-
I Puritani, opera O di Cromvel Guerrieri
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera A Te, O Cara
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Son Vergin Vezzosa
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Ah Vieni Al Tempio
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Cinta Di Fiori
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera O Rendetemi la Speme. . . Qui la Voce Sua Soave
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Vien, Diletto, è in Ciel la Luna!
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Riccardo! Riccardo!. . . . Suoni la Tromba
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Son Già Lontani!. . . Corre a Valle
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Fini . . . Me Lassa
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Vieni Fra Queste Braccia
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
-
I Puritani, opera Credeasi, Misera!
Composed by Vincenzo Bellini
Performed by La Scala Theater Orchestra & Chorus
with Rolando Panerai, Giuseppe di Stefano, Maria Callas
Conducted by Tullio Serafin
Bellini: I Puritani (Highlights),Rolando Panerai,Vincenzo Bellini,Tullio Serafin,La Scala Theater Orchestra & Chorus,Maria Callas,Giuseppe di Stefano,Angel Records,Classical,Classical Composers,Classical Music,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio
Average customer rating:
|
Chopin: The Piano Works
Manufacturer: Decca ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B0000041KB Release Date: 1997-06-24 |
Tracks:
- 24 Preludes, Op.28: I - C Major
- 24 Preludes, Op.28: II - A Minor
- 24 Preludes, Op.28: III - G Major
- 24 Preludes, Op.28: IV - E Minor
- 24 Preludes, Op.28: V - D Major
- 24 Preludes, Op.28: VI - B Minor
- 24 Preludes, Op.28: VII - A Major
- 24 Preludes, Op.28: VIII - F Sharp Minor
- 24 Preludes, Op.28: IX - E Major
- 24 Preludes, Op.28: X - C Sharp Minor
- 24 Preludes, Op.28: XI - B Major
- 24 Preludes, Op.28: XII - G Sharp Minor
- 24 Preludes, Op.28: XIII - F Sharp Major
- 24 Preludes, Op.28: XIV - E Flat Minor
- 24 Preludes, Op.28: XV - D Flat Major 'Raindrop'
- 24 Preludes, Op.28: XVI - B Flat Minor
- 24 Preludes, Op.28: XVII - A Flat Major
- 24 Preludes, Op.28: XVIII - F Minor
- 24 Preludes, Op.28: XIX - E Flat Major
- 24 Preludes, Op.28: XX - C Minor
- 24 Preludes, Op.28: XXI - B Flat Major
- 24 Preludes, Op.28: XXII - G Minor
- 24 Preludes, Op.28: XXIII - F Major
- 24 Preludes, Op.28: XXIV - D Minor
- Prelude In C Sharp Minor, Op.45
- Prelude In A Flat Major
- Impromptu In A Flat Major, Op.29
- Impromptu In F Sharp Major, Op.36
- Impromptu In G Flat Major, Op.51
- Fantaisie-Impromptu In C Sharp Minor, Op.66
Tracks:
- Ballade No.1 In G Minor, Op.23
- Ballade No.2 In F Major, Op.38
- Ballade No.3 In A Flat Major, Op.47
- Ballade No.4 In F Minor, Op.52
- Scherzo No.1 In B Minor, Op.20
- Scherzo No.2 In B Flat Minor, Op.31
- Scherzo No.3 In C Sharp Minor, Op.39
- Scherzo No.4 In E Minor, Op.54
Tracks:
- 3 Nocturnes, Op.9: I - B Flat Minor
- 3 Nocturnes, Op.9: II - E Flat Major
- 3 Nocturnes, Op.9: III - B Major
- 3 Nocturnes, Op.15: I - F Major
- 3 Nocturnes, Op.15: II - F Sharp Major
- 3 Nocturnes, Op.15: III - G Minor
- 2 Nocturnes, Op.27: I - C Sharp Minor
- 2 Nocturnes, Op.27: II - D Flat Major
- 2 Nocturnes, Op.32: I - B Major
- 2 Nocturnes, Op.32: II - A Flat Major
- 2 Nocturnes, Op.37: I - G Minor
- 2 Nocturnes, Op.37: II - G Major
Tracks:
- 2 Nocturnes, Op.48: I - C Minor
- 2 Nocturnes, Op.48: II - F Sharp Minor
- 2 Nocturnes, Op.55: I - F Minor
- 2 Nocturnes, Op.55: II - E Flat Major
- 2 Nocturnes, Op.62: I - B Major
- 2 Nocturnes, Op.62: II - E Major
- Nocturne In E Minor, Op.72 No.1
- Nocutrne In C Sharp Minor
- Nocturne In C Minor
Tracks:
- 12 Etudes, Op.10: I - C Major
