Shirley Verrett in Opera

Orfeo ed Euridice (Italian version), opera in 3 acts, Wq. 30 Amour, viens rendre à mon âme
Composed by Christoph Willibald Gluck
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
Anna Bolena, opera Sposa a Percy
Composed by Gaetano Donizetti
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett, Robert Amis el Hage
Conducted by Georges Pretre
Anna Bolena, opera Per questa fiamma indomita
Composed by Gaetano Donizetti
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
La favorita, opera Fia dunque vero
Composed by Gaetano Donizetti
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
La favorita, opera O mio Fernando
Composed by Gaetano Donizetti
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
Roméo et Juliette, for alto, tenor, bass, chorus & orchestra ("symphonie dramatique"), H.79 (Op. 17) Premiers transports
Composed by Hector Berlioz
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
La Damnation de Faust, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra, ("légende dramatique") H. 111 (Op. 24) D'amour lardente flamme
Composed by Hector Berlioz
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
Sapho, opera Où suis-je?
Composed by Charles Gounod
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
Sapho, opera O ma lyre immortelle
Composed by Charles Gounod
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
Werther, lyric drama in 4 acts Werther! Qui m'aurait dit (Letter Scene)
Composed by Jules Massenet
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
Samson et Dalila, opera in 3 acts, Op. 47 Mon coeur s'ouvre à ta voix
Composed by Camille Saint-Saens
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Georges Pretre
La forza del destino, opera Lasciatelo ch'ei vada
Composed by Giuseppe Verdi
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Thomas Schippers
La forza del destino, opera Rataplan
Composed by Giuseppe Verdi
Performed by RCA Italiana Opera Orchestra
with Shirley Verrett
Conducted by Thomas Schippers
Un ballo in maschera, opera Zitti!
Composed by Giuseppe Verdi
Performed by RCA Italiana Opera Orchestra
with Carlo Bergonzi, Shirley Verrett
Conducted by Erich Leinsdorf
Un ballo in maschera, opera Re dell'abisso affrettati
Composed by Giuseppe Verdi
Performed by RCA Italiana Opera Orchestra
with Carlo Bergonzi, Shirley Verrett
Conducted by Erich Leinsdorf

Shirley Verrett in Opera,Hector Berlioz,Gaetano Donizetti,Christoph Willibald Gluck,Charles Gounod,Jules Massenet,Camille Saint-Saens,Giuseppe Verdi,Shirley Verrett,RCA,Choral,Classical,Classical Music,French Romantic Opera,German/Austrian Classical Period Opera,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio,Secular Music for More One Soloist, Chorus and Instr

Average customer rating:

Excellent selections

Opera's Greatest Duets

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

Horne, Marilyn | Divas | Opera & Vocal | Styles | Music

Price, Leontyne | Divas | Opera & Vocal | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Most Famous Opera Duets
Operas Greatest Moments / Domingo, Price, Caballé, Kraus, Norman, Lanza
Opera's Greatest Love Songs
Great Operatic Duets
Bellezza vocale ~ Beautiful Opera Duets

ASIN: B000003FRB
Release Date: 1994-09-27

Tracks:

Otello: Gia nella notte
Les pecheurs des perles: Au fond du temple saint
Il Trovatore: Se m'ami ancor ... Ai nostri monti
Don Giovanni: La ci darem la mano
Madama Butterfly: Scuoti quella fronda (Flower Duet)
La forza del destino: Solenne In quest'ora
La Boheme: O soave fanciulla
Les Contes d'Hoffmann: Belle nuit (Barcarolle)
Don Carlo: E lui! desso! l'Infante! ... Dio, che nell'alma infondere
Porgy And Bess: Bess, You Is My Woman Now
La Traviata: Parigi, o cara
La Boheme: In un coupe? ... O Mimi, tu piu non torni
Norma: Mira, o Norma
Otello: Ah! mille vite ... Si, pel ciel marmoreo giuro!

Customer Reviews:

Excellent selections.......2001-12-26

Excellent opera selections. Good range of different operas. The singers themselves are well known. Highly recommended to anyone getting into classical music.

Average customer rating:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1
LA SUPERBA!
Madame Caballé is great!!!
Amazing collection!
Cannot be called an "ultimate" collection

Montserrat Caballé: Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Very Best of
Diva:Montserrat Caballe
Montserrat Caballe - Beyond Music
Grandi Voci: Renata Tebaldi
The Very Best of Franco Corelli

ASIN: B00000J914
Release Date: 1999-05-25

Tracks:

La Boheme: Si. Mi chiamano Mimi
Norma: Casta diva
L'Assedio di Corinto: Giusto ciel! In tal periglio
Sapho: O ma lyre immortelle
Semiramide: Serbami ognor... Alle piu calde immagini
Otello: Piangea cantando (Willow Song) -
Otello: Ave Maria
Herodiade: Il est doux, il est bon
Lucrezia Borgia: Tranquillo ei posa... Com'e bello!
Suor Angelica: Senza mamma
Rigoletto: Caro nome
La Sonnambula: Ah! non credea mirarti

Tracks:

La Traviata: E strano, e strano! -
La Traviata: Follie! Follie! -
La Traviata: Sempre libera degg'io
TOSCA: Vissi d'arte
Il corsaro: Egli non riede ancora!
Il corsaro: Non so le tetre immagini
Armida: D'amore al dolce impero
I Pagliacci: Qual fiamma avea nel guardo!
Roberto Devereux: E Sara in questi orribili momenti... Vivi, ingrato
Il Trovatore: D'amor sull'ali rosee
Stabat Mater: Inflammatus et accensus
Adriana Lecouvreur: Io son l'umile ancella
Anna Bolena: Al dolce guidami
Adelson e Salvini: Dopo l'oscuro nembo
I Vespri Sicillani: Arrigo! Ah, parli a un core

Customer Reviews:

A fab collection of the loveliest soprano voice ever!!!!!!!!!!!!!!!!!!!1.......2005-12-23

First off this two cd set is for the price of one,that is always great.Montserrat caballe is the star of this cdset,and she demonstrates all that is beautiful in singing,on ever track.Her ave maria from othello is included here.It is one of the best performed arias by caballe ever,she ends it with a heavenly piano top note.Also included is her magical casta diva from norma.Caballe sings all these arias with her legendary sound and breath control.On this set there are plenty of examples of long sustained notes,seemless legato,glorious high notes,and magically floated soft notes.Check out the cover to,there are some great photos of Caballe in opera costumes.These cds have great sound,and play for over two hours,too.

