Rossini - La Cenerentola / Valentini-Terrani · Araiza · Dara · Trimarchi · Ravaglia · Schmiege · Corbelli

Rossini - La Cenerentola / Valentini-Terrani · Araiza · Dara · Trimarchi · Ravaglia · Schmiege · Corbelli · Ferro

La cenerentola (Cinderella), opera
Composed by Gioachino Rossini
with Capella Coloniensis, Marilyn Schmiege, Emilia Ravaglia, Francisco Araiza, Domenico Trimarchi, Georg Fischer, Lucia Valentini Terrani, Enzo Dara, Alessandro Corbelli
Conducted by Gabriele Ferro

Rossini - La Cenerentola / Valentini-Terrani · Araiza · Dara · Trimarchi · Ravaglia · Schmiege · Corbelli · Ferro,Gioachino Rossini,Gabriele Ferro,Lucia Valentini-Terrani,Francisco Araiza,Cappella Coloniensis,Chor des Westdeutschen Rundfunks,Domenico Trimarchi,Emilia Ravaglia,Marilyn Schmiege,Alessandro Corbelli,Enzo Dara,György Fischer,Sony,Classical,Classical Music,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio,Opera/Operetta

Average customer rating:

RIP, BEVERLY SILLS 1929-2007
Brava Sills!
Sills fits my bill
The Great American Soprano
My Favorite Woman

The Great Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Very Best of Beverly Sills
Art of Beverly
Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Beverly Sills: Made in America

ASIN: B0001Y4JG6
Release Date: 2004-05-11

Tracks:

Son Vergin Vezzosa - Paul Plishka
Eccomi... Oh! Quante Volte
Mira, O Norma
Santo Di Patria... Allor Che I Forti Corrono... Da Te Questo
Contro Un Cor Che Accende Amore - Nicolai Gedda
Che M'apporti? - Ambrosian Opera Chorus
Quel Sangue Versato Al Cielo S'innalza - Ambrosian Opera Chorus
Vorrei Spiegarvi, Oh Dio, K.418
Amor, Op.68 No.5

Tracks:

Martern Aller Arten
E Strano! E Strano!
Ah, Fors'e Lui
Follie! Follie!
Sempre Libera
Ces Murs Silencieux - Pardonnez-moi, Dieu De Toute Puissance - Ambrosian Opera Chorus
Toi! Vous! - Oui! Je Fus Cruelle Et Coupable! - Ambrosian Opera Chorus
N'est-ce Plus Ma Main? - Ambrosian Opera Chorus
Robert, Toi Que J'aime
Tu Ne Chanteras Plus?
Chere Enfant Que J'appele
Meine, Lippen, Die Kusen So Heiss
Wien, Wien, Nur Du Allein
Always Through The Changing

Customer Reviews:

RIP, BEVERLY SILLS 1929-2007.......2007-07-03

The great American diva's passing was announced today.

This wonderful CD set is a perfect compilation of her art as can be found anywhere. Her finest roles and performances are captured here, most of them derived from the Westminster/Audio Treasury recordings from her prime. Listening to them again demonstrates to me why she was so special, and such an inspiration to music lovers everywhere.

Brava Sills!.......2007-02-02

A very nice compilation of Sillsiana. The different cuts on this CD provide a nice illustration of her work. Let me briefly describe my response to a sampling of the works on this CD:

Bellini, I Puritani, "Son vergin vezzosa." Wonderful. Sutherland owns this--but so does Beverly Sills. Contemporary sopranos such as Netrebko and Gruberova have also sung this on their respective CDs, and while their product is nice, it simply does not compare. Sills is remarkably agile with her voice; the trills are well done; she cleanly hits high notes; the overall effect can only be described as wonderful.

Bellini, Norma, "Mira, o Norma". This is smoothly sung and very melodic. The technique that she exhibits does not overwhelm the music.

Rosini, Il Barbiere di Siviglia, "Contro un cor che accende amore." Again, her agile voice is well deployed. The florid singing is well done.

Donizetti, Roberto Devereaux, "Che m'apporti." Her clean, light voice matches well with this aria. Smoothly sung. Her "Quel sangue versato al cielo s'innalza," which follows, is well done. High notes cleanly hit, a smooth line.

Verdi, La Traviata, "E strano. . . .Sempre libera." Again, what agility! In "Sempre libera," she reveals a rich voice and, again, wonderful agility. This is an animated version of one of Verdi's showcase pieces.

Lehar, Giudetta. "Meine Lippen." A lot of fun! This is smoothly sung.

In the final analysis, this is a nice potpourri of Beverly Sills' repertoire. Those not familiar with her work will find this a nice entree to her oeuvre; those familiar with her will find this a good compilation.

Sills fits my bill.......2006-03-13

This recording is another in an all too small CD collection of Sills recordings. I eagerly await more.

The Great American Soprano.......2005-10-01

This is a great collecition featuring arias from the Classical and Romantic periods. Fabulous!!!!!

My Favorite Woman.......2005-08-05

I would have to say that when I first heard Beverly Sills sing, I was entranced. I couldn't take my eyes off of her and I became angry at any rustling around me, because I was afraid I would miss one note. It was so addictive....that is what she is....addictive! A c.d. will never properly capture her style. She is an amazing leader in opera, taking it into a new frontier and I believe this c.d. showcases that.

Sumi Jo - La Promessa / Vincenzo Scalera

Average customer rating:

Slow, tuneless, boring.
Bettered by the real thing
Sumi Jo tackles Belcanto
A promise fulfilled
Loverly voice, perfect technique

Sumi Jo - La Promessa / Vincenzo Scalera
Vincenzo Bellini , George Frideric Handel , Alessandro Scarlatti , Domenico Scarlatti , Giuseppe Verdi , Giuseppe Sarti , Christoph Willibald Gluck , Salvator Rosa , Giuseppe Giordani , Francesco Paolo Tosti , Antonio Cesti , Gioachino Rossini , Sir Julius Benedict , Stefano Donaudy , Wolfgang Amadeus Mozart , Antonio Caldara , Giovanni Paisiello , Sumi Jo , and Vincenzo Scalera
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Sumi Jo sings Mozart
Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
Sumi Jo - Bel Canto / Arevalo · ECO · Carella
Sumi Jo - Prayers / James Conlon
French Coloratura Arias

ASIN: B00000AEKD
Release Date: 1998-09-15

Tracks:

Caro mio ben
Lungi dal caro ben
Malinconia, ninfa gentile - Bellini
Qual farfalletta amante - D. Scarlatti
Ad una stella - Verdi
Lascia ch'io pianga - Handel_
Per pieta, bell'idol mio - Bellini
O del mio dolce ardor - Gluck
Star vicino
Se Florindo e fedele
Non t'amo piu
Intorno all'idol mio
La promesa - Rossini
La Capinera
O del mio amato ben
V'adoro pupille - Handel_
Vaghissima sembianza
Ridente la calma - Mozart
Alma del core
Nel cor piu non mi sento

Customer Reviews:

Slow, tuneless, boring........2007-07-13

This, that horrible collection of pop tunes, her prayers and her xmas carols are the Sumi Jo recitals I deliberately did NOT buy. Until the bitter end, I suckered to the reviews, craved some more of that wonderful singing and bought the pop crap and now this. I do not like art songs (except some Mozart), particularly not art songs to a piano accompaniment. If you do (and if you say you do, I'll doubt you), dig in, this is your meat and potatoes. Her voice is beautiful (it always was), the music is not.