- 12 Etudes, Op.10: II - A Minor
- 12 Etudes, Op.10: III - E Major
- 12 Etudes, Op.10: IV - C Sharp Minor
- 12 Etudes, Op.10: V - G Flat Major 'Black Key'
- 12 Etudes, Op.10: VI - E Flat Minor
- 12 Etudes, Op.10: VII - C Major
- 12 Etudes, Op.10: VIII - F Major
- 12 Etudes, Op.10: IX - F Minor
- 12 Etudes, Op.10: X - A Flat Major
- 12 Etudes, Op.10: XI - E Flat Major
- 12 Etudes, Op.10: XII - C Minor 'Revolutionary'
- 12 Etudes, Op.25: I - A Flat Major
- 12 Etudes, Op.25: II - F Minor
- 12 Etudes, Op.25: III - F Major
- 12 Etudes, Op.25: IV - A Minor
- 12 Etudes, Op.25: V - E Minor
- 12 Etudes, Op.25: VI - G Sharp Minor
- 12 Etudes, Op.25: VII - C Sharp Minor
- 12 Etudes, Op.25: VIII - D Flat Major
- 12 Etudes, Op.25: IX - G Flat Major
- 12 Etudes, Op.25: X - B Minor
- 12 Etudes, Op.25: XI - A Minor 'Winter Wind'
- 12 Etudes, Op.25: XII - C Minor
Tracks:
- 2 Polonaises, Op.26: I - C Sharp Minor
- 2 Polonaises, Op.26: II - E Flat Minor
- 2 Polonaises, Op.40: I - A Major
- 2 Polonaises, Op.40: II - C Minor
- Polonaise In F Sharp Minor, Op.44
- Polonaise In A Flat Major, Op.53
- Polonaise-fantaisie In A Flat Major, Op.61
Tracks:
- 3 Polonaises, Op.71: I - D Minor
- 3 Polonaises, Op.71: II - B Flat Major
- 3 Polonaises, Op.71: III - F Minor
- Polonaise In B Flat Minor
- Polonaise In G Flat Major
- Polonaise In G Minor
- Polonaise In B Flat Major
- Polonaise In A Flat Major
- Polonaise In G Sharp Minor
Tracks:
- Waltz In E Flat Major, Op.18
- 3 Waltzes, Op.34: I - A Flat Major
- 3 Waltzes, Op.34: II - A Minor
- 3 Waltzes, Op.34: III - F Major
- Waltz In A Flat Major, Op.42
- 3 Waltzes, Op.64: I - D Flat Major
- 3 Waltzes, Op.64: II - C Sharp Minor
- 3 Waltzes, Op.64: III - A Flat Major
- 2 Waltzes, Op.69: I - A Flat Major
- 2 Waltzes, Op.69: II - B Minor
- 3 Waltzes, Op.70: I - G Flat Major
- 3 Waltzes, Op.70: II - F Minor
- 3 Waltzes, Op.70: III - D Flat Major
- Waltz In E Minor (1830)
- Waltz In E Major (1829)
- Waltz In A Minor (?1843)
- Waltz In A Flat Major (1827)
- Waltz In E Flat Major ('Sostenuto', 1840)
- Waltz In E Flat Major (1829 - 1830)
Tracks:
- 4 Mazurkas, Op.6: I - F Sharp Minor
- 4 Mazurkas, Op.6: II - C Sharp Minor
- 4 Mazurkas, Op.6: III - E Major
- 4 Mazurkas, Op.6: IV - E Flat Minor
- 5 Mazurkas, Op.7: I - B Flat Major
- 5 Mazurkas, Op.7: II - A Minor
- 5 Mazurkas, Op.7: III - F Minor
- 5 Mazurkas, Op.7: IV - A Flat Major
- 5 Mazurkas, Op.7: V - C Major
- 4 Mazurkas, Op.17: I - B Flat Major
- 4 Mazurkas, Op.17: II - E Minor
- 4 Mazurkas, Op.17: III - A Flat Major
- 4 Mazurkas, Op.17: IV - A Minor
- 4 Mazurkas, Op.24: I - G Minor
- 4 Mazurkas, Op.24: II - C Major
- 4 Mazurkas, Op.24: III - A Flat Major
- 4 Mazurkas, Op.24: IV - B Flat Minor
- 4 Mazurkas, Op.30: I - C Minor
- 4 Mazurkas, Op.30: II - B Minor
- 4 Mazurkas, Op.30: III - D Flat Major
- 4 Mazurkas, Op.30: IV - C Sharp Minor
- 4 Mazurkas, Op.33: I - G Sharp Minor
- 4 Mazurkas, Op.33: II - D Major
- 4 Mazurkas, Op.33: III - C Major
- 4 Mazurkas, Op.33: IV - B Minor
- 4 Mazurkas, Op.41: I - C Sharp Minor
- 4 Mazurkas, Op.41: II - E Minor
- 4 Mazurkas, Op.41: III - B Major
- 4 Mazurkas, Op.41: IV - A Flat Major
Tracks:
- 3 Mazurkas, Op.50: I - G Major
- 3 Mazurkas, Op.50: II - A Flat Major
- 3 Mazurkas, Op.50: III - C Sharp Minor
- 3 Mazurkas, Op.56: I - B Major
- 3 Mazurkas, Op.56: II - C Major
- 3 Mazurkas, Op.56: III - C Minor
- 3 Mazurkas, Op.59: I - A Minor
- 3 Mazurkas, Op.59: II - A Flat Major
- 3 Mazurkas, Op.59: III - F Sharp Minor
- 3 Mazurkas, Op.63: I - B Major
- 3 Mazurkas, Op.63: II - F Minor
- 3 Mazurkas, Op.63: III - C Sharp Minor
- 4 Mazurkas, Op.67: I - G Major
- 4 Mazurkas, Op.67: II - G Minor
- 4 Mazurkas, Op.67: III - C Major
- 4 Mazurkas, Op.67: IV - A Minor
- 4 Mazurkas, Op.68: I - C Major
- 4 Mazurkas, Op.68: II - A Minor