LA SUPERBA!.......2005-11-22

Montserrat Caballe is an amazing person and an amazing singer. In my opinion she has a more beautiful voice than Maria Callas. The high notes she reaches are just fantastic! Her Sempre Libera is the best ever! Her Ave Maria is stunning and her Vissi D arte is really moving. Her voice is so beautiful, it's as if it's an angels voice coming from her.

Madame Caballé is great!!!.......2003-04-06

This collection of Caballé's recordings is fantastic! Her soprano is the most beautiful that has been recorded. L. Price, Tebaldi, Ponselle, and a few others have gorgeous voices, but can any of those voices compare with Caballé's? Caballé's singing throughout is of the highest standard. Her "Ave Maria" is spectacular. "Vissi d'arte, vissi d'amore" has never sounded more beautiful. I love her "Non so le tetre immagini". Such beautiful singing does not come any better than this. Her "Caro nome" is disappointing. She is clearly not suited to this aria. "Inflammatus et accensus" is glorious. The later recordings are nice, but they are not the best Caballé has committed to disc. "Il est doux, il est bon" betrays a slight wobble in her otherwise still beautiful voice. "Dopo l'oscuro nembo" features very respectable soft singing from Caballé. This version does not do justice to Bellini's exquisite orchestration. For a version that does, check out Opera Rara's "The Collection: Volume 2". That version features competent singing from an inferior-voiced soprano, but the orchestra is ravishing. The one reviewer who mentioned the aria from "I Vespri Siciliani" as having "fioriture effects Berio could sign on to" is incorrect. The aria included here is not "Mercè, dilette amiche". That aria is more famous and much more florid than the aria included in this collection, "Arrigo, parli a un core". By the way, Caballé performs this aria ravishingly well. This is a superb testament to one of the all-time greats in opera.

Amazing collection!.......2003-04-05

I will write this review objectively, but I will not avoid praising Caballé when praise is due.

First off, this compilation is amazing! I have always thrilled to hearing Caballé's voice and this compilation is no different. I am amazed at Caballé's instrument; such extraordinary purity combined with great power! Even when she sings pianissimo, she can be clearly heard! Her voice literally fills up the room. These arias really show off her remarkable voice. Of special note is her rendition of the hauntingly beautiful "Non so le tetre immagini". Amazing! Her "D'amor sull'ali rosee" is exquisite, but she sings it too softly. Her trill is quite weak. Voices like hers don't respond well to being forced to trill. The tracks from the 1990's show off the remarkable preservation of her voice. The voice retains its purity and beautiful timbre, but is now heavier and darker. "Sempre libera" is not that good. Her coloratura is not up to par with Verdi's demands and she cannot hit the high E-flat at the end. However, she sings the main part of Violetta's aria very well, with supple, gorgeous tone and ravishing pianissimos. "Ah! non credea mirarti" is ravishing, but it is missing its energetic cabaletta. Presumably, it was cut because Caballé could not deal with the coloratura. Caballé's legato lines in this aria are superb. Her version of the "Lucrezia Borgia" Prologue is masterful. Elizabeth's last aria from "Roberto Devereux" is noble and touching. She is not quite Sills, but that aria benefits from a spinto voice instead of a soubrette one. Her aristocratic phrasing is very well used throughout the selections, with a few exceptions. Her "Willow Song" is beautiful, first time on CD. However, she fails to completely show Desdemona's despair. Some parts were good, but the whole thing failed to touch the heart. Her phrasing here is too indulgent. I have to say that I prefer Sutherland's touching version on her "The Art of the Prima Donna" recording. However, I loved "Ave Maria". Caballé sounds most beautiful when singing softly and this selection really shows her in the best light. Her cadenzas are intoxicatingly beautiful. "Caro nome" is not really her aria. The coloratura is suspect and some of the staccati are replaced with upward flourishes. She avoids the last short passage of staccati. Her phrasing in this aria is way too indulgent and she really fails to suggest Gilda's innocence. Even Sutherland is better at portraying Gilda's girlish qualities. Her "Armida" aria has some nice coloratura. She does the runs really well and is fearless in the triplet passages. For some reason, she does not sing the second "fronde" in the first line of the third stanza nor does she sing the last line of this stanza, "i muti abitator". She also does not sing the last line of the fifth stanza, "il tempo vorator". Caballé's first recorded version of "Vissi d'arte, vissi d'amore" is included here. This just may be the most beautiful version of this aria ever recorded. It certainly is Caballé's best version of the aria. The climax is handled in one breath by Caballé. She diminuendos the big high note twice in the same breath. Amazing! The rolling of the "r" in "Signor" after the last diminuendo is quite nasal and reminds us that the sound we are hearing is coming from a human throat. It also shows that these diminuendos are natural and not studio produced. She infuses Tosca's aria with real feeling and piety. The compilation ends with a knockout reading of "Arrigo, parli a un core". Caballé is at her best in this aria. She sings softly to stunning effect. This version may be the most beautiful of this particular aria ever recorded. RCA has done Caballé justice with this wonderful collection. Caballé is truly a remarkable artist with a million-dollar voice. Brava!

Cannot be called an "ultimate" collection.......2003-02-05

This is a prime example of the a major recording label being fickle with the goods, in order to force you to continue buying other recitals and full-length studio recordings. Of course, any Caballe fan would already want to own those other recordings anyway, so the point is moot.

Other reviewers here have cried out against the exclusion of one of her most essential and artistic roles, Imogene from Il Pirata. I would like to emphatically express the same. In fact, I would even have settled for the exclusion of Casta Diva, in favor of Col Sorriso di Innocenza.

Some other stellar recordings not represented her are the Sleepwalking Scene from MacBeth, and Pace, Pace Mio Dio from La Forza del Destino. Also worth mentioning is her O Patria Mia from Aida. She might not be Leontyne Price or Martina Arroyo, but she gives a superb reading of this wonderful aria.

Of course, brevity does require some editing- a true "Ultimate" Caballe collection would span four or five CDs, at least- but to include late-career and less-than-best selections at the expense of others is a crime.