Bettered by the real thing.......2007-03-21

I discovered the wonder that is Sumi Jo after I kept remarking to myself "Wow", every-time I played an operatic compilation and this one track came around - same track each time - hers! So, I sought to hear more and bought this CD, for no other reason than it was the only one Tower stocked. Sadly it seems that Sumi Jo is a little slow in receiving her rightful invitation to stand on the main podium. In my opinion, she is about as good as it gets, and certainly has a rightful place alongside the greats of Callas, Horne, Hendricks et al.
Well, what can I say, I love this CD, her voice is fluid and elegant, sharp but not cutting, well formed and with a force that can be projected or held, it's a wonderful CD on so many levels and one I have never grown tired of listening to each morning, what a great way to start the day! As an introduction to operatic arias I would certainly recommend this as I am sure it would surprise and enchant even the most hardened of sceptics who think that "Opera is not for me", or that there was no life after Callas.
This afternoon I was very fortunate to have 5th row seats at her spring recital, here in Japan, and what a truly awe-inspiring performance. A genuine world-class soprano Sumi Jo certainly is. Today's repertoire ran from Handel, Vivaldi, Benedict, Strauss, Bellini to Verdi. Singing comfortably in FOUR languages she delivered a performance that the CD in now way prepared me for. A performance that brought her four encores, numerous standing ovations and thunderous applause from a usually reserved (Japanese) audience. Besides her obvious musical talents I have to say that I found her to be such a marvellously warm and appreciative human being who was genuinely appreciative of her audience and I can't wait to get out there and listen to more of the joy that is Sumi Jo.

Sumi Jo tackles Belcanto.......2006-11-03

Coloratura soprano Sumi Jo delivers another delightful album, focusing on arias and pieces from the Italian chamber music composers (Giordani, Bellini, Rosa, Caldara, Cesti, etc.). While I believe Sumi Jo is better-suited to the French composers (see her album "Les Bijoux" on the Erato label), she proves her mettle here by delving wholeheartedly into a section of opera which a lot of sopranos do find quite difficult, the belcanto pieces are an artform in themselves.

In particular, her readings of "Star vicino" (Rosa), "Alma del core" (Caldara), and "Intorno all'idol mio" (Cesti) are chill-inducing. Supported by Vincenzo Scalera on the piano, the feather-light voice of Sumi Jo glides through these pieces with enviable skill. A beautifully-presented album.

[Erato/Warner Music 3984-23300-2]

A promise fulfilled.......2004-10-28

This collection of famous Italian arias is in my opinion one of the greatest recordings of the decade. Jo finds a new style and colour for each song, be it hauntingly romantic or elegant, poised baroque. One of the most beautiful voices today. Do not miss this at all costs!

Loverly voice, perfect technique.......2003-04-04

I noticed her voice a couple of years ago on TBS TV station live concert in Korean. The applause for her was like thouder storm, and since then I remembered her forever.

Customer Reviews:

A Wonderful Recital with Caballe at her Best.......2006-12-10

At the wake of Maria Callas' explorations into the bel canto repertoire, great sopranos such as Joan Sutherland, Leyla Gencer, and most importantly, Montserrat Caballe, dominated the Italian repertoire during their careers to revive the forgotten operas of Donizetti, Bellini, Verdi, and Rossini. I say that Caballe is the most important of these three post-Callas sopranos because more so than any of these divas, she epitomized the true bel canto style needed to make her characterizations come to life. Sutherland had an excellent technique, but her characterizations were sadly lacking in verve, and Leyla Gencer was too often in an undesirable state of voice despite her thespian histrionics. Montserrat had both, and she championed the great operas of Verdi, Puccini, Donizetti, Bellini, Rossini, Massenet, Wagner, Strauss, Mozart, Giordano, Pergolesi, and all the other great, almost-unknown composers who became part of her core repertoire, if there was any at all. Her excellent technique allowed her to continue assuming roles that displayed her magnificent artistry well into her 70's...up to today! Yes, she is still singing, and in fact she is going to be starring in a role in the Vienna Opera next year.

This recital shows Caballe in the repertoire that was arguably her best. Although I found her compelling in some Verdi, I thought that she lacked the spinto sound needed to set those Verdi roles on fire. In this recital, Caballe shows her knack and ability to make the earlier Verdi operas shine. She had a coloratura facility that was simply astounding for an instrument of her particular smoothness, beauty, and timbre, and I believe that her excerpt from Aroldo is a must hear. Her Donizetti is brilliant as well, a highlight being the Parisina and the Belisario excerpts. It makes us wish that there were a Belisario lying around somewhere with her singing. Her Rossini makes us hope for an Armida and a Tancredi. This recording finds her in superb voice, much more so than many of the recordings of her latter years that find her singing with a trademark Caballe bleat. For people who love bel canto and tasteful singing, I think this is a recital that anyone should own.

no news.......2006-02-21

If you have the earlier release of this set (1992 I think), there's really no need to replace it. This current (2004) release was supposedly remastered, but I can hear little if any difference. Amazon shows both versions, but I'd bet the earlier one may well be out of print. You get all the Caballe trademarks here: floated pianissimos, gorgeous mid-range singing - and the usual glottal stops. Even if you're not a big MC fan, the set is worth getting for all those arias you're not likely to hear elsewhere, or done as well.

Montserrat Caballe's Claim To Fame.......2005-11-09

Bel canto opera was soprano Montserrat Caballe's claim to fame. Blessed with both a huge and lyrically resplendent voice, she was a refreshing change from the purely dramatic style of singing provided by Maria Callas. Her pianissimi are still talked about even long after they disappeared, her coloratura is dynamic, her stamina and breath control impressive and her orutund, vigorous but beautiful tone made her particularly suited for the roles of queens or strong women- Donizetti's Lucrezia Borgia and Bellini's Norma especially. The other reviewer says she was perfect for the roles of mothers, queens and wives, and this is true because she was able to portray seemingly powerful women dying of love underneath. She would have made an exceptionally terrific Turandot but she never sang the role in her career.Her career in opera spanned the decades of the 60's, 70's and even part of the 80's. The arias from Parisina and Torquato Tasso are indeed outstanding. These operas are obscure bel canto operas by Donizetti, Rossini and even early Verdi operas. These operas will never be staged again and some of them enjoyed only mild success in their original stage premieres in the 19th century. This is the work of young and energetic composers who had not yet mastered character insight and thrilling dramatic elements. Mostly, it's beautiful singing, the actual definiton of the term bel canto. What we get in place of dramatic potency is ornate, lush singing. In the very least, these arias should be sung in recital. Caballe sang numerous bel canto pieces in recital, displaying her gift for this type of singing. She is the very embodiment of bel canto. Not even Joan Sutherland and Beverly Sills, considered her fellow peers in the same "back to bel canto" movement could essay the arias with such grace, elegance and majestic beauty. Sutherland sang with obvious gloss and no real dramatic power, Sills sang beautifully but focused on the significance of text as drama and therefore "spoke" some of her lines or cried or raged instead of singing. Callas was the same way only hers was a bigger voice. Caballe gave us simply beautiful singing. And we thank her for that.

Welcome to the Caballe school of singing!.......2004-12-18

This re-released recitals indisputably rank among Caballe's best recording material. Each "rarity" has something different to offer. In Rossini, Caballe mostly displays her coloratura ability which was not in the same league as Sills', Callas' or Sutherland's but had a magic of its own. One never expects such agilty from such a firm and full voice. The Tancredi scene is my favourite.

In Donizetti, Caballe truly reigns! If only she'd recorded these operas completely. I've always found her sound perfectly suited to roles of wifes, mothers and aristocratic ladies in general. The operas chosen here deal with marrital problems and Caballe is the definition of the Donizzeti roles she sings here! My favs are the Parisina and Torquato Tasso moments. Comparing her and the lighter sopranos who nowadays perform these operas makes one realise that high notes are not the issue here. The full, sumptuous sound of a Monsterrat is what these operas need!

Early Verdi has a lot in common with bel canto and Caballe is again sublime! The Un Giorno extract stands out. It's breathtakingly perfect! Caballe finds meaning in every phrase she sings. But all other tracks are unforgettable as well. Needless to say that the voice at this moment of her carreer was at its best!

These recitals will always have a special place in my opera collection and my heart!