- 4 Mazurkas, Op.68: III - F Major
- 4 Mazurkas, Op.68: IV - F Minor
- Mazurka In A Minor ('a Emile Gaillard', 1840)
- Mazurka In A Minor ('Notre temps', 1840)
- Mazurka In B Flat Major (1826)
- Mazurka In G Major (1826)
- Mazurka In A Flat Major (1834)
- Mazurka In C Major (1833)
- Mazurka In B Flat Major (For Alexandra Wolowska, 1832)
- Mazurka In D Major (1832)
- Mazurka In D Major (?1820)
- Mazurka In F Minor, Op.68 No. 4 - Vladimir Ashkenazy
Tracks:
- Piano Sonata No.2 In B Flat Minor, Op.35: I - Grave - Doppio movimento
- Piano Sonata No.2 In B Flat Minor, Op.35: II - Scherzo
- Piano Sonata No.2 In B Flat Minor, Op.35: III - Marche funebre
- Piano Sonata No.2 In B Flat Minor, Op.35: IV - Finale: Presto
- Piano Sonata No.3 In B Minor, Op.58: I - Allegro maestoso
- Piano Sonata No.3 In B Minor, Op.58: II - Scherzo: Molto vivace
- Piano Sonata No.3 In B Minor, Op.58: III - Largo
- Piano Sonata No.3 In B Minor, Op.58: IV - Finale: Presto, non tanto
- Fantaisie In F Minor, Op. 49
Tracks:
- Piano Sonata No.1 In C Minor, Op.4: I - Allegro maestoso
- Piano Sonata No.1 In C Minor, Op.4: II - Minuetto - Trio
- Piano Sonata No.1 In C Minor, Op.4: III - Larghetto
- Piano Sonata No.1 In C Minor, Op.4: IV - Finale: Presto
- Variations sur un air national allemand - E Major (1826)
- Rondo In C Minor, Op.1
- 3 Ecossaises, Op.72 No.3: I - D Major; II - G Major; III - D Flat Major
- Rondo 'a la Mazur' In F Major, Op.5
- Marche funebre In C Minor, Op.72 No.2
- Contredanse In G Flat Major (?1827) - Vladimir Ashkenazy
- Rondo In C Major, Op.73 - Vladimir Ashkenazy
- Variations In D Major For Piano Duet (1826) - Vladimir Ashkenazy
Tracks:
- Variations In A Major ('Souvenir de Paganini', 1829)
- Variations brillantes In B Flat Major, Op.12
- Rondo In E Flat Major, Op.16
- Bolero In A Minor, Op.19
- Cantabile In B Flat Major
- Variation In E Major
- Largo In E Flat Major
- Allegro de concert In A Major, Op.46
- 3 Nouvelles Etudes (1837): I - F Minor
- 3 Nouvelles Etudes (1837): II - A Flat Major
- 3 Nouvelles Etudes (1837): III - D Flat Major
- Tarentelle In A Flat Major, Op.43
- Fugue In A Minor (1841 - 42)
- Albumblatt in E Major (1843)
- Op.74 No.2: Wiosna - Spring
- 2 Bourrees (1846): I - G Minor; II - A Major
- Galop Marquis
- Berceuse In D Flat Major, Op.57
- Barcarolle In F Sharp Major, Op.60
Customer Reviews:
My experience of this CD.......2007-04-04
Beautiful!.......2006-08-18
and I listen to bits of it every day. I have yet to find a favorite
CD, as each is so lovely. It is well worth the price.
Well worth the money. Wonderful! Wonderful!.......2006-06-10
Best investment to make.......2006-05-21
Although some pieces are not as good as those by other artists, Ashkenazy's interpretations of Chopin are the best I've ever heard. Add in his amazing technical performance and you've got some sublime music.
Listening to these pieces have immensely helped my own Chopin reportoire. I don't play to mimic Ashkenazy, but I use his insights and apply my own style over that and end up with something exponentially better than what I could produce on my own.
The price is something you have to seriously consider. A hundred bucks. Yeah, that's a lot of money, but that's 48 cents per song. And you'll listen to these songs dozens of times, at least, I guarantee. Plus it's a great deal... if you were to get all the Ashkenazy-Chopin CDs available on Amazon, overlapping pieces as little as possible, you'd pay $30 more and still not have everything.
This is an investment for life and will definitely remain one of my favorite CD sets for decades. Decades. A hundred bucks for decades of amazing music. This stuff is larger than today, larger than life.. music this good is something you can't afford to pass up because of temporary financial difficulties.