Tracks:

Semiramide
Anna Bolena
Norma
Les Contes d'Hoffmann
Aida
Madama Butterfly
La Gioconda

Customer Reviews:

Verrett Is a National Treasure.......2003-11-11

The two tracks of these women singing Rossini and Bellini are more than worth the price of this CD! I have an extensive collection of operatic LPs and CDs and have heard many others sing all the duets on this CD. These two women do it best! If you can recall seeing Olympic ice-skater Scott Hamilton in his prime, imagine TWO perfect voices PRECISELY hitting their "marks" (notes) in a beautifully prancing, rapid succession the way Hamilton's feet used to do! And Diva Verrett, now about 70, is currently passing her craft on to others at U Michigan as a voice professor! I only wish that more of her recordings were available now. If you are new to bel canto singing, this is an excellent CD to begin with. If you are a more experienced listener, this CD belongs in your collection!

Caballe & Verrett dazzle in bel canto, Verdi AND verismo!.......2003-03-26

One thing that is enjoyable with this CD is that it includes duets from operas of different styles. Here we have bel canto, late Verdi and verisimo.

It is amazing how exquisitely these two ladies sing all the different styles! Moreover, they feel every word they sing. Other reviewers compared this duo with the Sutherland-Horne one. I admire both Joan and Marilyn but they show little understanding of what they are singing; they are too busy impressing us with their high notes and fast coloratura.

The best moments are the bel canto duets (if only there was more). Caballe is unsurpassed in this area. Try to get her complete recordings (Norma, Il Pirata, Lucrezia Borgia). Verrett too had a big success in this repertoire. Pity they didn't record the Stuarda duet as well. The Barcarolle is ethereal, the best I've ever heard while the Aida duet passionate and moving, just as it should be. Caballe and Verrett don't really have verisimo voices but the two selections on this CD are enjoyable.

I join the praise of the previous reviewers and highly recommend this recording!

Top-quality duet singing.......2003-03-11

This recording is fantastic! Both Caballé and Verrett are great. Caballé has her lush, powerful voice. Verrett has her dark, rich, equally powerful voice. The two sing very well and are involved dramatically. The duet from "Semiramide" is great. However, Sutherland and Horne do it better. Their coloratura is cleaner and more spectacular than Caballé's and Verrett's. The duet from "Anna Bolena" is done well. However, I prefer Verrett's version with Sills. Sills is dynamite as Bolena and she has a top register equal to that of Verrett's. The duet from "Norma" is fantastic. In the case of this duet, I find Caballé and Verrett to be every bit as good as Sutherland and Horne. The duet from "Les Contes d'Hoffman" is great. Their voices blend beautifully. The duet from "Aïda" is done very well. Verrett is a subtly menacing Amneris, which is quite effective. The duet from "Madama Butterfly" is terrific. Caballé did not sing Butterfly very well, but here, she is magnificent. Verrett is a sympathetic Suzuki. I don't think she ever sang the role on stage. The last duet is from "La Gioconda". No complaints here. Both singers are in top form. I wish they had included the Confrontation Scene from "Maria Stuarda". All they needed to do was to cut out the lines of the other singers in the scene. Caballé and Verrett were great together on stage as Maria Stuarda and Regina Elisabetta, respectively.

This duet album is the perfect compliment to "Belleza Vocale" with Hei-Kyung Hong and Jennifer Larmore.

Absolutely Magnificent.......2002-10-08

Of all the great opera solo and duet recital discs (Jussi Bjoerling singing almost any Verdi or Puccini; Sutherland/Horne in Rossini, Bellini, Donizetti; Fritz Wunderlich, Edda Moser or Margaret Price in Mozart; [name your favorites]), this is probably the most thrillingly beautiful I've ever heard. The gorgeous sound of these 2 great voices and the almost palpable excitement they generate are as glorious now as when I first heard this on LP about 25 years ago. Whenever I'm trying to convince a non-lover of opera what he or she is missing, this is my ultimate weapon when all else has failed -- it always works!

WOW!!! These women are butter!.......2002-02-03

I bought this CD based on the reviews and am thrilled with it. I agree that the price is worth it just for the The Tales of Hoffman: Barocelle. This song is exquisite and the voices blend so perfectly that it is the most moving piece of music that I've experienced. Check this out!!!

Average customer rating:

The World's Greatest Arias

Manufacturer: Bmg Special Product
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Arias | 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

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

The Most Famous Opera Arias

ASIN: B0000560KU
Release Date: 2000-09-26

Average customer rating:

Stravinsky the Composer, not Stravinsky the Conductor
Staggering! All the Stravinsky I'll ever need!
Magnificent!
Where's my Petrushka?
legendary

Stravinsky Conducts Stravinsky

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Duets | Chamber Music | Classical | Styles | Music

Octets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

Classical | Box Sets | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Arnold Schoenberg: Chamber Music for Strings
Stravinsky: Works for Piano
Original Jacket Collection: Vladimir Horowitz
Memories and Commentaries: New One-Volume Edition
Antal Dorati Conducts

ASIN: B000031X11
Release Date: 1999-12-07

Customer Reviews:

Stravinsky the Composer, not Stravinsky the Conductor.......2006-09-18

It is a pretty good collection, lots of music from Stravinsky's entire carreer, but one must keep in mind that Stravinsky was a brilliant composer, and not a commanding maestro. You will not necessarily be getting the best recordings of these works. For example, something like the Boulez/Cleveland Rite of Spring is far superior to those in this collection. He is a vastly better conductor, and is much more capable of making the orchestra perform Stravinsky's intentions than Stravinsky is. All in all, however, I am more than glad I own this set.

Staggering! All the Stravinsky I'll ever need!.......2006-05-20

While I had heard some Stravinsky compositions prior to my purchase, this was the first (and only) Stravinsky material I have ever owned. As a young music enthusiast, the draw to me was to hear these pieces as Stravinsky conducted them and to get so many of them at such a great price, not to have the original jackets for the purpose of reminiscing. So, as someone who needed a good jump start into the works of Stravinsky (by Stravinsky), this set has proven totally invaluable. And while more information could have been packed onto these cds, I do appreciate how closely these discs have stuck to the original releases. I don't know about the portion of Petroushka which some reviewers claim is missing (as I don't know any other version), but I was totally blown away at hearing this version of Petroushka anyhow. In all, for whatever faults some sticklers may find here or there with this set, the value of this material collected in such a way (and at such a price) by far outweighs any possible faults.

