could hardly remind you of anyone else. "Che gelida manina" is also given a fine performance here, but begins to lose all consonants on a couple of words right before the ascent to the high C in the aria. After hearing Dino Borgioli and Cesare Valletti as Fritz, each more of a benchmark than Pavarotti, it is hard to identify the villager Fritz, from how disinteresed Villazon sounds. A slight cut is taken between two portions of recitative before Fritz's Act III aria. "Quando al soave anelito" from Mascagni's Nerone, obviously a rarity, is one for which I can only find a Domingo recital before. Here, the singing is fine, but the youthful sense of wonderment for Nero, in his vision of Venus, as wordly-wise a fellow he is, gets understated. Accompaniments to these four arias are mostly as fine as the others, but all come to abrupt endings, the endings of Boheme and Amico Fritz which lose all their shimmer here.
Much criticism here, but there is also much hope felt from listening to this disc, for a bright future for Mr. Villazon still. He is only seldom a conscientious and musical performer, but as opposed to what the liner notes might say, part of being musical in singing such selections or opera in general, is being specific for each character being portrayed here. Villazon should also take note that his singing is most interesting and also most easy to distinguish from his widely celebrated mentor, when he sings lightly. First impressions are strong - I first anticipated awarding this disc five stars - but unfortunately it just barely deserves four. Sound quality, if a bit heavily miked for climaxes and a bit recessed for the orchestra, especially at closings to arias, is warm and full.
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- Classic coloratura singing by Dame Joan
- Great Sutherland Recordings
- Joan Sutherland in her Prime!! Amazing!!!
- La Stupenda!
- Exquisite combination of lyricism and coloratura
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Joan Sutherland - The Greatest Hits
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- Just for the Record: The Golden Voice
ASIN: B000006P4S
Release Date: 1998-05-12 |
Tracks:
- Samson: Let The Bright Seraphim
- La buona figliuola: Furia di donna
- Norma: Casta diva
- I Puritani: Son vergin vezzosa (Polonaise)
- La Fille Du Regiment: Pour ce contrat fatal...Ah! salut a France
- Lakme: Ah!...Ola jeune Indoue (Bell Song)
- Rigoletto: Gualtier Mald.Caro nome
- Faust: Dieu! que de bijoux!...Ah! je ris de me voir si belle (Jewel Song)
- La Traviata: E' strano!...Ah, fors'ui...Sempre libera
- Les Contes d'Hoffman: Les oiseaux dan la charmille (Doll Song)
- Lucia di Lammermoor: Il dolce suono mi colpi di sua voce!...Ardon gl'incensi (Mad Scene)
Customer Reviews:
Classic coloratura singing by Dame Joan.......2007-01-21
Joan Sutherland was one of the wonders of coloratura technique in the 1950s and 1960s. Some say that the 1960s represent the peak of her accomplishments. The cuts on this CD represent that period, so this is Dame Joan at her best. Music ranges from Handel to Bellini to Delibes to Donizetti to Verdi, with Gounod, Piccinni, and Offenbach thrown in for good measure. She was not great on characterization (no Tebaldi, Callas, or Moffo here), but, oh, that voice! Some illustrative examples follow. . . .
She began as a dramatic soprano, so that there is a lot of punch behind her coloratura technique. It is amazing that she exhibits such agility, given that background. "Let the Bright Seraphim" from Handel spotlights that agility, as well as one of the best trills of the past 60 years. While some CDs that feature coloratura singing may end up with excessive ornamentation, ornamentation at some level is di rigueur. And a trill is a key part of the coloratura soprano's armamentarium. Also present on this cut is a command of high notes, precisely hit.
Bellini's opera, "I Puritani," includes a "polonaise," entitled "Son vergin vezzosa" that shows off Sutherland's gifts to good effect. Coloratura techniques, again, are evident. The repeat features increased ornamentation and a clean hit on the final high note. The "Bell Song" from Delibes' "Lakme" is included on this CD. Some stunning trills are featured; again, she hits the notes well, including the high ones. This ends with a nice trill and high notes well done.
Verdi's opera, "Rigoletto," features wonderful music, including ""Gaultier Malde. . .Caro nome," where an innocent is messed around with by a genuine cad. But the music is wondrous, one of Verdi's best tunes. Sutherland hits trill after trill. Well conceived and executed effects. From "La Traviata," also by Verdi, a nice rendering of "Sempre libera." Again, characterization is not her forte; for Violetta, go to others like Renata Scotto and Anna Moffo for that. Once more, trills that are glorious are manifest. An agile voice and well done high notes.
The "Mad Scene" from Donizetti's "Lucia di Lammermoor"? Here is one of the iconic recordings. This was one of Sutherland's genuine "greatest hits." Again, forget characterization and acting; that was never her strength. Listen to the voice and the singing. "Spargi d'amaro pianto," the culminating segment of the "Mad Scene," is absolutely stunning. Trills, runs, high notes cleanly hit, other ornamentation (e.g., appoggiaturas) are exemplary.
I have not listened to Sutherland's work in some time and I had begun to wonder if I had romanticized her skills as I was listening to more contemporary coloratura sopranos singing the same repertoire. However, listening to this CD reassures me that I am not simply some old-timer going into the past. While there is talent today (including the voices of Netrebko, Fleming, Dessay, and others), Dame Joan Sutherland is one of "the real deals" among coloratura sopranos.