Rossini - Tancredi / Kasarova, Mei, Vargas, Peeters, Cangemi, Paulsen, Münchner Rundfunkorchester, R. Abbado

Average customer rating:

Masterpiece performance!
Simply lovely
A good recording, but not for me

Rossini - Tancredi / Kasarova, Mei, Vargas, Peeters, Cangemi, Paulsen, Münchner Rundfunkorchester, R. Abbado
Gioachino Rossini , Roberto Abbado , Vesselina Kasarova , Eva Mei , Münchner Rundfunkorchester , Ramón Vargas , Harry Peeters , Verónica Cangemi , Melinda Paulsen , and Chor des Bayerischen Rundfunks
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Kasarova, Vesselina | Divas | Opera & Vocal | Styles | Music

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Bellini - I Capuleti e i Montecchi / Kasarova · Mei · Vargas · Chiummo · Alberghini · R. Abbado
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Vesselina Kasarova - Rossini Arias and Duets / Flórez, Fagan
Rossini: La gazza ladra
Rossini: Otello

ASIN: B000003FZL
Release Date: 1996-09-17

Tracks:

Tancredi: Act I: Overture
Tancredi: Act I: No1.. Introduction - Pace - honore - fede - amore (Coro, Isaura, Argirio, Orbazzano)
Tancredi: Act I: Recitativo secco - Ed ecco, o prodi Cavalier, L'Eroe (Argirio, Orbazzano, Isaura)
Tancredi: Act I: No. 2 Coro e Cavatina - Piu dolci e placide spirano L'aure (Coro, Amenaide)
Tancredi: Act I: Recitativo secco - E gia deciso, o figlia (Argirio, Amenaide, Isaura, Orbazzano)
Tancredi: Act I: No. 3 Recitativo e Cavatina - Oh patria! - dolce, e ingrata patria! (Tancredi)
Tancredi: Act I: Recitativo secco - D'Amenaide ecco il soggiorno (Tancredi, Roggiero, Argirio, Amenaide)
Tancredi: Act I: No. 4 Recitativo accompagnato - La morte!; Della patria ogni nemico (Amenaide, Argirio)
Tancredi: Aria - Pensa che sei mia figlia (Argirio)
Tancredi: Recitativo secco - Che feci! - Incauta! (Amenaide, Tancredi)
Tancredi: No. 5 Recitativo e Duetto - O qual scegliesti terribil ora! (Amenaide, Tancredi)
Tancredi: Recitativo secco - Che intesi! oh tradimento! (Roggiero)
Tancredi: No. 6 Coro - Amori - scendete
Tancredi: Recitativo secco - Oh canti! - oh voti! (Tancredi, Roggiero, Argirio, Amenaide, Isaura, Orbazzano)
Tancredi: No. 7 Recitativo istrumentale - Da chi? - perche...Orbazzan! (Tancredi, Amenaide, Argirio, Isaura, Orbazzano)
Tancredi: Finale Primo - Ciel - che intesi! oh tradimento! (Argirio, Orbazzano, Tancredi, Amenaide, Isaure, Roggiero, Coro)

Tracks:

Tancredi: Act II: Recitativo secco - Vedesti?...Vidi...(Orbazzano, Isaura, Argirio)
Tancredi: Act II: No. 8 Recitativo e Aria - Oh Dio! - Crudel! - Qual nome caro e fatal (Argirio, Coro)
Tancredi: Act II: Recitativo secco - Trionfa, esulta, barbaro! (Isaura, Orbazzano)
Tancredi: Act II: No. 9 Aria - Tu che i miseri conforti (Isaura)
Tancredi: Act II: No. 10 Scena e Cavatina - Di mia vita infelice eccomi dunque al fin! (Amenaide)
Tancredi: Act II: Recitativo secco - Di gia l'ora e trascorsa (Orbazzano, Amenaide, Argirio, Tancredi)
Tancredi: Act II: No.11 Recitativo e Duetto - M'abbraccia, Argirio (Tancredi, Argirio)
Tancredi: Act II: Recitativo secco - Ov'e?...Dov'e? lasciatemi - l'amica (Isaura, Amenaide, Argirio)
Tancredi: Act II: No 12. Recitativo e Aria; Recitativo secco - Gran Dio! Deh, tu proteggi; Quante vicende omai (Amenaide, Coro, Isaura)
Tancredi: Act II: No.12 Coro - Plaudite, o popoli (Coro, Tancredi)
Tancredi: Recitativo secco - Le insegne mie raccogli, fido Roggier (Tancredi, Roggiero, Amenaide)
Tancredi: No.14 Recitiativo e Duetto - (Fiero incontro!) E che vuoi? (Tancredi, Amenaide)
Tancredi: Recitativo secco - Infelice Tancredi (Roggiero, Isaura)
Tancredi: Act II: No. 15 Aria - Torni alfin ridente (Roggiero)

Tracks:

Tancredi: Ferrara Finale: No.16-IA Scene e Cavatina - Dove son io? - Fra quali orror (Tancredi)
Tancredi: Ferrara Finale: No.16-IIA Coro di Cavalieri - Regna il terror nella Citta
Tancredi: Ferrara Finale: No.16-IIIA: Recitativo - Ecco amici Tancredi (Amenaide, Argirio, Tancredi)
Tancredi: Ferrara Finale: Rondo - Perche turbar la calma di questo cor (Tancredi, Coro)
Tancredi: Ferrara Finale: Recitiativo secco - Ah! ch'ei si perde! (Amenaide, Argirio, Isaura)
Tancredi: Ferrara Finale: No.17-A Coro - Muore il prode, il vincitor
Tancredi: Ferrara Finale: Recitativo secco - Barbari! Evano ogni rimorso (Amenaide, Tancredi, Argirio)
Tancredi: Ferrara Finale: No.18-A Recitiativo e Cavatina Finale - Oh dio... lasciarti io deggio (Tancredi)
Tancredi: Venezia Finale: No.16-I Scene e Cavatina - Dove son io? - Fra quali orror (Tancredi)
Tancredi: Venezia Finale: No.16-II Coro di Saraceni - Regna il terror nella Citta (Coro)
Tancredi: Venezia Finale: No.16-III Recitativo secco - Fra Saraceni io dunque son? (Tancredi, Amenaide, Argirio)
Tancredi: Venezia Finale: No16-IV Marcia e Aria - Qual suon? - che miro!...(Tancredi, Coro)
Tancredi: Venezia Finale: Recitativo secco - Ah! ch'ei si perde (Amenaide, Argirio, Isaura, Tancredi)
Tancredi: Venezia Finale: No.17 Finale Secondo - Fra quei soavi palpiti (Amenaide, Argirio, tancredi, Tutti)
Tancredi: Appendix: No.10-A Cavatina - Ah, se pur morir degg'io (Amenaide)
Tancredi: Appendix: No.3-A Recitativo e Cavatina - O sospirato lido! o cara albergo (Tancredi)

Amazon.com

Granted, the plot is silly and slow-moving, the characters are strictly cardboard, and the role of the male romantic lead was written for a female mezzo-soprano. But the splendidly florid music, and amazing opportunities for bel canto vocalism make up for it. This recording, using the critical edition, is outstanding on the vocal front. The stunning Bulgarian mezzo-soprano Vesselina Kasarova has a rich, full tone and clean, accurate runs. She is well partnered by Eva Mei, whose bright but effective soprano carries a good characterization of a dramatically rather thankless role. Tenor Ramon Vargas nails his coloratura and possesses a ringing tone. They are well supported by the secondary principals, Muenchen Rundfunkorchester and the men of the Chor des Bayerischen Rundfunks, all superbly conducted by Roberto Abbado. As an added bonus, the listener can choose between the original happy ending and the dramatically more viable tragic conclusion with which Rossini later revised the opera. --Sarah Bryan Miller

Customer Reviews:

Masterpiece performance!.......2006-04-21

This is one of the 3 best recordings of Tancredi around (the others being the Naxos set with Ewa Podles/Sumi Jo and the set with Marilyn Horne/Cuberli in the leads).