Magnificent!.......2006-03-02

A great collection. There is simply no substitute for hearing Stravinsky as the great composer wanted to have his music played. Here is so much and also so varied a collection. I have been enjoying this set a great deal. One of the 20th century's greatest composers conducting his own compositions.

Where's my Petrushka?.......2003-08-01

The main reason I bought this box is because I was introduced to Stravinsky's Petrushka in the spring of 2003, and I loved it.
Along with Rite of Spring I think it's the most brilliant music Mr. Stravinsky ever wrote...so, I've been listening to the 34-minute long 1960 CSO recording of it at least once a day since I first heard it, naturally sort of memorizing it, but it didn't fit when I made this CD spin. The recording of Petrushka in this box is the VERY SAME RECORDING (1960) that I'd listened to, but it's cut to a suite! It's only 24 minutes long. You can tell it's obviously cut at certain points if you're familiar with the uncut version. 10 WHOLE MINUTES ARE MISSING FROM "PETRUSHKA!" I was (and still am) very disappointed by this.
Familiarizing myself with the rest of the discs was very fulfilling, though; I love the Ebony Concerto with the Columbia Jazz Combo featuring Benny Goodman...but the "suite-cut" of Petrushka made me paranoid...I can't be sure if anything else is edited or not...
There are 75 pages of notes in the booklet about the recordings but only 1/3 is in English.
The special multimedia feature disc is nothing much. With awful graphics it features the same notes as in the booklet, and there are lyrics for those who want to use the box for karaoke.
These 400 minutes of music (an average of 45 minutes per disc) could fit on only 5 CD's instead of 9, but it seems that this collection is made for nostaligs who will love watching and touching these tiny LP-jackets - after all, it is called the "Original Jacket Collection."
Incidentally, all of Stravinsky's recorded work which he conducted himself is not in this box. It is not at all complete; aside from the missing part of "Petrushka," his own reading of "Symphony in Three Movements" is missing (but available on CBS.)
Hats off to the man himself anyway. The music is brilliant, and considering that these recordings are 40+ years old, the sound quality is very good. Excellent stereophony on Rite of Spring!
It's a good thing that his music is still available and that people are offering refurbished products thereof. But if you love Petrushka like I do...buy the real thing...this just might disappoint you...
The 3 stars is a compromise of the music and the package; (5 stars for the music & its quality - 1 star for the package, choice of discs and--considering the price--somewhat weak linear notes.)

legendary.......2002-06-30

This 9 cd set is an historical one...more than half of Stravinsky's works are collected in this set. i clearly can say that there isn't any better recording for Stravinsky's works. especcialy first released USA's national anthem and a 12 tone work "Fanfare for two Trumpets" are remarkable.and we can also mention that some noises during the recording procces (i.e: Stravinsky's turning the page of the partition) gives a different taste to the listener. This is a real golden box of music.

Average customer rating:

Shirley Verrett Sings Bellini & Verdi

Manufacturer: Gala
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
Similar Items:

Great Operatic Duets
Shirley Verrett in Opera
I Never Walked Alone: The Autobiography of an American Singer
Caballé sings Verdi, Puccini, Ponchielli, etc. [Germany]
French Opera Arias (Dig)

ASIN: B00005Y92Y
Release Date: 2000-06-06

Average customer rating:

Shirley Verrett in Opera

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | 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

Shirley Verrett Sings Bellini & Verdi
Great Operatic Duets
Vivaldi Heroes

ASIN: B000003FDP
Release Date: 1994-09-13

Tracks:

Orfeo Ed Euridice: Amour, Viens Rendre A Mon Ame
Anna Bolena: Sposa A Percy
Anna Bolena: Per Questa Fiamma Indomita
La Favorita: Fia Dunque Vero
La Favorita: O Mio Fernando
Romeo Et Juliette: Premiers Transports
La Damnation De Faust: D'amour L'ardente Flamme
Sapho: Ou Suis-Je?
Sapho: O Ma Lyre Immortelle
Werther: Werther! Qui M'aurait Dit (Letter Scene)
Samson Et Dalila: Mon Coeur S'ouvre A Ta Voix
La Forza Del Destino: Lasciatelo Ch'ei Vada; Rataplan
Un Ballo In Maschera: Zitti!; Re Dell'abisso Affrettati

Average customer rating:

See new Solti/Bergonzi release
An Invitation to the"Ball(o)":Bergonzi/Price/Merrill are Unsurpassable!
Price isn't at her best, and Leinsdorf is Leinsdof
Incredible Ballo.

Verdi: Un Ballo in Maschera

Manufacturer: Bmg Int'l
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

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
Similar Items:

Verdi: Ernani (Complete) [Germany]
Verdi: Aida
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
Puccini: Turandot
Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado

ASIN: B000026MKK
Release Date: 1988-07-12

Tracks:

Prelude
Posa Ini Pace, A Bei Sogni Ristora
Libero E Il Varco A Voi
Alla Vita Che T'arride
Il Primo Giudice
Volta La Terrea Fronte Alle Stelle
Signori, Oggi D'Ulrica
Ogni Cura Si Doni Al Diletto
Zitti! L'Incanto Non Dessi Turbare
Re Dell'abisso Affrettati
Su, Fatemi Largo
Si Batte!-Che Veggo!
Della Citta All'Occaso
Su, Profetessa, Monta Il Treppie
Di' Tu Se Fedele
Chi Voi Siate, L'Audace Parola
E Scherzo, Od E Follia
Finisci Il Vaticinio
Ma La Sventura E Cosa
Prelude
Ecco L'Orrico Campo
Ma Dall'Arido Stelo Divulsa
Teco Io Sto

Tracks:

Ahime! S'Appressa Alcun!
Odi Tu Come Fremono Cupi
Seguitemi-Mio Dio!
Ve', Se Di Notte, Qui Colla Sposa
A Tal Colpa E Nulla Il Pianto
Morro, Ma Prima In Grazia
Alzati! La, Tuo Figlio
Eri Tu
Siam Soli. Udite!
Dunque L'Onta Di Tutti Sol Una
Qual E Dunque L'Eletto?
Il Messaggio Entri
Ah! Di Che Fulgor
Forse La Soglia Attinse
Ma Se M'e Forza Perderti
Ah! Dessa E La
Fervono Amori E Danze
Altro De' Nostri E Questo
Saper Vorreste
Fervono Amori E Danze
So Che Tu Sai Distinguere
Ah! Perche Qui! Fuggite!
E Tu Ricevi Il Mio!
No, No, Lasciatelo

Customer Reviews:

See new Solti/Bergonzi release.......2007-04-24

This is an excellent recording, but on April 10, 2007 Decca released its earlier complete recording with Bergonzi, Nilsson, Stahlman, Simionato, and MacNeil, conducted by Solti, which is also a five-star performance. My detailed review comparing the Solti with the Leinsdorf appears at the Amazon product site for the Decca release of the Solti.