A great pianist interpreting the most inspired composer ever !.......2005-09-15
Interpretation and emotion feeling is also a matter of taste, so that the only one who can give a final answer is Franois (Frederic).
Ashkenazy is gifted with a phenomenal technique, a great pianist. So that this collection is for sure 5 stars. Enjoy it.
Ah, if you like to see piano technique in action, listen to Georgy Cziffra's interpretation of Etude op. 10 no. 4. (Search the album in my reviews.)
Average customer rating:
|
Andrea Bocelli - The Opera Album ~ Aria
Manufacturer: Philips ProductGroup: Music Binding: Audio CD Similar Items:
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 MillerAlbum 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
Not bad!.......2007-04-09
"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
Bocelli - Aria.......2006-11-05
quite beautiful. As usual, Bocelli does not fail.
Why...?.......2006-03-13
Average customer rating:
|
The Very Best of Franco Corelli
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B00008V5VV Release Date: 2003-04-22 |
Tracks:
- A Te, O Cara
- Meco All' Altar Di Venere... Me Protegge, Me Difende
- Ah Si, Ben mio...De Quella Pira
- Se Quel Guerrier Io Fossi!...Celeste Aida
- Pur Ti Riveggo, Mia Dolce Aida
- Intanto Amici... Viva Il Vino Spumeggiante
- Mamma, Quel Vino E Generoso
- Recitar!... Vesti La Giubba
- No, Pagliaccio Non Son
- Colpito Qui M'avete...Un Di All'azzuro Spazio
- Credo A Una Possanza Arcana
- Legray!... Andrea Chenier!...Si, Fui Soldato
- Come Un Bel Di Di Maggio
- Vicino A Te
Tracks:
- Donna Non Vidi Mai
- Recondita Armonia
- E Lucevan Le Stelle
- Non Piangere, Liu... Ah! Per L'ultima Volta!
- Nessun Dorma
- Favorita Del Re!... Spirto Gentil
- Cielo E Mar
- L'anima Ho Stanca
- Non Lunge Della Torre... Bianca Al Par Di Neve Alpina
- Ange Adorable
- L'amour, L'amour.. Ah! Leve-Toi, Soleil!
- O Nuit Divine!
- C'est La! Salut! Tombeau!
- Fronde Tenere... Ombra Mai Fu
- Ave Maria
- Domine Deus
- Core 'Ngrato
- Torna A Surriento
Customer Reviews:
If you love beautiful voices..........2007-04-30
If you want to know Corelli's art, this is the right CD.......2007-03-10
But Corelli was a wonder of nature! Some samples: "Ah si, ben mio. . .Di quella pira." If there were an aria made for Corelli, this would be it. His big, rich, powerful voice fits this cut nicely. Not much subtlety here. In "Di quella pira," he hits the high notes in a stentorian manner. There are those mannerisms, but they are so easily forgiven, taking into account that rich, lustrous voice.
"Celeste Aida" is another representative cut. This is a powerful version. Also, note how he goes from forte to piano at the end of this aria. A powerful effect indeed.
Then, there are the twin arias from "Tosca." In "Recondita armonia," his rich voice is well manifest. He exhibits a smooth line in his singing. This is a powerful version of this well known aria. "E lucevan le stele" displays again that rich voice. At one point, he goes from forte to piano in a mesmerizing manner (Who'd have thought it?). His final "la vita" grabs one's attention.
Finally, "Nessun dorma." Well, smoothly, and powerfully sung. The final "vincero" is powerfully rendered, leaving goose bumps on the spine.
This is the very best of Franco Corelli. Those who want to get a sense of the vocal prowess of one of the most powerful tenors of the 20th century should attend to this double CD set.
excellent gift.......2007-02-09
Greatest Tenor of This Century!.......2007-02-03
Ah... Franco :}.......2007-01-10
Average customer rating:
|
Sempre Libera
Giacomo Puccini , Giuseppe Verdi , Claudio Abbado , Sascha Reckert , Sara Mingardo , Mahler Chamber Orchestra , and Saimir Pirgu Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B000295TXC Release Date: 2004-08-10 |
Tracks:
- E strano! - "Ah, fors'ui"
- Sempre libera
- Ah! Se una volta sola
- Ah, non credea mirarti
- Ah! non giunge uman pensiero
- O rendetemi le speme...Qui la voce
- Ah! tu sorridi
- Vien, diletto, n ciel la luna
- O giusto cielo! (Act 2)
- OihmSorge il tremendo
- Ardon gli incensi... (Act 2)
- Spargi d'amaro pianto (Act 2)
- Era pimo?
- Piangea cantando nell'erma landa...