Roberto Abbado's conducting is wonderful. The intro into Tancredi's first aria, 'Oh, patria!'; for example, is not too fast like it is usually done. In all other recordings, this orchestral intro is so fast they sound like a ship-wreck in the making. In this recording; however, Roberto Abbado's expansive reading sets a mood that vividly describes Tancredi's arrival by sea to Syracuse. The tempo is consistent with the ship sailing into port with the short spurts of violin phrases sounding like sea swallows flying by over the vessel. The final passage of the intro even eases off gently as the ship has beached and we hear the waves washing gently over the sand as Tancredi steps onto the shore he had longed for for years to return to before launching into his aria. This subtlety and clear painting quality is sustained through out this performance. A masterful reading that should do Rossini proud.

Vesselina Kasarova's Tancredi is quite unlike Horne's or Podles' established and sure of himself warrior, but more of a sensitive yet tough young knight who has been through a lot for his age. Youthful, introspective... and very passionately hot-blooded Italian. Kasarova's low notes may not sound as natural as those of Podles (but then she is a mezzo and not a contralto!), but they are mesmerizing nonetheless with a drop dead gorgeous middle range. And her acuti high notes are so free and ringing. And what agile coloratura with that plump a voice! The fioritura are fabulously musical, agile and accurate, and best of all is they add to the story telling rather than done to show off her considerable virtuosity. Totally committed to the role and a heck of an exciting singer.

The Italian Eva Mei is a fine Amenaide, too. Her coloratura is speedy and accurate, and she copes nicely with the difficult music, but doesn't always project her feeling into her singing (this makes quite a contrast with the very dramatically involved Kasarova during their duets). The voice also sounds thin and occasionally shrill at the top, tho it meshes with Kasarova's so beautifully in their duets.

Ramon Vargas makes a marvelous Argirio. He sounds rather young for the role, but what a beautiful lyric tenor voice! And absolutely even through the whole range. He copes effortlessly with the role's obnoxiously difficult score. It really is too bad that Argirio is such a thankless role to sing. This portrayal is one of the best on record.

All in all, this is a wonderful musical performance of Rossini's masterpiece melodrama. It is melodramatic to the ears. And that's not something I can say about most other recording of the piece.

A nice bonus with the set is it comes with both Ferrara tragic and Venezia happy endings...in full (hence 3 CDs). The booklet has nice info on the history of the opera and full libretto in 4 languages (Italian, English, German, French).

Simply lovely.......1999-11-04

This, the opera that first brought Rossini fame, is a rather dramatically run-of-the-mill affair. Hero believes heroine unfaithful, fights for her honor anyway, and realizes the entire time that she has been true to him. But the music is quite wonderful, and sung with brilliance and conviction by the entire cast. The Bulgarian mezzo, Kasarova, is marvelous, her dark tone and rock-solid florid technique ensure that one does not forget she is playing a man. Eva Mei floats lovely pianissimos and sings her coloratura with assurance, while managing to put some character to this one-dimensional role. Ramon Vargas proves himself a Rossini tenor par excellence, and the rest of the cast is strong. RCA provides both finales Rossini wrote for the opera, one with a "happy" ending (Tancredi lives) and one with a tragic ending (Tancredi dies). There are also two arias for the hero and heroine in an appendix. Very full, complete recording. A must for Rossini and bel canto enthusiasts.

A good recording, but not for me.......1999-03-07

I tried hard to like this recording, yet I was bored. This is not the performers' fault, all of whom do a marvelous job. Rather, my dissatisfaction with the recording comes from my confusion about how the music of Rossini's early period should be performed. This music falls somewhere between a baroque opera seria and a bel canto opera, and I just can't decide whether one should sing it the way one would sing Vivaldi or the way one would sing Verdi. While I was trying to do justice to Kasarova I was simultaneously wishing for a counter-tenor to sing her role. While thinking of what the performance might have been I ruined my enjoyment of the performance that was.

Una voce poco fa: A Portrait of Teresa Berganza

Average customer rating:

A FORTY YEAR LOVE AFFAIR

Una voce poco fa: A Portrait of Teresa Berganza

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | 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

The Decca Records Store | Specialty Stores | Music
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Brava Berganza! A Birthday Tribute
Teresa Berganza
The Very Best of Victoria de los Angeles
Isabel Bayrakdarian ~ Azulão
Bach - Anna Magdalena Bach Notebook (highlights) / Hunt-Liberson, McGegan

ASIN: B0001M09OO
Release Date: 2004-05-11

Tracks:

Una Voce Poco Fa
Non So Piu
Voi Che Sapete
Temerari!...Some Scoglio
Ch'io Mi Scordi Di Te?...Non Temer, Amato Bene
Che Faro Senza Euridice?
Che Puro Ciel!
Divinites Du Styx
Medea! O Medea!...Solo Un Pianto
Mi Lusinga Il Dolce Affetto
Verdi Prati, Selve Amene
Quand Je Vous Aimerai?...L'amour Est Un Oiseau Rebelle - The Ambrosian Singers
Pres Des Remparts De Seville - Placido Domingo
Cruda Sorte! Amor Tiranno!
Nacqui All'affanno...Non Piu Mesta

Tracks:

Ahi! Che Forse Ai Miei Di
Intorno All'idol Mio
Confusa, Smarrita
Qual Mia Colpa, O Sventura...Se Delitto E Adoravi
Chi Vuol Innamorarsi
La Rosaura (Un Cor Da Voi Ferito)
Elitropio D'amor
Como Quieres Que Adivine
Mananita De San Juan
Cuatro Canciones Vascas
Saeta En Forma De Salve A La Virgen De La Esperanza
El Tra-La-La Y El Punteado
El Majo Timido
La Maja Dolorosa
Farruca
El Pano Moruno
Seguidilla Murciana
Asturiana
Jota
Nana
Cancion
Polo
Sagrario's Romanza
Margarita's Romanza
Txalopin Txalo
Nere Maitea
Atea Tan Tan
Tun, Kurrun, Kuntun
Arranoak Bartuetan
Ainoarra Nimino
Anderegeya
Amak Ezkondu

Customer Reviews:

A FORTY YEAR LOVE AFFAIR.......2004-09-02

The lack of a fifth star reflects the shortcomings of Decca, not of the artist.

DISCLAIMER: What you are about to read are the judgments of a man not completely rational about the subject at hand.

Teresa Berganza has the most gorgeous female voice I've ever laid ears on. There, I've said it! Biased? Proudly. Smitten? To my core. From the moment I heard her in recital forty years ago, until this very day, I have been completely enamored of this gracious and sensitive artist. I own, I think, every note she has ever recorded. I have seen her in recital or on the opera stage several times, and I have never heard a vulgar sound emerge from her throat. The sheer depth and harmonic richness of her mezzo simply shower warmth and luxury on the listener.

She is also arguably the most versatile singer of the last generation. Most people think of her as just a Mozart and Rossini specialist, and indeed she is. But her repertoire ranges from Cesti to Stravinsky, from Fernando Sor to Mussorgsky to Villa Lobos. She has also been a devoted advocate for the music of her native Spain, along with Latin and South American music. At a Carnegie Hall recital the program included Faure, Schubert, Mozart, Wolf, de Falla, Rodrigo, Garcia Lorca, and Toldra, with encores of Gimenez, Rossini, and Schumann. Phew! One might think it impossible to hold together such a varied program, but Berganza did it seamlessly.

Now to the appointed task. This Decca compilation is a mostly fair cross section of her core work. I could gripe about the inclusion of material that is available on multiple other CDs, or prattle on about this omission or that, but considering how generously this package is filled out, I'd be arguing for an extra disc or two.

The Rossini on the disc doesn't require much comment. A true mezzo with voluptuous tone, a completely secure and supple fioratura, and the temperament to make the character come alive... what else could one possibly want? It's hard to imagine a Naqui all'affanno... Non piu mesta sung with more bravura brilliance. Much the same thing could be said of the Mozart. Finding something to criticize would require a truly picayune personality. The 1963 Mozart LP on London put Berganza firmly on the international map. The reviews were extravagant with praise, and the selections here are some of the finest, although the inclusion of Come scoglio shows the least flattering side of her vocal talents - the tessitura lies just a bit too high for her compass. The nearly complete CD version of the LP is available on Decca's "The Singers" series, where you can sample her Dorabella and Sextus.