An Invitation to the"Ball(o)":Bergonzi/Price/Merrill are Unsurpassable!.......2006-07-04

There are many fine versions of Verdi's Un Ballo in Maschera available to Opera-lovers world-wide. The most treasurable ones are to be found on live broadcasts and/or pirated performances, captured within the Opera house. This opera seems to benefit from Opera's outward trappings (i.e. scenery,lighting,costumes, make-up and of, course, a live audience)as the featured artists almost uniformly sing with a more heightened sense of urgency, intensity, and searing vocalism than is apparent in their studio output. For example, L.Price, Bergonzi, and Merrill -the leading principals on this recording- can also be heard together in a METOPERA broadcast from the mid-60's,(the same time period for this recording) that practically sizzles with electricity, and yields the kind of grand vocalism and individuality that placed them amongst the greatest Verdians of all time. The conductor (F.Molinari-Pradelli)whips up a potent energy in orchestra and chorus, that serves as a catalyst for all that follows. While the METOPERA performance is not widely available in the U.S.A, this RCA recording, with the stellar additions of Verrett and Grist, is a treasurable souvenir of the live performance - and a defintive performance in its own right.

Italian Carlo Bergonzi(the sole non-American principal in this cast)remains one of Opera's most musicianly tenors, especially in the works of Verdi (rivalled only by the ubitquitous Placido Domingo).While both made a specialty of the role of Riccardo, it is Mr.Bergonzi who seems the better-suited to the vocal demands. His timbre is of a lighter cast, sweeter in the softer moments, and yet is more than equal to the most dramatic passages in the Opera. While he employs the "traditional" chuckles in the "E Scherzo" (needless and unconvincing), elsewhere he sings with enviable legato, elegant phrasing, and nobility throughout. He is dramatically alert, contrasting the role's innate buoyancy with the gravity and maturity that comes later. Mr. Bergonzi excells in this role and performance. Pre-eminent Verdi soprano Leontyne Price likewise made Amelia one of her great roles. She invests the role with a femininity that is more pronounced than her otherwise illustrous rivals. Her voice is more than usually dusky in the lower middle (unapparent in the broadcast perf.), but serves the drama quite well as a result. Ms. Price's voice soars radiantly in "Consentemi Signore" (ActI) and masterfully copes with the huge vocal demands of the Act II scena, topped by a sterling high C in the cadenza. Her duets with Mr. Bergonzi are passionately sung (though missing the competitiveness that made the broadcast so enthralling), and she sings "Morro" with plaintive beauty. Throughout the opera, Ms. Price's upper voice is sovereign, produced with vibrant tone and silvery spin. She's able to meet the demands that the heaviest music makes on her plangent middle voice, perhaps not as successfully as her best rivals, namely Milanov/Arroyo/Nilsson, but her overall performance both dramatically and vocally is superior and magnificent. Baritone Robert Merrill, at the time of this recording, was a stalwart in this opera. His dramatic involvement here is actually more engaging than in the past, and his portrayal of the betrayed Renato is forceful, yet poignant. Mr. Merrill was blessed with one of the most beautiful baritone voices ever, and, though in the later stages of an incredible career, he still retains much of the vocal bloom that made him a mainstay at the MET and elsewhere. His is a wonderful contribution. This performance becomes unbeatable with the addition of the other two principals. Soprano Reri Grist, internationally-acclaimed as one of the finest soubrette coloraturas of her era (one of the greatest Zerbinettas)) made a speciality of singing the 'trouser' role of Oscar. Her pure, crystalline voice wholly reflects the irrepressible & mischevious spirit of the Count's page. What's more impressive however, is the soprano's ability to capture and register Oscar's graver nature, whether battling his innate mistrust of Renato at the Ball, or in defending the fortune-teller Ulrica in the first Act of the opera. Her voice soars beautifully with Ms. Price's in the opera's final ensemble as well. Even without the traditional interpolations/cadenzas ( a conductor choice), Ms. Grist is quintessential in this role. The artist Shirley Verrett enjoyed a successful career first as a mezzo-soprano, then graduated to a stellar career as a dramatic soprano. Indeed she debuted at London's Covent Garden in the role she sings here -Ulrica- and nearly twenty years later sang the role of Amelia at La Scala in Milano. Here Ms. Verrett sings a role written for and usually associated with contraltos, including the great Marian Anderson, who debuted at the MET in 1954, becoming the first African-American soloist to sing there. Ms. Verrett was never a contralto - neither are nearly all who sang the role after the late 50's- but sings most impressively in this performance. She is renowned for her dramatic insights, and her fortune-teller is commanding and even regal. Ms. Verrett's voice is properly dark, if not as refulgent as her recorded rivals, but has a much richer hue, wider range, and her vocal palette is more distinctive as well. She is a younger-sounding Ulrica than one usually encounters, perhaps explaining the charisma that enthralls her younger followers that include the sailor Silvano and pageboy Oscar. The two bassos, Giorgio Tozzi and Ezio Flagello contributions here are primarily vocal, but they sing the role of the conspirators Sam and Tom with tonal beauty and commitment. The singular drawback in this otherwise supreme performance is the conducting of Maestro Erich Leinsdorf. His conducting is seemingly indifferent, and the musical attenuations of this colorful Verdi score are too often ignored by this eminent conductor. There are so many details that he fails to illuminate, and the propulsive nature of the music is only intermittently observed. While disappointing in a performance with such a superb cast, Leinsdorf's leadership is more than adequate, and in no way diminishes the rightful legendary status of this recording, whose merits continue to be praised some 40+ years later. Some of the many fine versions of this opera include the Muti/Arroyo/Domingo-Solti/M.Price/ Pavarotti; and live MET performance with Milanov and Bjoreling, but this "Un Ballo In Maschera" performance should be the one in your collection. Have a Ball!