Great Sutherland Recordings.......2006-08-02
For starters, I am not not a die-hard Sutherland fan,
for various reasons not to be discussed here. However,
it's impossible to deny her status as one of the
quintessentially impeccable soprano voices of
recorded history. Many of her recordings are
prototypes of how certain arias "should sound."
Above all, I love her clarion-like vocal presentation.
Her virtuoso trills and technical ability are
hall of fame-worthy.
This CD displays much of her famed vocal
ability. Although, a couple of the tracks
seemed personally out of place for me, several
other tracks are wonderful showpieces of her talent.
"Ou va la jeune hindoue" from Lakme is text book perfect. She lifts the roof about 10 meters on the final E; over a full orchestra! (Outstanding work.) "Il dolce suono" from Lucia di Lammermoor is incredible. Her control of pitch and dynamics are almost frightening. She displays power and vocal grace in equal parts. Her "Casta Diva" is well done, but I can't help but compare it to that of Maria Callas. Sutherland is the soprano
archetype in term of technique, however,
her emotional delivery is not always on the par
with other great sopranos. Nonetheless, the "Casta Diva"
track is still superb and pleasant to the ears.
This is an excellent collection of recordings. I believe that both new and veteran fans of Joan Sutherland will be pleased.
Highly recommendable.
Joan Sutherland in her Prime!! Amazing!!!.......2006-07-21
Joan Sutherland is truly the voice of the twentieth century. Up until hearing this album, I had only heard recordings of her from the 80's, and frankly, I wasnt impressed. I have since learned that she was is her prime in the 60's and early 70's.
Her sound during her vocal prime is so bright and amazing. Her high notes are truly umatched by any other singer, and she has such expresssion. Although her diction is somewhat lacking, she makes up for it in vocal splendor. WOW!
She goes from heavy, bright Verdian arias like Sempre Libera to a light, high aria like the Doll Song. She is truly an amazing vocalist with unparalled vocal versatiltiy.
He sound from the 80's was very covered and her high notes sometiems seemed almost strained. If not strained, they were very small and dainty. While she was in her prime, her high notes were big and bawdy, and thats how us opera folks like it!
If you are looking for a reasonable priced compilation of Ms. Sutherlands finest work, then look no more. This is the one for you. It has excellent recordings of Verdian Soprano arias, Coloratura arias, and lots of Bel Canto vocal fireworks. Her recording of the Bell Song from Lakme is alone worth the purchase. The whole thing is great.
La Stupenda!.......2006-06-04
I have to say that Dame Joan Sutherland has one of the most amazing voices ever with such a range. This collection is my first but not my last. In fact, I would use this cd when the upstairs neighbors would start getting loud and I assure you that it probably made them quieter down. Anyway, God Bless Dame Joan Sutherland who has accomplished so much more than anybody. No wonder, her nickname is La Stupenda.
Exquisite combination of lyricism and coloratura.......2004-02-03
Here Sutherland proves that she wasn't a "mere" lyric coloratura songbird but a full-voiced dramatic soprano d'agilita. Singing Violetta's aria and the Jewelsong she manages an exquisite balanche between glittering acuti and lyric ardour. This is by far one of the best recitals ever recorded and no opera-collection is complete without it!
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The Very Best of Giuseppe di Stefano
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- The Very Best of Beniamino Gigli
- Giuseppe Di Stefano Sings Neapolitan Songs
- Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor
- The Very Best of Nicolai Gedda
ASIN: B0000A5BXQ
Release Date: 2003-09-02 |
Tracks:
- Addio, Mignon
- Ah! Non Credevi Tu
- Io Son Solo...Ah! Dispar, Vision
- E La Solita Storia (Lamento Di Federico)
- Lunge Da Lei...De' Miei Bollenti Spiriti
- Fra Poco A Me Ricovero
- Tu Che A Dio Spiegasti L'Ali
- Son Gia Lontani!...Corre A Valle
- Intanto Amici Qua...Viva Il Vino Spumeggiante
- Mamma, Quel Vino E Generoso
- Recondita Armonia
- E Lucevan Le Stelle
- Dovunque Al Mondo
- Addio, Fiorito Asil
- Recitar!...Vesti La Giubba
- La Vita E Inferno...O Tu Che In Seno Agli Angeli
- Una Parola Sola...Or Son Sei Mesi
- Ch'ella Mi Creda Libero
- Avete Torto!...Firenze E Come Albero
- Non Piangere, Liu
- Nessun Dorma
Tracks:
- Questa O Quella
- Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
- La Donna E Mobile
- Ah Si, Ben Mio
- Di Quella Pira
- Di' Tu Se Fedele
- Teco Io Sto...Non Sai Tu Che Se L'Anima Mia...Oh, Qual Soave Brivido - Maria Callas
- Forse La Soglia Attinse...Ma Se M'e Forza Perderti
- Che Gelida Manina
- In Un Coupe?...O Mimi, Tu Piu Non Torni - Rolando Panerai
- Donna Non Vidi Mai
- Oh, Saro La Piu Bella - Maria Callas
- No! Pazzo Son! Guardate!
- A La Barcillunisa
- Cantu A Timuni
- 'O Sole Mio
- Marechiare
- Core 'Ngrato
- Torna A Surriento
Average customer rating:
- Nice intro to opera
- Selection for the Ages
|
Pavarotti's Opera Made Easy: My Favorite Opera for Everyone
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD
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