Disc 1 is rounded out with selections from Handel, Gluck, Bizet, and Neris's second act recitative and aria from Medea. To enter a note of criticism, I find the Gluck rather straight-jacketed; she certainly doesn't have the cutting edge or the horsepower to make Divinites du Styx very convincing. The Orfeo tracks suffer some of the same deficits, although, because the voice is not overtaxed, she is able to maintain equilibrium of tone, but in the end they come up flat sounding. These problems are more than made up for by her Ruggiero from Handel's Alcina and Neris's heart-rending aria, where her strengths are fully evident. The chestnuts from Carmen give a taste of what is certainly one of the most unusually conceived assumptions of this often hackneyed role. This is no tramp cigarette girl, but a fully realized independent woman, whose goals will not be thwarted by mere convention - and Berganza has the vocal and dramatic resources to back it all up. The recording is still in the DGG catalog - snap it up.

If the contents of disc 2 seem a bit scattered, that would be because they are a bit scattered. This is where Decca should have made more coherent choices. The most grievous example: Arambarri's Ochos canciones vascas comes form a 1967 Zacosa LP. The fact that the flip side of that record, Gombau's Siete claves de Aragon, is omitted borders on the incomprehensible. Both of these song cycles are piquant, wonderfully conducted by Gombau himself, and show Berganza's interpretative range in singing Spanish music, plus they are perfect companion pieces. As fine as they are, we did not need the umpteenth incarnation of her collaborations with her then husband, pianist and composer Felix Lavilla.

These discs are billed as having four "First international releases" on CD (whatever that means). But de Falla's Siete canciones populares espanolas has appeared on at least two discs that I know of. Possibly it was never released in the Philippines. The Arambarri and the two zarzuela songs are the other "firsts." Speaking of zarzuela... for anyone unfamiliar with this delightful and important genre, you are in for a treat. It is often referred to as Spanish operetta, but that fails to hit the mark. These are musical slices of working class Madrid streetlife, with a unique combination of the rough and the refined, all shot through with a verve that is utterly Spanish. Once bitten by this bug, you will find it difficult to not learn more. The excerpts presented here give only a tiny peek into the enormous amount of this music Berganza sang. From the mid 50's through the early 70's she committed thirty-some (!) of these roles to tape. Many of them are available on CD in Spain (the transfers, however, are among the worst I've ever heard). For present purposes, I would have included one of the rhythmically passionate or playful songs, instead of picking two rather melancholic romanzas. If one wants a better survey of her contribution to zarzuela, they can seek out the two still available discs on Ensayo, with Asensio and the English Chamber Orchestra. With such rivals as Caballe, de los Angeles, and Bayo, it is a tribute to Berganza's commitment to the form that these recordings are the best ever.

The remainder of the recording presents some truly wonderful songs. Among my favorites are all of the Scarlatti. Because she is so acutely aware of the value of rhythmic flexibility and pacing, she is able to reveal all the subtlety in the work of this baroque genius. The Guridi tracks show her skill in mating the music with the words, with perfect dynamics and some tricky intervals that are flawlessly negotiated. It's a shame there wasn't room for the whole song cycle of this unfairly neglected composer. Manual de Falla's Siete canciones don't reach the same rare heights of, say, Granados' La maja dolorosa, but Berganza makes it seem so. The Seguidilla and Jota are particularly sprightly and fetching. Finally, the Farruca of Turina combines her ability to effortlessly spin out a high lying line, then switch into the song's rapid passage work without any trace of the shifting of the gears..

As for the recording quality, the various tracks pretty much reflect the recording technology of their time. The only exception to a range of pretty good to excellent is the Arambarri. The recording is shrill and thin, with some badly clipped peaks. What a pity; the LP is well recorded, and I know a good transfer is possible, because I've done my own with an outdated computer and $69 worth of software. Sometimes I wonder whether anyone actually listens to what the final product sounds like. As with most every twofer, no texts and translations are included.

The subtitle of this release is A portrait of Teresa Berganza, and it does a decent job of living up to its billing, but it's only one portrait of an incredibly versatile artist, whose spell I've been under for my entire adult life. If this has all ended up sounding more like a paean to Berganza than a record review, I plead guilty.

Mattia Battistini Complete Recordings, Vol. 1 (1902-11)

Average customer rating:

Mattia Battistini Complete Recordings, Vol. 1 (1902-11)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

General | Classical | 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

Russian | Languages | Opera & Vocal | Styles | Music

Baritones | Voices | Opera & Vocal | Styles | Music
ASIN: B000001S42
Release Date: 1997-12-09

Tracks:

'Finch'han Del Vino'
'Forier Di Morte...O tu Bell'Astro (Wie Todes Ahnung)'
'Se Dell'imen La Dolce Cura'
'Deh, Vieni Alla Finestra'
La Mantilla
Occhi Di Fata
Ancora
'Deh, Non Plorar'
'Largo Al Factotum'
'Dio Possente, Dio D'Amor (Avant De Quitter Ces Lieux)'
'In Questo Suoio... Ah, L'Alto Ardor'
'Or Limpida M'Appare'
'Oh De'Verd'Anni Miei'
'Da Qual Di Che T'ho Venduta'
'Alla Vita Che T'Arride'
'Lo Vedremo, O Veglio Audace'
'Lo Vedremo, O Veglio Audace'
'Vieni Meco, Sol Di Rose'
'O Sommo Carlo'
Don Giovanni: Alfin Siam Liberati...La Ci Darem La Mano
'Povero Lionello...Il Mio Lionel'
'A Tanto Amor;

Tracks:

'O Lisbona'
'Eri Tu, Che Macchiavi'
'Su Queste Rose'
'Perche Tremar?'
'Si Puo?... Un Nido Di Memorie'
'Avrei Sul Mio Petto'
'Ah! Tutto Il Cor E Qui!'
'Come Il Romito Fior'
Le Soir
'Amour, Amour'
'Tre Sbirri, Una Carrozza...Te Deum'
'O Vin, Discaccia La Tristezza [O Vin, Dissipe La Tristesse]'
'D'Acqua Aspergimi'
'Allor Che Tu Coll'estro'
'O Santa Medaglia...Dio Possente, Dio D'amore'
'Ah Per Sempre Io Ti Perdei'
'D'Acqua Aspergimi'
'D'Acqua Aspergimi'
'Son Cifre...Bella E Di Sol Vestita'
'Bel Sogno Beato'

Amazon.com

Operaphiles in search of the lost art of the bel canto baritone will find a virtual holy grail in the form of Mattia Battistini. Born in 1856, he is the oldest singer of his generation who recorded extensively in his prime. In contrast to the emphatic, overt emotionalism typical of verismo singers, Battistini spins out effortless, lavishly decorated lines, sustained by virtue of prodigious breath control. Introspective phrases are embellished by unexpected accents and flamboyant, dynamic surges, best exemplified in a 1906 group of Ernani excerpts. Highlighting the 1902 Warsaw recordings are a snappy yet restrained "Largo al factotum" and Wagner's song to the Evening Star from Tannhaüser, sung in mellifluous Italian. Romophone's transfers auger well for what promises to be the definitive Battistini edition. --Jed Distler

Rossini: Il Turco In Italia (complete opera) with Maria Callas, Nicolai Gedda, Gianandrea Gavazzeni, Chorus & Orchestra of La Scala, Milan

Average customer rating:

A Funny side we dont hear often
Delightful and surprising Callas
So funny
Deliciously funny!
Only for Callas lovers

Rossini: Il Turco In Italia (complete opera) with Maria Callas, Nicolai Gedda, Gianandrea Gavazzeni, Chorus & Orchestra of La Scala, Milan
Gioachino Rossini , Orchestra e Coro del Teatro alla Scala , Gianandrea Gavazzeni , Maria Callas , Nicola Rossi-Lemeni , Nicolai Gedda , Mariano Stabile , Piero de Palma , and Franco Calabrese
Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

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
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Rossini: The Barber Of Seville with Maria Callas, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra & Chorus
Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano
Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan
Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra

ASIN: B000002RY2
Release Date: 1997-08-19

Tracks:

Il Turco In Italia: Sinfonia
Il Turco In Italia: Act I Scene 1- Nostra patria (Zaida, Albazar)
Il Turco In Italia: Act I: Ho da fare un dramma buffo (Poeta, Coro)
Il Turco In Italia: Act I: Ah! se di questi zingari l'arrivo (Poeta)
Il Turco In Italia: Act I: Vado in traccia di una zingara (Geronio)
Il Turco In Italia: Act I: Chi vuol farsi astrologar? (Geronio, Zaida, Coro)
Il Turco In Italia: Act I: Ah, mia moglie, san chi sono (Geronio, Zaida, Coro)
Il Turco In Italia: Act I: Non si da follia maggiore (Fiorilla)
Il Turco In Italia: Act I: Voga, voga, a terra, a terra (Coro, Fiorilla)
Il Turco In Italia: Act I: Bella Italia, alfin ti miro
Il Turco In Italia: Act I: Serva...Servo... (Selim, Fiorilla)
Il Turco In Italia: Act I: Amici...soccorretemi
Il Turco In Italia: Act I: Un marito-scimunito!
Il Turco In Italia: Act I Scene II: Ola tosto il caffe (Fiorilla, Selim)
Il Turco In Italia: Act I Scene II: Siete turchi, non vi credo
Il Turco In Italia: Act I Scene II: Io stupisco, mi sorprende
Il Turco In Italia: Act I Scene II: Come! si grave scorno soffrir potete in pace? (Fiorilla, Selim, Geronio, Narciso)
Il Turco In Italia: Act I Scene II: Un vecchio far non puo maggior follia (Geronio, Poeta, Fiorilla)
Il Turco In Italia: Act I Scene II: Per piacere alla signora
Il Turco In Italia: Act I Scene II: No, mia vita, mio tesoro (Geronio, Fiorilla)
Il Turco In Italia: Act I Scene III: Gran meraviglie (Coro, Zaida)
Il Turco In Italia: Act I Scene III: Per la fuga e tutto lesto (Selim, Poeta, Zaida)
Il Turco In Italia: Act I Scene III: Perche mai se son tradito (Norciso)
Il Turco In Italia: Act I Scene III: Evviva d'amore il foco vitale (Coro)
Il Turco In Italia: Act I Scene III: Chi servir non brama Amor s'allontani (Fiorilla, Selim)
Il Turco In Italia: Act I Scene III: Qui mia moglie ha da venire
Il Turco In Italia: Act I Scene III: Ah! che il cor non mi'ingannava (Geronio, Fiorilla, Selim, Narciso, Poeta, Zaida)
Il Turco In Italia: Act I Scene III: Vada via, si guardi bene di cercar l'amante mio (Zaida, Fiorilla, Selim, Narciso, Geronio, Albazar, Poeta)

Tracks:

Il Turco In Italia: Act II Scene I: A proposito, amico (Selim, Poeta, Geronio)
Il Turco In Italia: Act II Scene I: D'un bell'uso di Turchia
Il Turco In Italia: Act II Scene I: Se Fiorilla di vender bramate (Selim, Geronio)
Il Turco In Italia: Act II Scene I: Non v'e piacer perfetto se nol procura amor (Coro, Fiorilla)
Il Turco In Italia: Act II Scene I: Che turca impertinente! (Fiorilla, Zaida, Selim)
Il Turco In Italia: Act II Scene I: Credete alle femmine che dicon d'amarvi!
Il Turco In Italia: Act II Scene I: In Italia certamente non si fa l'amor cosi (Selim, Fiorilla)
Il Turco In Italia: Act II Scene I: Fermate...Cosa c'e? (Poeta, Geronio, Narciso)
Il Turco In Italia: Act II Scene I: E Selim non si vede!
Il Turco In Italia: Act II Scene I: Oh! guardate che accidente! (Fiorilla, Narciso, Selim, Zaida, Geronio)
Il Turco In Italia: Act II Scene II: Dunque seguitemi
Il Turco In Italia: Act II Scene II: Questo vecchio maledetto (Selim, Narciso, Selim, Zaida, Geronio)
Il Turco In Italia: Act II Scene III: Si mi e forza partir
Il Turco In Italia: Act II Scene III: Son la vite sul campo appassita (Fiorilla, Poeta, Geronio)
Il Turco In Italia: Act II Scene III: Rida a voi sereno il cielo
Il Turco In Italia: Act II Scene III: Restate contenti (coro, Selim, Zaida, Poeta, Fiorilla, Geronio, Narciso)

Customer Reviews:

A Funny side we dont hear often.......2005-11-07

Callas is so associated with her roles of tragic women such as Norma, Lucia ,Violeta and Tosca that her talent for other roles are overshadowed. The La Divina is so versatile and talented that people almost forget that she is equally good in tragic and light comedy roles. The light and comic side of Callas is not often revealed. This recording proves that the charming and witty music that suites the character of Fiorilla is suited for the great talent of Maria Callas .The other performers in this recording did a superb job in their performances. Selim is a charm, Nicolai Gedda shows youth, and Stabile creates an impression in his role as Prosdocimo. Overall this is the Best Il turco in Italia among the three versions I have heard. So for Callas fans who want to hear the other side of Callas purchase this recording its worth every penny.

Delightful and surprising Callas.......2005-08-13

I have been looking for this CD for a long time. I had an old set in tape format. When EMI first remastered this performance in CD, it was very expensive for me at the time. This performance goes in and out of production, I guess it does not sell well, which it is a shame, because these are superb performances from all the principals and supporting cast.

This recording is a joy to listen to. Who knew that all these singers known for their powerful dramatic performances in heavy hitters such as Bellini's "Norma" could be such great comedians. Their performances are a feast for the ears.

My most favorite scene is from Disc 1 tracks 18 to 21. It is hilarious to hear Callas singing the crafty Fiorilla, playing the "offended" wife to her husband's attempts to rein in her roving eye!. When she sings "No mia vita...mio tesoro" (No my darling... my treasure) with such fake sticky-honeyed-tongue,you can HEAR her fake tears. Callas subtly overplays her singing from such roles as Elvira and Medea in this very small scene alone. She does it with such mastery, you can hear the musical threads of Elvira from "Qui la voce" in Fiorilla's "voi crudele!... mi fatte oltraggio! mi offendete!" (you cruel one!, you humilliate me!, you offend me!) in such pitiable tones that her husband bids good-bye to his courage after listening to such demonstrations of wounded dignity and pride.

She sings her fake tears in such a way, that, for a moment you feel sorry for this wronged woman! then, through a subtle change in the shading of the notes,you realize, she's faking them! thorough the music, you can picture Fiorilla, looking thorough her fingers at her husband, pouring it on, laying it on thick, watching the effect her "tears" are having on the poor chap.

When he kneels at her feet defeated, begging forgiveness, she rounds on him with such a Medea-esque fury in "ed ossate minnaciarmi! maltratarmi, spaventarmi! (and you dare to threaten me, mistreat me, scare me!) that the unhappy, innocent, unsuspecting, antler-addled man has no idea how he lost the argument!!. When Fiorilla knows she's won, you can hear again on her music, how blythely, happily and carefree, she goes out enjoying her power. I replay this scene over and over. And along with her husband, I am caught unaware and became dumbstruck by her tears and her fury.

My other favorite scene is on track 28, when Fiorilla and Zaida have a fight. The have such a row, you cannot help but to picture these two women in an Italian open-air market, among the produce and fish stalls with those typical italian gestures, being dragged away from each other by their embarrased lovers hurling abuse at each other trying to have the last word.

If you want a more musical critique regarding this opera, John Ardoin's "The Callas Legacy" book is a superb source explaining Callas' musical genius. Ardoin will give you greater details on the music execution of the entire cast and interesting tidbits on one of the cast members, Aureliano Pertile.