Price isn't at her best, and Leinsdorf is Leinsdof.......2005-10-02

Leontyne Price had two late shots at greatness with her second Aida and this Un Ballo, both sunk by the wooden, unfeeling conducting of Erich Leinsdorf. In both performances her incomparable voice isn't at its best, simply becasue of age, yet her tenor partners--Domingo in the Aida, Carlo Bergonzi here--ae certainly very good.

I am not able to listen to Verdi simply for great singing. There has to be a guiding spirit on the podium, and Leinsdorf is utterly without spirit. As Renato, Robert Merrill is past his prime and does a blustery job. So even though I admire the two lead singers--and everyone else in the cast is good if not superlative--I much prefer the live 1975 La Scala perfrmance with Carreras and Caballe, both in great voice, that can be bought for a song on the Opera d'Oro label.

Incredible Ballo........2004-03-19

This is an outstanding performance in many ways. First of all the singing is fantastic. Carlo Bergonzi is the best Riccardo I've ever heard. The vocalism and interpretation are both great. When Ulrica tells Riccardo that he will die at the hands of his best friend, Bergonzi adds nervous laughs to his singing. Leoyntine Price is at her best in this recording. She takes very long phrases in one breath. Also the singing is so beautiful from her. The 1960s were certainly her best years. Robert Merill had one of the greatest Verdi baritone voices of all time. Listen to when he shouts Amelia in Act II when he finds out she has met with Riccardo. Eri tu is also very well sung and heartfelt. Shirley Verrett makes a fine addition as Ulrica. She sounds great throughout her range. There is no strain on the top notes. The orchestra was very good too.

Erich Leinsdorf conducts extremely well in this performance. I can hear every part of the score when listening to this performance. He was an extremely strict conducter, but it pays off because the orchestra plays so cleanly. The beginning of the third act is especially effective from the lower strings. This recording is avaliable at certain stores. I recommend it highly.

Mose / Ghiaurov, Zylis-Gara, Verrett, Lane, Petri, Garaventa; Sawallisch
Average customer rating:

Acceptable

Nice Rossini, nice sound, fine performance

I second the motion!

Fabulous Performance

Mose / Ghiaurov, Zylis-Gara, Verrett, Lane, Petri, Garaventa; Sawallisch
Gioachino Rossini , Wolfgang Sawallisch , Teresa Zylis-Gara , Shirley Verrett , Nicolai Ghiaurov , and Ottavio Garaventa
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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
General | Classical | Styles | Music
All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music
Similar Items:

Rossini: L'Assedio di Corinto

Rossini - Tancredi / Podles, Jo, Olsen, Spagnoli, di Micco, Lendi, Zedda

Rossini: Maometto secondo

Rossini: Le Comte Ory

Rossini - La Donna del Lago / Caballé, Bonisolli, Hamari, Bottazzo

ASIN: B00005A8D2
Release Date: 2001-01-01

Tracks:

Prld - RAI Orch, Rome/Wolfgang Sawallisch
Act One: Ah! Dell'empio Al Potere Feroce - RAI Chor, Rome
Act One: Impaziente Pel Ritorno Io Sono - Nicolai Ghiaurov/RAI Chor, Rome
Act One: Mose, T'accosta, Compie Il Signor Le Sue Promesse - Teresa Zylis-Gara/Gloria Lane/Giampaolo Corradi
Act One: Dell'aiuto Divin Fatti Omai Forti - Nicolai Ghiaurov
Act One: Dio, Che Vegli Su Me - Teresa Zylis-Gara/Ottavio Garaventa
Act One: Ah! Se Puoi Cosi Lasciarmi - Teresa Zylis-Gara/Ottavio Garaventa
Act One: Ah! Qual Suon! - Teresa Zylis-Gara/Ottavio Garaventa
Act One: All'etra, Al Ciel, Lieto Israel - Gloria Lane/Giampaolo Corradi/RAI Chor, Rome
Act One: Che Narri?... Il Ver - Nicolai Ghiaurov/Gloria Lane/Giampaolo Corradi/Teresa Zylis-Gara/Ottavio Garaventa
Act One: Padre!... Signor! - Mario Petri
Act Two: Ah! Chi Ne Aita? Oh Ciel! - Ottavio Garaventa/Shirley Verrett/Mario Petri
Act Two: Venga Mose - Ottavio Garaventa/Shirley Verrett/Mario Petri
Act Two: La Tua Voce Mi Chiama - Nicolai Ghiaurov/Ottavio Garaventa/Shirley Verrett/Mario Petri
Act Two: Celeste Man Placata! - Nicolai Ghiaurov/Ottavio Garaventa/Shirley Verrett/Mario Petri
Act Two: Egizi!... Faraone! - Giampaolo Jacopucci

Tracks:

Act Two: Mentre D'Isi Nel Tempio Alla Gran Festa - Mario Petri
Act Two: Ma, Tu Taci? - Ottavio Garaventa/Shirley Verrett
Act Three: O Tu Che Sei Del Ciel Regina - Franco Ventriglia/Mario Petri/RAI Chor, Rome
Act Three: La Tuac Promessa A Reclamar Io Vengo - Nicolai Ghiaurov/Franco Ventriglia/Mario Petri/RAI Chor, Rome
Act Three: Mi Manca La Voce - Fernando Jacopucci/Nicolai Ghiaurov/Mario Petri/Franco Ventriglia/Teresa Zylis-Gara/Gloria Lane...
Act Three: Faraon, Cedi Alfine - Fernando Jacopucci/Nicolai Ghiaurov/Mario Petri/Franco Ventriglia/Teresa Zylis-Gara/Gloria Lane...
Act Four: Prld - RAI Orch, Rome/Wolfgang Sawallisch
Act Four: Dove Mi Guidi Tu? - Teresa Zylis-Gara/Ottavio Garaventa
Act Four: Quale Assalto! - Teresa Zylis-Gara/Ottavio Garaventa
Act Four: E Questo, O Figli, Il Giorno - Nicolai Ghiaurov/Gloria Lane/Teresa Zylis-Gara/Ottavio Garaventa
Act Four: Anaide... Oh! Non Tentarla - Nicolai Ghiaurov/Gloria Lane/Teresa Zylis-Gara/Ottavio Garaventa
Act Four: In Tal Momento Orrible - Nicolai Ghiaurov/Gloria Lane/Teresa Zylis-Gara/Ottavio Garaventa
Act Four: Dal Tuo Stellato Soglio (Prayer Of Moses) - Nicolai Ghiaurov/Gloria Lane/Teresa Zylis-Gara/Ottavio Garaventa
Act Four: Qual Fragor!... Giusto Ciel! - Nicolai Ghiaurov/Gloria Lane/Teresa Zylis-Gara/Ottavio Garaventa
Act Four: Dove Son Dessi - Mario Petri