- Ave Maria, piena di grazia
- O mio babbino caro
Amazon.com
Anna Netrebko's second CD is even more impressive than her first. She still may not be an absolutely polished, finished artist, but she's working at it and presents here a very satisfying---even thrilling---program. She doesn't quite have the stature or insights for Verdi's Violetta yet, but aside from some smudged coloratura in low-lying passages she sings the first act scene quite well (capped with a well-placed, big E-flat). She's close to ideal in the Sonnambula and Puritani excerpts, where her girlishness is entirely right, her coloratura dazzling, and her ability to sound tearful really impressive. The Lucia Mad Scene (also notable here for its use of the glass harmonica for which it was composed in place of the usual flute) is quite wonderful, even if the runs are sometimes not as well-delineated as they should be. And although she's not vocally suited to Desdemona's Willow Song and Ave Maria, she does manage to darken her voice to fit the character and presents a very moving portrait. The CD ends with an utterly charming "O mio babbino caro." Artistry and everything else aside, her voice is just beautiful. Claudio Abbado's leadership is ideal. --Robert LevineCustomer Reviews:
I am in love with Anna.......2007-05-15
If you love getting great voice, buy this.
simple stunning.......2007-05-10
Ok but not a bel canto singer.......2007-03-21
Her broadcast from the Met Live of the I Puritani was alright, but scooping, avoidance of repetitions, running through passages like a locomotive, and an ending that would have brought the wrath of most opera houses in the world..scooping again, and a tight awful sounding high note. The same tentativenes is also here on this CD.She should know this. Her beauty and acting and allure are what interest the masses, not the voice, which is forgiven everything.
Too bad; she could be a lovely Tatyana some day.Also too, the Traviata is not that great; Anna Moffo , Renee Fleming, M. Caballe, and of course Maria Callas..Listen to these and hear the difference.
Having It All.......2007-01-22
There are criticisms of her trill, or her lack of a trill. Renee Fleming doesn't have a trill, and she has been the acclaimed queen for some time. Because of Anna's trill issues, she's criticized as lacking something that a coloratura should have. Well, she's not a coloratura. A good bel canto singer does not have to be a coloratura. There are criticisms of Anna's repertoire choices. You know why she picked this interesting melange for this CD? Because these are difficult scenes and arias, and she can do them. The only aria I didn't think "fit" is the "O mio babbino caro". She does it well, I just can't figure out what it's doing on this CD.
The "La Traviata" scene that starts the CD is absolutely magnificent. She is a wonderful Violetta, and sings this demanding scene with panache. She does the high E-flat at the end. Of course, she was coached by Scotto on this aria. Nice coaching if you can get it. No less remarkable are her scenes from "La sonnambula" and "I puritani". Her "Qui la voce" was beautiful. To listen to that gorgeous singing, and only focus on whether or not she has a trill is to miss the point of the music. I can definitely see why the Met is giving her the "Puritani" this season. Her scenes from "Lucia di Lammermoor" were technically perfect, and her mad scene very well done. The "Otello" scenes were amazing, particularly the floated pianos and pianissimos in the "Ave Maria". Abbado and the Mahler Chamber Orchestra are wonderful collaborators.
Ignore the criticisms and buy this CD! You'll be glad that you did. Highly recommended.
Talented singer, but should she choose her reportoire better?.......2007-01-10
First, she has a Callas-like habit (not a great compliment) when she ups her volume on higher notes of producing a rather unpleasant sound. In "Sempre libera," from "La Traviata," this is manifest. I compare this with the silky smooth lyric voice of Anna Moffo, from the 1960s and 1970s, who essayed this same piece in a manner much more attractive to the ear. Second, I could not hear a single trill on this CD (although maybe I missed something). In the colorature/bel canto repertoire, this is not a trifle. A trill is a standard part of a coloratura soprano's armamentorium. In that, again, she is like Callas, who scarcely issued forth a trill. "Spargi d'amaro pianto" is one of the classic cabalettas for coloratura sopranos. Sung without trills, it is not very satisfying. Some who have recorded the pyrotechnics of the "Mad Scene" have only displayed adequate trills (e.g., Anna Moffo or Angela Gheorghiu). Others, of course, have deployed wondrous effects, such as Joan Sutherland and Beverly Sills. Just so, the cabalettas in "La Sonnambula" and "I Puritani."
Certainly, Netrebko also exhibits considerable strengths. Other ornamentation is fine; she has an agile voice; she can hit all the notes, including the high ones. Her vocal sound is most attractive (outside the one example noted earlier of a certain harshness). Her singing in the pieces from "Otello" and "Gianni Schicchi" are very well done.
So, all in all, a nice CD, but one that does not seem to feature Anna Netrebko at her best.