The booklet that accompanies this set is very informative and in various languages. I love this set and hope that whoever listens to it will enjoy as much as I do. I wonder how Cecilia Bartoli's Turco would measure against Callas'. Although I love and admire Cecilia's ability to sing bel canto roles and her deft handling of Rossini's music,but, I'm afraid I know and love Callas's singing skills even more.

So funny.......2004-06-13

This is proof that those who say that Callas couldn't sing happy or funny parts. Her Fiorilla is deliciously funny. Absolutely exquisite, a must!

Deliciously funny!.......2004-01-28

I saw her live in this role... She was the funniest Fiorilla ever! An enchanting must for every operalover!

Only for Callas lovers.......2001-06-15

Yes, this recording is only for Callas lovers, because she do so well her part in this ultra-cut recording. Rossi-Lemeni doesn't reach the power of Ramey, but Stabile print his personal and arcaic way of singing and doing comedy. But for Rossini lovers, this recording seems a "demo" or "sample" one, because there are parts in pieces or complete pieces which has been cut (it must be because there was not a critic edition of this opera). I'm disapointed of Rossini when I listened Il Turco (i didnt never heard this opera) but when i heard the Marriner and Chailly recording, I disapointed from Gavazzeni and La Scala. If this was recorded in the critical and complete edition, it was the definitive recording (the same appreciation applies for the Puritani, Barbiere, Sonnambula, Lucia, Norma, etc)

Nessun dorma ~ The Art of the Tenor / Dominigo, Pavarotti, Carreras, Wunderlich, Bergonzi...

Average customer rating:

Nessun dorma ~ The Art of the Tenor / Dominigo, Pavarotti, Carreras, Wunderlich, Bergonzi...
Claudio Monteverdi , George Frideric Handel , Jean-Philippe Rameau , Wolfgang Amadeus Mozart , Gioachino Rossini , Gaetano Donizetti , Giuseppe Verdi , Giacomo Meyerbeer , Jacques Offenbach , Georges Bizet , Pyotr Il'yich Tchaikovsky , Ruggero Leoncavallo , Giacomo Puccini , Berlin Philharmonic Orchestra , London Symphony Orchestra , Vienna Philharmonic Orchestra , Metropolitan Opera Orchestra , Orchestre National de France , Dresden Staatskapelle , Marc Minkowski , Claudio Abbado , James Levine , Carlo Maria Giulini , Seiji Ozawa , Herbert von Karajan , Richard Croft , Jean-Paul Fouchécourt , Anthony Rolfe Johnson , English Baroque Soloists , Luciano Pavarotti , Les Musiciens de Louvre , José Carreras , Plácido Domingo , Eugen Jochum , Fritz Wunderlich , Karl Böhm , and Christoph Prégardien
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | 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

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B00004THBZ
Release Date: 2000-09-12

Tracks:

L'Orfeo: 'Rosa Del Ciel' - Anthony Rolfe Johnson
Ariodante: 'Tu Vivi, E Punito' - Richard Croft
Hippolyte Et Aricie: 'Ah! Faut-Il, En Un Jour, Perdre Tout Ce Que J'Aime?' - Jean-Paul Fouchecourt
Die Entfuhrung Aus Dem Serail: 'Wenn Der Freude Tranen Fliessen' - Fritz Wunderlich
Don Giovanni: 'Dalla Sua Pace' - Christoph Pregardien
Die Zauberflote: 'Dies Bildnis Ist Bezaubernd Schon' - Fritz Wunderlich
Il Barbiere Di Siviglia: 'Ecco, Ridente In Cielo' - Luigi Alva
L'Italiana In Algeri: 'Oh, Come Il Cor Di Giubilo' - Frank Lopardo
L'elisir D'amore: 'Una Furtiva Lagrima' - Luciano Pavarotti
Rigoletto: 'La Donna E Mobile' - Luciano Pavarotti
Aida: 'Se Quel Guerrier'... 'Celeste Aida' - Placido Domingo
La Traviata: 'Lunge De Lai'... 'De' Miei Bollenti Spiriti' - Luciano Pavarotti
L'Africaine' 'Pays Merveilleux'... 'O Paradis' - Placido Domingo
Les Contes D'Hoffmann: 'Il Etait Une Fois A La Cour D'Eisenach' - Placido Domingo
Carmen: 'La Fleur Que Tu M'Avais Jetee' - Jose Carreras
Eugene Onegin: 'Kuda, Kuda, Kuda Vi Udalilis' - Neil Shicoff
Pagliacci: 'Recitar!'... 'Vesti La Giubba' - Carlo Bergonzi
Tosca: 'E Lucevan Le Stelle' - Jose Carreras
Turandot: 'Nessun Dorma' - Placido Domingo

Amazon.com

Who would have guessed that 10 years after it became the theme tune for the 1990 Football World Cup, "Nessun Dorma" would still be doing good business? And if tenors show no sign of going out of vogue, this DG production with 19 arias from 12 great tenors will help to keep the ball rolling. Yes, the Three Tenors are here--Domingo, Pavarotti, and Carreras--but so are figures such as Fritz Wunderlich and Carlo Bergonzi. And how marvelous to see that most intelligently musical British tenor Anthony Rolfe Johnson opening the CD. But that's not all. Lurking in the digital depths is interactive CD-ROM material that lets you play the music on your PC while studying the score, make your own interpretations in MIDI format, edit the score to your own liking, and make high-quality printouts. There is extensive information on each piece, including all words and translations (you can choose English, French, German, or Spanish) and brief biographies of the performers. This all comes with a comprehensive Help file. The cover is strangely modest about the multimedia element--to get all this added value for no more than the price of a normal audio CD seems extraordinary. --Keith Clarke

Average customer rating:

Charming, Delicate Performance

Cenerentola (Dig)
Rossini , Baltsa , Araiza , Ams , Amf , and Marriner
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Humperdinck: Hansel Und Gretel / Karajan, Schwarzkopf, Grummer, Metternich, et al

ASIN: B00006LENM
Release Date: 2003-02-11

Tracks:

Sinfonia - Neville Marriner
No, No, No, No: Non V'e, Non V'e - John McCarthy
Una Volta C'era Un Re - John McCarthy
Un Tantin Di Carita - John McCarthy
O Figlie Amabili Di Don Magnifico - John McCarthy
Cenerentola, Vien Qua - John McCarthy
Cenerentola, Presto, Prepara I Nastri, I Manti - John McCarthy
Miei Rampolli Femminini - Ruggero Raimondi
Sappiate Che Fra Poco - Ruggero Raimondi
Tutto E Desert ... Una Volta C'era... Ah! - John McCarthy
(Un Soave Non So Che In Quegl'occhi Scintillo!)/Cenerentola, Da Me - Ruggero Raimondi
Non So Che Dir - Ruggero Raimondi
Scegli La Sposa ... Come Un'ape Ne' Giorni D'aprile/Prence... - Sire - Ruggero Raimondi
Allegrissimamente! Che Bei Quadri! - Ruggero Raimondi
Signor, Una Parola - Ruggero Raimondi
Qui Nel Mio Codice - Ruggero Raimondi
Nel Volto Estatico Di Questo E Quello - Ruggero Raimondi
Si, Tutto Cangera - John McCarthy
La Del Ciel Nell'arcano Profondo - John McCarthy
Ma Bravo, Bravo, Bravo, Caro Il Mio Don Magnifico! ... Ora Sono Da Voi - Ruggero Raimondi

Tracks:

Conciosiacosache ... Intendente? Direttor? - Ruggero Raimondi
Noi Don Magnifico - Ruggero Raimondi
Zitto Zitto: Piano Piano ... Principino, Dove Siete?/Venga, Inoltri, Avanzi Il Pie - John McCarthy
Sapientissimo Alidoro, Questo Strepito Cos'e? - John McCarthy
Ah! Se Velata Ancor Dal Seno Il Cor Ci Hai Tolto - John McCarthy
Sprezzo Quei Don Che Versa Fortuna Capricciosa - John McCarthy
(Parlar, Pensar, Vorrei, Parlar, Pensar, Non So...) - John McCarthy
Signor... Altezz, E In Tavola - Ruggero Raimondi
Mi Par D'essere Sognando Fra Giardini E Fra Boschetti - Ruggero Raimondi
Mi Par Che Quei Birbanti Ridessero Di Noi Sotto-Cappotto - Ruggero Raimondi
Sia Qualunque Delle Figlie, Che Fra Poco Andra Sul Trono - Ruggero Raimondi
Ah! Questa Bella Incognita - John McCarthy
Si, Ritrovarla Io Giuro - John McCarthy
Ma Dunque Io Sono Un Ex - Ruggero Raimondi
Un Segreto D'importanza - Ruggero Raimondi
Canzone: Una Volta C'era Un Re/Recitativo: Quanto Sei Caro! ... (Ma! Ve L'avevo Detto...) - Ruggero Raimondi
No.11 Temporale - Neville Marriner
Scusate, Amici. La Carrozza Del Principe Ribalto ... Son qui - Ruggero Raimondi
Siete Voi?... - Voi Prence Siete? ... Questo E Un Nodo Avviluppato - Ruggero Raimondi
Donna Sciocca! Alma Di Fango! - Ruggero Raimondi
Giusto Ciel! Ti Ringrazio! - John McCarthy
Della Fortuna Instabile La Revolubil Ruota - John McCarthy
Sposa... - Signore - Ruggero Raimondi
Nacqui All'Affanno E Al Pianto - Ruggero Raimondi
Non Piu Mesta Accanto Al Fuoco - Ruggero Raimondi

Customer Reviews:

Charming, Delicate Performance.......2003-03-26

"Cenerentola" is Rossini at his best. The music is manic, engaging and funny, and Marriner and his orchestra and cast are up to the challenge without a weak link amongst them.

Agnes Baltsa plays the lead on this album. The chief rival on recording is of course the version with Cecilia Bartoli as Cinderella and Enzo Dara as Don Magnifico. Where Ms. Bartoli is a showman pulling notes out of left field and displaying a triumphant coloratura, Agnes Baltsa sticks to a more dramatically truthful portrayal. Her Cinderella is both thoughtful and forgiving. Where Ms. Bartoli is spectacular, Ms. Baltsa is beautiful. She gives a real characterization to a girl trapped by a dysfunctional family.

Francisco Araiza as the prince is a real treat. He has a good comic touch and a voice that blends tremendously well with Ms. Baltsa's. Mr. Araiza wins out in all aspects in regards to the role of the Prince compared to the other recordings available.

The Duet when Cinderella and the Prince meet is a burst of pure happiness where Araiza and Baltsa actually take the time to match each others coloratura phrasing virtually note for note, instead of showing off individually, which really delivers the full emotional payoff of Rossini's composing. It's as if these two were meant for each other, not because the music has them declare their love through coloratura passages, but because when they do, they're already in perfect synch.

The stand out performance on this album is that of Ruggero Raimondi as Don Magnifico. Truly, this is a magnificent man. I was laughing out loud during his performance. While he has never tackled the role on stage, you would hardly know it. On the other recording his rival is Enzo Dara, who in my opinion is a better Don Magnifico, but Raimondi finds such humor in Rossini's delightful music that it make this a recording well worth owning. His aria about the dignified donkey is worth the price of the CD alone... and he's got three more great songs to come. He takes a few of the songs at a noticably slower pace than Dara, but he gives you a delightful performance during the wait.

A few other things that stand out are the ensemble "Cenerentola, vien qua" which is taken at such a clip that it hardly seems possible. Also, in the ensembles the singers make sure to blend harmonies without showing each other up like on the other available recordings.

Dandini and Alidoro or very capable, Dandini is particularly amusing, and Clorina and Tisbe are hands down the best sisters on recording.

If You follow my advice, buy this recording. It's wonderful.

Average customer rating:

A great soprano from the wrong side of the Callas-Sutherland tidal wave
18 tracks from an under-represented singer of the past.

Opera Arias

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

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Lebendige Vergangenheit: Toti dal Monte

ASIN: B0000023PH
Release Date: 1997-10-21

Tracks:

Ratto Dal Serraglio: Ah! Chi Amando Era Felice - Wolfgang Amadeus Mozart
Ratto Dal Serraglio: Oh! Che Gioia Che Piacer - Wolfgang Amadeus Mozart
Nozze Di Figaro (The Marriage of Figaro), Opera: Giunge Alfin il ... - Wolfgang Amadeus Mozart
Don Giovanni: Batti, Batti, O Bel Masetto - Wolfgang Amadeus Mozart
Semiramide: Bel Raggio Lusinghier - Gioacchino Rossini
Guglielmo Tell: Selva Opaca - Gioacchino Rossini
Gazza Ladra: Di Piacer Mi Balza il Cor - Gioacchino Rossini
Gazza Ladra: Deh! Tu Reggi in Tal Momento - Gioacchino Rossini
Fra Diavolo: Or Son Sola, Alfin Respiro - Daniel-Frans-Esprit Auber
Sonnambula: Come Per Me Sereno - Vincenzo Bellini
Sonnambula: Ah! Non Credea Mirarti - Vincenzo Bellini
Figlia del Reggimento: Convien Partir - Gaetano Donizetti
Linda Di Chamounix: Da Quel Di Che T'Incontrai - Gaetano Donizetti
Don Pasquale: So Anch 'io la Virtica - Gaetano Donizetti
Mignon: Io Son Titania - Ambroise Thomas
I Pescatori de Perle: Siccome un Di Caduto il Sole - Georges Bizet
Falstaff: Sul Fil d'Un Soffio Etesio - Giuseppe Verdi
Re: Colombello Sposarti - Umberto Giordano

Customer Reviews:

A great soprano from the wrong side of the Callas-Sutherland tidal wave.......2005-12-31

Mr. Austin has firmly established himself as a learned and reliable guide in his Amazon reviews, but for once he has booted one. I will go this far with Mr. Austin: Lina Pagliughi's talents did not shine at their brightest in recital format. (Neither, for that matter did those of some other great sopranos. Just listen to Nelly Melba or Mary Garden sometime. You'll walk away, shaking your head, wondering what all the shouting was about. How ever did THEY become international superstars?)

Madame Pagliughi was a fixture in Italian music during the years that straddled World War II. She seldom appeared on stage during that time because she was regarded as overweight even by the exceedingly generous standards applied to operatic sopranos. On the radio and on record, though, she was a star.

I strongly suggest that anyone interested in Lina Pagliughi's work--and it is very much worth your while to be so--judge her on her complete performances, not on a recital. Before the war, she made a very fine recording of "Lucia" in what we would now consider the old (that is, pre-Callas) style. It really is quite good and, I think, a performance that Donizetti would have preferred over more modern versions. After the war, she led the casts in complete recordings of "La figlia del reggimento" and "La sonnambula," both of which are brilliant and surpass anything recorded more recently. (And, yes, I certainly do include the recordings of both Callas and Sutherland when I write that.)

18 tracks from an under-represented singer of the past........2001-07-12

This seems to be the only CD devoted to the once celebrated coloratura soprano Lina Pagliughi (1907-1980), and its availability is at best problematic. Having acquired it recently via the Website, and listened again to recordings Signorina Pagliughi made between 1934 and 1942, I do not feel inclined to protest at this neglect. There is much to be heard on the CD that is quite beautiful: a striking "boyish" tone in the middle register, and some phrasing of the "linked sweetness long drawn out" quality. There is much, however, that suggests laziness, poor tone control and a need to "nudge" a trill every half second to keep it going. Pagliughi frequently expressed her indebtedness to her mentor Luiza Tetrazzini. Ten minutes listening to the older soprano's records should have inspired Lina Pagliughi to do better. Records of a soprano of a different type, Elisabeth Schumann, can also show how a singer can launch, hold and withdraw tone so that it retains a uniform smooth quality.

Presentation, restoration of original 78s, and a generous time allowance (77 minutes) are well in accord with the usual high standards the Presier label maintains in its series devoted to singers of the past. I suggest, however, that many singers of the present easily surpass what is heard here.

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