Customer Reviews:

Acceptable.......2007-01-09

The orchestra sounds somewhat " dirty " ( I'm sorry because my english is not very good, I'm trying to explain myself the best I can )
It seems like the Cd was recorded from an old version not tottaly updated in terms of sound

Nice Rossini, nice sound, fine performance.......2006-05-21

This really is a nice recording of a beautiful Rossini opera. The recording is of a live performance in Rome on April 11, 1968. Wolfgang Sawallisch conducts the RAI Orchestra and Chorus. Although the sound is in mono, it is excellent and is "high fidelity" - the soloists, the chorus, and the orchestra all come through very clearly and are faithfully reproduced. Although there is the usual coughing, etc. from the audience at the beginning, they soon settle down and are only heard after the better arias and duets where they applaud enthusiatically but politely.

The opera is really quite nice, with lovely melodies throughout. As usual with Rossini, there is constant interspersal of choruses with arias, duets, and ensembles. There are longer and more frequent parts for just the orchestra than is typical for Rossini - perhaps this is due to the biblical nature of the work (although Rossini and his librettist Andrea Tottola strayed from biblical faithfulness by adding a love affair between Pharoah's son and Moses' niece!). The orchestral parts are quite lovely and show us a side of Rossini we don't often see. It makes me wonder how Rossini would have fared had he decide to write symphonies.

The singing is excellent. Nicolai Ghiarov is his usual fine self as Moses. Mario Petri's smooth and strong tenor is Pharoah. And Shirley Verrett's superb voice does indeed treat us to a fine Sinais - although her coloratura is not as strong as some other Rossini singers, it really doesn't seem to matter because of her gorgeous tone and strength throughout her range. The other soloists are all fine and there are no weak links in the cast.

As typical for Opera d'Oro, there is no libretto, just a brief booklet describing the opera. Although there is a list of the sound tracks with the name of the selection on each track, the booklet does not list the characters that sing on each track, unlike many Opera d'Oro recordings. In spite of this and the general lack of a libretto, this recording still rates 5 stars for the excellent sound quality, the strength of the performance, and above all, the beautiful music.

I second the motion!.......2004-05-19

Often these "live performance" recordings sound as if some sneaky idiot had a cheap tape recorder hidden inside his/her coat. There is a definite quality-control problem with most of them.

HOWEVER, this recording of Rossini's MOSE is the best such recording I have yet heard! If you love Rossini, BUY IT. If you love Shirley Verrett, BUY IT. The singing of the whole cast is uniformly excellent, and the sound quality is very very good. And of course the score is wonderful. If this were a vinyl LP set, I would have worn it out by now: I have played this CD set over 50 times and still love it.

And, if you don't like it for any reason, at least you are not out very much money. I have bought expensive brands to get certain operas and have been sadly disappointed by one or more factors. Ditto when spending four or five times this price to have a ticket at the Met. Finally, if you need more info about the opera or Rossini or the singers, (a) go to the library or (b) go online. THIS IS A REALLY GREAT VALUE!

Fabulous Performance.......2001-06-18

My enthusiasm for this recording must be tempered by the fact that I have never heard any of the music before. Further, the accompanying information does not even mention the vocal range of the performers and offers only the most cursory plot summary. Having established these caveats, I thoroughly recommend this performance. The music is prime Rossini in the seria mode, with wonderful florid arias and stirring choruses. The peformers are terrific; Ghiaurov, Verrett, Petri, Garaventa, and especially the woefully underrated Teresa Zylis-Gara are in superb voice, and Wolfgang Sawallisch, who also conducts the other available recording of "Mose," leads the RAI in an exciting live performance (1968). The sound is good vintage, and the audience is amazingly quiet. In fact, there is so little applause within the acts that I suspect the audience was as unfamiliar with the opera as I.

Meyerbeer: L'Africaine / Domingo, Verrett

Average customer rating:

Non si parla se non si conosci.
be thankful it's cut
Bonus performance
L'Africain, or the Badly Mutelated Girl

Meyerbeer: L'Africaine / Domingo, Verrett
Giacomo Meyerbeer , Plácido Domingo , and Shirley Verrett
Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Meyerbeer - Le Prophète / Horne, Gedda, M. Rinaldi
Weinberger: Svanda dudák (Svanda the Bagpiper)
Meyerbeer: Robert Le Diable
Massenet: Le Jongleur de Notre Dame

ASIN: B00001QEGV
Release Date: 1999-09-14

Tracks:

L'Africaine: Prelude
L'Africaine: Act 1: Anna, Qu'enten ds-je...J'espere Pour celle qui m'est chere
L'Africaine: Act 1: Patrie quand tu perds la vie
L'Africaine: Act 1: La nouvelle qu'on vous apporte
L'Africaine: Act 1: J'ai vu, nobles seigneurs
L'Africaine: Act 1: Esclaves, approchez
L'Africaine: Act 1: Le conseil Souverain

Tracks:

L'Africaine: Act 2: Toujours son sommeil agite
L'Africaine: Act 2: Sur mes genoux, fils du sobeil
L'Africaine: Act 2: Fille des rois, a toi l'hommage
L'Africaine: Act 2: M'enchaine en ces lieux tenebreux
L'Africaine: Act 2: On nous l'avait bien dit
L'Africaine: Act 2: Anatheme sur l'infame et malheur
L'Africaine: Act 3: Debout! Matelots!
L'Africaine: Act 3: Ah, c'est vous, don alvar!
L'Africaine: Act 3: Tra la la la la la la la!...Adamastor
L'Africaine: Act 3: Un navire portant pavillon portugais
L'Africaine: Act 3: Aux voiles! Aux cordage!