Average customer rating:
|
A - Z of Opera (includes 762 page booklet)
Puccini , Thomas Harper , Ingrid Kertesi , Scholars Baroque Ensemble , and Hungarian State Opera Orchestra Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B00004YYRR Release Date: 2000-10-17 |
Tracks:
- L'Orfeo: Sinf/Ecco Pur Ch'a Voi - Cappella Musicale Di S. Petronio Di Bologna/Sergio Vartolo
- Dido And Aeneas: When I Am Laid In Earth - Kym Amps
- Rinaldo: Lascia Ch'io Pianga - Ingrid Kertesi
- Serse: Ombra Mai Fu (Largo) - Ingrid Kertesi
- Orfeo Ed Euridice: Dance Of The Blessed Spirits - Slovak State PO/Johannes Wildner
- Alceste: Ombre Larve - Theresa Ringhoz/Drottningholm Theatre Chor
- Don Giovanni: Madamina! (Catalogue Aria) - Andrea Martin
- Cosi Fan Tutte: Soave Sia Il Vento (Terzetto) - Joanna Borowska/Rohangiz Yachmi/Peter Mikulas
- The Marriage Of Figaro: Non Piu Andrai - Natale De Carolis
- Die Zauberflote: Der Holle Rache (Aria Of The Queen Of The Night) - Helen Kwon/Hungarian Festival Chor
- Fidelio: Abscheulicher! - Inga Nielsen/Hungarian Radio Chor
- Der Freischutz: Huntsmen's Chor - Slovak Phil Chor
- The Barber Of Seville: Largo Al Factotum - Roberto Servile
- L'Elisir D'Amore: Una Furtiva Lagrima - Vincenzo La Scola
- I Puritani: Qui La Voce Sua Soave - Luba Orgonasova
- La Traviata: Un Di Felice (Love Duet) - Monika Krause/Yordy Ramiro
- Nabucco: Va Pensiero (Chor Of The Hebrew Slaves) - Slovak Phil Chor (Bratislava)
- Aida: Grand March - Nat SO Of Ireland/Rico Saccani
- Falstaff: E Sogno? O Realita - Roberto Servile
Tracks:
- Rigoletto: La Donna E Mobile - Yordy Ramiro/Slovak Phil Chor
- Die Walkure: Ride Of The Valkyries - Czecho-Slovak RSO/Uwe Mund
- Tannhauser: Begluckt Darf Nun Dich (Pilgrims' Chor) - Slovak Phil Chor
- La Wally: Ebben, Ne Andro Lontana - Miriam Gauci
- Rusalka: O, Silver Moon (Song To The Moon) - Jana Valaskova
- Gianni Schicchi: O Mio Babbino Caro - Luba Orgonasova
- La Boheme: Che Gelida Manina - Jonathan Welch
- Madama Butterfly: Un Bel Di Vedremo - Miriam Gauci
- Tosca: E Lucevan Le Stelle - Giorgio Lamberti
- Turandot: Nessun Dorma - Thomas Harper/Slovak Phil Chor
- Lakme: Dome Epais (Flower Duet) - Adriana Kohutkova/Denisa Slepkovska
- Thais: Meditation - Janos Selmeczi
- Carmen: L'Amour Est Un Oiseau Rebelle (Habanera) - Graciela Alperyn/Slovak Phil Chor/Bratislava Children's Chor
- The Pearl Fishers: Au Fond Du Temple Saint (Duet) - Janez Lotric/Igor Morozov
- Pagliacci: Recitar!... Vesti La Giubba - Nicola Matinucci/Slovak Phil Chor
- Cavalleria Rusticana: Intermezzo - Czecho-Slovak RSO/Alexander Rahbari
- Andrea Chenier: Come Un Bel Di Di Maggio - Thomas Harper
- King Roger: Roxana's Aria - Barbara Zagorzanka
- Die Tote Stadt: Gluck, Das Mir Verblieb (Marietta's Lied) - Katarina Dalayman/Thomas Sunnegardh/Tomtberga School Children's Chor/Royal Swedish Opr Chor
Album Description
A-Z of Opera is a 762-page, illustrated book, accompanied by two-and-a-half hours of opera's most glorious and moving moments on two CDs, and reflects the ever-growing Naxos catalog of recordings ranging from Monteverdi to the contemporary. A-Z of Opera provides a wide range of information on operas and their composers, from Handel's Rinaldo to Mozart's Die Zauberflote, and beyond. It features plot synopses, background details and cast lists for hundreds of operas including well-known standards as well as opera rarities. In addition, there is a wealth of information about all the great composers and a glossary of key musical and operatic terms.Customer Reviews:
AN OPERA OPUS THAT'S A MUST!.......2003-01-19
The Best.......2002-06-09
Superb Modestly Priced Favorite Arias Collection!!!.......2001-02-12
I really love this gift from my bestfriend for it was thoughtful and well, what can I say that this makes an excellant gift for opera neophytes (though I am not an opera neophyte).
The highlight of this CD is track 13, Rossini's "Largo al Factotum" from "The Barber of Seville." When I first heard this, I was contemplating to myself as to where have I heard this before. Then it hit me: Michigan J. Frog's signature tune! (In case people are wondering who on earth is Michigan J. Frog is, he is the Warner Brother's frog; the frog can be seen on WB network channel). I love this track! Buy this for yourself if not this makes a perfect gift for your opera neophyte friend(s)! This track brings joy and smiles on my face everytime I hear this piece!
Wonderful introduction to opera.......2000-12-16
Of course, Big Names do not appear on many Naxos opera sets; but this set is an introduction to that vast area of culture and is meant to be an educational (and of course a promotional ) device. Nevertheless, many of the selections on the CDs are beautifully sung, a very few lack characterization (the arias from"Don Giovanni" and "Nozze di Figaro" for two). But at this incredibly low budget price, who can complain?
As soon as I saw what this set had to offer, I immediately ordered a copy as a seasonal gift for a friend who wants to "get into" opera. I could think of no better gift.
There is a sister set titled
Tracks:
Tracks:
Amazon.com
Customer Reviews:
Tracks:
Customer Reviews:
Average customer rating:
The Art of the Prima Donna
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD
All Works by Arne
| Arne, Thomas Augustin
| ( A )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Bellini, Vincenzo
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Delibes, Léo
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Gounod
| Gounod, Charles
| ( G )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Handel
| Handel, George Frideric
| ( H )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Meyerbeer
| Meyerbeer, Giacomo
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Thomas
| Thomas, Ambroise
| ( T )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Verdi
| Verdi, Giuseppe
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Rossini
| Rossini, Gioacchino
| ( R )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
Sutherland, Dame Joan
| ( S )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Romances
| Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
French
| Languages
| Opera & Vocal
| Styles
| Music
German
| Languages
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Oratorios
| Opera & Vocal
| Styles
| Music
Oratorios
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
The Decca Records Store
| Specialty Stores
| Music
Similar Items:
ASIN: B00004XQ8G
Release Date: 2000-10-10
La Stupenda is stupendous on this recording. Don't miss it!.......2007-01-05
I completely disagree with those who believe that Sutherland lost the gleam on her voice after 1961. It's true that she suffered for several years with intermittently poor diction and rhythmic lapses, but these were due to terrible medical problems and the results of serious operations that were required to restore her health. Later she recovered most of her vocal lustre and all of her enthusiasm for performing, and her diction steadily improved. Her fabulous technique remained intact until her retirement in 1990.
No singers sound as fresh at 50 as they do at 30. Just listen to how Callas sounded in her later years, when her voice had almost completely deteriorated, and her career was far shorter than Sutherland's. The fact is that Sutherland sang in public for forty years, without amplification and often in barnlike theatres, and yet she still sounded formidable when she retired. Just listen to her performance of the final aria from "Lucrezia Borgia" on YouTube. I heard her debut in that role, again in Vancouver, shortly before that Covent Garden performance, and can attest that she was still in fabulous voice at the age of 53 and her coloratura remained spectacular.
What "The Art of the Prima Donna" gives us is the memory of an unparalleled vocal phenomenon in her glorious youth, before her physical disabilities briefly interrupted her career. No singer since has created a recording that exhibits anything like the range, vocal beauty and versatility that Sutherland displayed on this historic recording--not Callas, nor Caballe, nor Sills, nor any of their recent imitators. The title of this recording was not an exaggeration. This is singing that truly revived "The Age of Bel Canto," to quote the title of another Sutherland recording. "The Art of the Prima Donna" and Sutherland's earlier recordings, if you can get them, constitute an invaluable legacy from an artist who truly restored the golden age of singing.
Sutherland is Amazing.......2006-06-29
In her repertoire, JS was one of the greatest voices with an incredible technique and style that ever made recordings. This is a great CD - but some others which were issued on vinyl but to my knowledge not on CD help round out the Sutherland greatnes, viz., Command Performance, The Age of Bel Canto and the French Opera Album. She did a 2 disc set called "A Festival of Baroque Operas- There is an aria called "Barbaro, Barbaro" which is mind boggling for the speed and clarity of its coloratura. Even in 1977 at 51 yrs old her video performance of Lucrezia Borgia is amazing - it is one of the greatest performances she ever did- exciting, tender and again with that huge voice and flexibility. The last scene is amazing.
Flawless-NO Unique-WITHOUT A DOUBT!!!!!
A Phenomenal Historic Recording Newly Minted.......2005-10-08
One wonders if any other soprano in history ever sang so fast, so high and so loud while always preserving such a full, golden, round sound. Sutherland was a genuine vocal phenomenon, and even those who don't generally care for her singing surely must find their jaws on the floor repeatedly during this recital. Every selection has something treasurable. My personal favorites: "A soldier tir'd," "Bel raggio lusinghier," "Qui la voce," "Come per me sereno," the "Hamlet" Mad Scene, the Bell Song, and "O beau pays."
The remastering is superb, enabling us to hear Sutherland's voice in all its pristine glory. The engineers have even managed to mitigate the rumble of Underground trains (the Picadilly Line?) that were a perpetual problem in Kingsway Hall, although I was glad to hear that the loud yell in the distance one hears during the "Croce e delizia" section of "Ah, fors'e lui" is still there; by now it is an old friend, and I would miss it.
Canary in the silver mine .......2005-09-20
However, after digesting this CD for several weeks, I still have a mixed response to all these Stupendous vocalistics.
The beginning is the main sour note- Arne is tired, with often imprecise, behind the beat coloratura, quite unlike the rest of Sutherland's output, and Let the Bright Seraphim is unbelievably leaden- the orchestra in particular sounds awful, and clunky. I can't comment on ornamentation here because I didn't detect any. This is a poor man's Seraphim, only impressive if you never heard any other versions, and Sutherland's voice is wasted in this piece.
This CD really picks up with Casta Diva, a dazzling showcase for Sutherland's voice. I was very impressed with Sutherland's performance as Norma in this recording- what happened to her in later years, when her "acting" was limited to, as she herself described it, wearing a "generally pained expression" and singing without much color or feeling?
Pieces from I Puritani are great, then we get excellent Rossini, wonderful Jewel Song, and then sparkling Juliet and very effective, beautiful and dramatically involved Desdemona.
And then- another fly in the ointment, Marten Aller Arten. This is one of my favourite arias and I can be very unforgiving when it comes to its performance, plus I like Konstanze to be really angry and wired, which is sort of opposite of what Joan does. This is a pretty, chirpy Marten, and she works hard on her German- way too hard actually, she seems to be slowing down trying to pronounce it, and still "Ich verlache" and "mich" turn into "Ich ve-ayee" and "meeeh", plus she does not sound as secure on top as I would expect, with a metallic high C. She picks up at the very end, putting some feeling into the sound, then topples again... This is a hit and miss one.
Fortunately the rest of the CD is filled with sparklers more in Sutherland's vein. Violetta is really great, with a fantastic high E, Ophelia is nice, Lakme is vocally one of the best I have ever heard, the dull Meyerbeer aria is made interesting and shimmery- that fabulous trill is finally put to work after many tracks of underuse- and then it all ends with a most charming Gilda.
It's not the greatest vocal performance ever put on vinyl/plastic/megabites, but overall, a good, historical set to add to your collection of opera recitals and soprano specials.
Bel Canto from an angelic voice.......2005-04-19
2. Samson, oratorio, HWV 57 Let the bright Seraphim
Composed by George Frideric Handel
with Joan Sutherland
A sparkling and intense interpretation of this well known yet hardly ever magnificently performed piece. Lucid, beautiful and technically impeccable.
3. Norma, opera Sediziose voci... Casta diva... Ah! bello
Composed by Vincenzo Bellini
with Joan Sutherland
Surely her best studio-recording of this killer-aria. She is one of the few Normas who masters the recitativo without cracking or sounding strained, yet full of authority and intelligent drama. The Casta Diva itself is fluent, the make-or-break coloratura wonderfully executed. As for the cabaletta, not since young Callas in 1949 have I heard this piece sung so beautifully! Amazing high notes crown a cabaletta that broke more than one famous Norma before.
6. I Puritani, opera O rendetemi la speme... Qui la voce... Vien, diletto
Composed by Vincenzo Bellini
A Bellinian madscene at its finest. Once again only Callas in 1949 can be compared to this wonder of a recording. Callas too found darker colours and more intensity. (Dolore e passione as described in the score) Sutherland may lack these but she sings it with her own sense for drama which is uniquely sublime.
10. Otello, opera Mia madre aveva una povera ancella... Piangea cantando
Composed by Giuseppe Verdi
with Joan Sutherland
An interesting and excellent choice. There are pictures of Joan Sutherland as Desdemona and what a pity that no complete recording of her performances survived. I find her Desdemona to be far more convincing than Tebaldi because she sounds more fragile and elegant, plus she has that silvery tone of innocence that I don't hear in Tebaldi's golden, sensual voice. Excellent in the floating lines, beautiful and tender in the cantabile.
16. Rigoletto, opera Gualtier Maldè... Caro nome
Composed by Giuseppe Verdi
with Joan Sutherland
This can be compared to Maria Callas' live-performance of this piece and, being in excellent sound, might be preferred. (Callas was excellent in the studio as well, yet in 1955 she was less daring and defying) Stunningly intense in the cantabile and brilliant in the coloratura-passages. Far better than her famous performance with Pavarotti where she had lost the youthful, silvery sound that made her earlier Gilda so loveable.
I do not adore her as much in French opera and La Traviata or anything German but that doesn't mean that her singing was anything but amazing, just a personal preference. In short: Buy it and discover why Joan Sutherland is indeed La Stupenda!
Average customer rating:
Joan Sutherland - The Greatest Hits
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD
Bellini, Vincenzo
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Delibes, Léo
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Donizetti
| Donizetti, Gaetano
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Gounod
| Gounod, Charles
| ( G )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Handel
| Handel, George Frideric
| ( H )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Offenbach
| Offenbach, Jacques
| ( O )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Piccinni, Niccolò
| ( P )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Verdi
| Verdi, Giuseppe
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Sutherland, Dame Joan
| ( S )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Romances
| Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Bellini, Vincenzo
| A to B
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Delibes, Leo
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Donizetti, Gaetano
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Gounod, Charles
| C to G
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Handel, George Frideric
| H to L
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Offenbach, Jacques
| M to P
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Vocal Works by Verdi
| Verdi, Giuseppe
| U to Z
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
French
| Languages
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Oratorios
| Opera & Vocal
| Styles
| Music
Oratorios
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Sutherland, Joan
| Divas
| Opera & Vocal
| Styles
| Music
The Decca Records Store
| Specialty Stores
| Music
Similar Items:
ASIN: B000006P4S
Release Date: 1998-05-12
Classic coloratura singing by Dame Joan.......2007-01-21
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 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
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