Tracks:

L'Africaine: Act 4: Prelude and Grand Indian March
L'Africaine: Act 4: Nous jurons par Brahma
L'Africaine: Act 4: Pays mervielleux!... O Paradis
L'Africaine: Act 4: Que disent-ils?...Ah, pitie pour ma memoire
L'Africaine: Act 4: Arretez!
L'Africaine: Act 4: L'avoir tant adoree
L'Africaine: Act 4: Brahma, Wichou, Siva...Oh transport! Oh douce extase
L'Africaine: Act 4: La bas sous l'arbre noir...Oh toi que j'adore
L'Africaine: Act 4: Ne m'abuse je pas, juste ciel
L'Africaine: Act 4: Par quelle trahison
L'Africaine: Act 4: Emmemez cette femme!
L'Africaine: Act 4: D'ici je vois la mer imense
L'Africaine: Act 4: Partis! Partis!

Customer Reviews:

Non si parla se non si conosci........2004-08-29

E meglio non leggere alcuni pazzi letteras che l'ignoranza fa in un uomo come il signore ch'a scritto in questo sitio. Come osa dicere che il Meyerber e fatuo? Non gl'intendo. Comparazione con Donizetti, Verdi e Wagner al stesso tempo? Comme si fa per ser quasi stupido? Signor: primo tu hai de cantare il Meyerber e poi scrivete con properta. Ma non fa il ridiculo con la sua opinione che non fa anche il ver sua plena ignoranza. Il Meyerber, e L'Africanna son grandi, e gl'interpretti son sensazionale. Va primo al teatro, canta, e fa l'opera, e poi parla. Grazie.

be thankful it's cut.......2000-09-23

How anyone can take this ridiculous old hokum seriously is beyond me: thank God it's cut (pace the previous reviewer): Meyerbeer couldn't construct an act properly if his life depended on it: and his melodic invention is pretty laughable if you compare it to Donizetti or Verdi, and he really is a minnow in compositional terms if you compare him to the above, Berlioz or Wagner. He's a composer for the history books only - a kind of Andrew Lloyd-Webber of his day: true he had a great seminal influence on 19th century opera, but his music is very short-breathed and lacking in true inspiration. Having said all that, this set is fun, Verrett and Domingo give larger than life performances and it's not bad for a live recording - mind you the music that bears any sort of repetition wouldn't fill half of one CD!

Bonus performance.......2000-06-24

The main part of this recording is of a single performance in San Francisco in 1973. The sound is very good for such a source and the enthusiastic audience does not intrude inappropriately for an aural presentation too often. Verrett's rich mezzo makes much of the title role while Domingo demonstrates how wonderfully he could use his rich voice to interpret a role when he was engaged in it. No tenor of the period was a better musician! The baritone, Norman Mittleman, is less satisfactory -- at times he seems to be having difficulty getting the role to flow adequately--but at others he produces some beautiful singing. By contrast, Evelyn Mandac is a delight in the significant though secondary part of Inez. The conductor, Jean Perisson, keeps things moving well with a good orchestra and chorus.

The set has the oddity that, having provided over two and a half hours of opera, it proceeds to give roughly half an hour of highlights from a production in Barcelona in 1977. This one involved Caballe and Domingo and the chemistry between these two is more intense than between Verrett and Domingo. The recorded sound here really is wretched.

Gala provides no libretto and only the very sketchiest of synopses, so that one has little way of knowing what is going on since the singers pronunciations are not clear enough to allow one to follow the French. This serious weakness does hide cuts and changes to the opera, which will only be evident if one has another source for the libretto.

L'Africain, or the Badly Mutelated Girl.......2000-05-19

This 'Africain' is a typical Meyerbeer recording, being HEAVILY MUTELATED through SEVERE CUTS. It is SO BADLY DAMAGED, that Meyerbeers original conception and intensions have been completely obscured. There is hardly ANY aria, duet, ensemble or finale wich is complete. For example: the third act finale has been deprived of the final Indian chorus. This should come AFTER the shipwreck and serves as the logic connection with- and explanation for the state of affairs at the beginning of- the fourth act, in wich the Portuegese have been condemned to death and are being slaughtered. The great and sublime fourth act duet between Vasco and Selika has also been heavily cut and there are many more minor and mayor cuts. All these ommissions put a severe strain on the coherence and logic of the plot. They are the actuall fullfillment of Wagners's comment about "effects without causes", a comment based on nothing but ignorance, prejudice, jealousy and anti-semitism.

But back to the opera itself. The reasons for these assaults on the score are plentyfull, but are mostly based on the misconception that the work would otherwise be too taxing for performers and audiences. (The producers conveniently forget the monumental size of Wagner's opera's and, for example Verdi's Don Carlos and Berlioz' Les Troyens.)The truth is that producers are only very halfheartedly committed to Meyerbeers works, especialy L'Africain. This is odd, for it is the Master's last and most sophisticated work, allways greatly loved by the few lucky audiences that get to see it.

However, what DOES appear on this CD(and that is not more than on any other commercial recording), is thrilling to hear, allthough the quality of the recording is not too good. The duets and trio's (wich are plentyfull) are beautifully rendered. Shirley Verret is very well equiped for the part (Selika), with her warm, dark voice, and is a great pleasure to hear. Domingo is not so well suited for his part (Vasco). But he does his best (and was at time of recording the best singer available, so it is hard to complain). All in all he is pleasent to listen to and can at times be quit exiting. As I said before, the sound itself is not very good. The loud pieces, especialy the act I and III finales have a lot of static. In conclusion I can say that what IS on the CD is allright. Since there is no better and completer version around, you'd better by it, if you can bear the mutelations that is. But every Meyerbeer-, Grand Opera- and French-opera-in-general-lovers, should APPEAL TO THE RELEVANT PUBLISHERS (e.g. Opera Rara) for an issue of a complete, well starred 'Africain' (some tapes are already available! ).

Joost Overdijkink

Meditation Music: