Tchaikovsky: Pique-Dame (The Queen of Spades) [HIGHLIGHTS]

Pique Dame (The Queen of Spades), opera, Op. 68 Introduction
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Vot On, Smotri (Herman's Ar
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Julian Rodescu, Sergei Leiferkus, Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Nakonets-to Bog
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Grafinya Mnogo
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Sergei Leiferkus
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Kak Bystro Groza Nastupila
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Uzh Vecher
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Mirella Freni, Catherine Ciesinski
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Ne Nado Zatvorit, Ostav!
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Dominique Labelle, Mirella Freni
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Ostanovites, Umolyayu Vas!
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Mirella Freni, Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Prosti, Prelestnoe Sozdanye
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Maureen Forrester, Mirella Freni, Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Vy Tak Pechalny
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Mirella Freni, Dmitri Hvorostovsky
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Blagodetelnitsa Nasha
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Maureen Forrester
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Je Crains De Lui Parler La
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Maureen Forrester
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Akh! Istomilas Ya Gorem
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Mirella Freni
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 A Yesli Mne V Otvet
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Mirella Freni, Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 O Da, Minovali Stradanya
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Mirella Freni, Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Yeslib Miliya Devitsy
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Sergei Leiferkus, Ernesto Gavazzi
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Tak V Nenastnye Dni
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Julian Rodescu, Dennis Petersen, Ernesto Gavazzi, Jorge Chamine
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Chto Nasha Zhizn?
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Vladimir Atlantov
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Net Yeshcho?
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Ernesto Gavazzi, Vladimir Atlantov, Dmitri Hvorostovsky
Conducted by Seiji Ozawa
Pique Dame (The Queen of Spades), opera, Op. 68 Knyaz! Knyaz, Prosti Menya!
Composed by Pyotr Il'yich Tchaikovsky
Performed by Tanglewood Festival Chorus, Boston Symphony Orchestra
with Vladimir Atlantov
Conducted by Seiji Ozawa

Tchaikovsky: Pique-Dame (The Queen of Spades) [HIGHLIGHTS],Dmitri Hvorostovsky,Jorge Chamine,Sergei Leiferkus,Julian Rodescu,Pyotr Il'yich Tchaikovsky,Seiji Ozawa,Catherine Ciesinski,Boston Symphony Orchestra,Tanglewood Festival Chorus,Dominique Labelle,Mirella Freni,Dennis Petersen,Ernesto Gavazzi,Vladimir Atlantov,RCA,Classical,Classical Music,Opera,Opera / Operetta / Oratorio,Russian Romantic Opera

Average customer rating:

A great night at the Kirov
A Beautiful and Intense Opera
An Excellent Queen of Spades
Good, but contenders please????
The victorious Kirov company

Pytor Il'ich Tchaikovsky: Pique Dame

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000415X
Release Date: 1993-11-16

Tracks:

Pique Dame: Overture
Pique Dame: Gori, gori yasno
Pique Dame: Chem konchilas vchera igra?
Pique Dame: Ya imeni yeyo ne znayu
Pique Dame: Nakonets-to Bog
Pique Dame: Mne strashno!
Pique Dame: Kakaya vedma
Pique Dame: Odnazhdy v Versalye
Pique Dame: Se non e vero
Pique Dame: Duet Uzh vecher
Pique Dame: Obvorozhitelno!
Pique Dame: Da, vspomnila ... Podrugi milie
Pique Dame: Nu-ka, svetic Mashenka
Pique Dame: Mesdemoiselles
Pique Dame: Pora ush raskhoditsya
Pique Dame: Ne nado zatvorit
Pique Dame: Zachem zhe eti slyozy
Pique Dame: Ostanovites
Pique Dame: Prosti, prelestnoe sozdanye
Pique Dame: Liza, otvori!
Pique Dame: O poshchadi menya!

Tracks:

Pique Dame: Radostno, veselo v den sei
Pique Dame: Khozyain prosit dorogikh
Pique Dame: Vy tak pechalny
Pique Dame: Ya vas lyublyu
Pique Dame: Skoreye by yeyo videt
Pique Dame: Pod tenyu gustoyu
Pique Dame: Dance Of The Shepherds And Shepherdesses
Pique Dame: Moi milenki druzhok
Pique Dame: Kak ty mila
Pique Dame: Kto pylko i strastno lyubya!
Pique Dame: Vsyo tak, kak mne ona skazala
Pique Dame: Shagi! syuda idut
Pique Dame: Akh, postyl mne etot svet!
Pique Dame: Je crains de lui parler la nuit
Pique Dame: Ne pugaites!
Pique Dame: Yesli kogda nibud
Pique Dame: Chto zdes za shum?

Tracks:

Pique Dame: Entr'acte
Pique Dame: Ya neveryu chtobyu
Pique Dame: Ya prishla k tebe
Pique Dame: Uzh polnoch blizitsya
Pique Dame: Akh! istomilas ya gorem
Pique Dame: A yesli mne otvet
Pique Dame: O da, minovali stradanya
Pique Dame: Budem pit i veselitsya!
Pique Dame: Yeslib miliya devitsy
Pique Dame: Tak v nenastnye dni
Pique Dame: Za dela, gospoda
Pique Dame: Chto nasha Zhizn?
Pique Dame: Net yeshcho?
Pique Dame: Knyaz! knyaz, prosti menya!
Pique Dame: Gospod! Prosti yemu!

Amazon.com essential recording

The Queen of Spades was the opera that won Tchaikovsky the most popular acclaim in his lifetime, and with good reason. It's a powerfully dramatic story that offered the composer some irresistible opportunities. The Rococo setting encouraged Tchaikovsky to have a lot of fun in writing fake classical period dance and vocal music. But into this light-hearted and elegant atmosphere, the story itself presents the darkest possible picture of pathological obsession--with sex, gambling, money--all those juicy items that great opera seems best able to express. Tchaikovsky certainly rose to the occasion, and so does this excellent performance. With a superb all-Russian cast, it's without question the one to have. --David Hurwitz

Customer Reviews:

A great night at the Kirov.......2007-02-03

This 1993 Pique Dame would be hard to overpraise (although the Gramophone, perversely, was lukewarm). Gergiev and the ocrhstea are at their very best interpreting Tchaikovsky's kaleidoscopic score, which ranges from the most extreme, even lurid melodrama to Rococo pastishe in the court songs and dances. The line-up of singers represents the ensemble system at the Kirov at its best, mixing stellar names like Borodina, Chernov, and Arkhipova with names less known in the West. In fact, the two stirring leads, Gegan Grigorian in the taxing tenor role of Herman (sung to thrilling effect at the Met by no less than Domingo a few seasons back) and Maria Guleghina as Lisa, the naive heroine trapped in Herman's warring obsessions, were unknown to me. Both are splendid, and although one hears squally singing from her when the voice is under pressure and somewhat underpowered climaxes from him, Western ears will hear both as highly listenable voices.

The score itself is much less well known, and less often recorded, than Eugene Onegin. Have no fear that this reflects badly on Tchaikovsky's music, which is sustained in its dramatic inspiration and constantly propelled forward by the melodramatic stroy. But oh, that story. Herman's path is constantly downward, and the inevitability with which he drags himself, Lisa, and her grandmother down has a doomed quality that feels too Russian, perhaps. The score is also long, and a certain frenetic sameness sets in after a while. It really helps to see the Queen of Spades onstage.

Even so, this is impeccable music-making, and despite the effort it takes for non-Russians to follow the libretto closely for fear of missing a key event, the experience is very rewarding. This is easily one of the best installments in Gergiev's comprehensive traversal of Russian opera classics from Glinka to Prokofiev.

A Beautiful and Intense Opera.......2006-10-08

PIQUE DAME has the rare exception among Tchaikovsky's works of being beloved by the composer, hailed by the critics, at least most of the critics, and loved by the public during his lifetime. This could be with good reason. First, the story behind the opera, based on a short novel by Pushkin about a gambler who falls in love with Lisa, the granddaughter of a Countess with a secret for gambling success, only to face self destruction, is a compelling story and even though it was changed in large part in the opera, it still has dramatic intensity. The music is some of Tchaikovsky's best and most original, certainly his best for the stage and depicts the varied moods of the work. Its setting, the fashionable court circles of late 18th century Russia, calls for an elaborate stage. It's opera at its best and Tchaikovsky at his finest. It became an international success after its premiere, and while it may not be performed as often today as EUGENE ONEGIN, it still has a home in the larger opera houses around the world.

This recording by The Kirov Opera under the direction of Valery Gergiev does the opera justice. The orchestra is impeccable and the colorful choral scenes are superb. Listeners can easily imagine the grand scenes when listening to this set. The soloists likewise are phenomenal. Top of the list would be tenor Gegam Grigorian as Herman. Herman is a man of many emotions and the person who performs this role has to swing from despair to confidence and joy to sorrow almost without warning. Grigorian does this with a voice of astonishing color. Maria Gulegina has many of the same attributes as Grigorian as she portrays the youthful but soon to be heartbroken Lisa. The role of the countess has been performed on stage by a number of great and aging mezzos who still have something to offer. Who could resist a role that has a slightly tainted character who is wronged and comes back as a ghost to exact revenge? Irina Arkhipova has powerful voice and seems to be enjoying her performance as the Countess. Vladimir Chernov has become an international star since the fall of the Soviet Union, as has Nikolai Putilin. The two perform the baritone roles of Yeletsky and Tomsky respectively. Both are in excellent voice and have that deep rich sound that differentiates Russian opera from the German, Italian, and French repertoires.

In general, the rule of thumb for Russian opera is that the best casts and orchestras are those that are Russian and this applies to this set. Many of the performers in this set were trained under the old Kirov system and the singers know this opera well and the wonderful nuances of the opera. This is due to years of performance as opposed to learning the work for a one shot stage production and perhaps a recording. It is another wonderful recording of Russian opera performed by the Kirov and released by Philips.

An Excellent Queen of Spades.......2004-08-14

It is interesting that Pique Dame was first offered to Tchaikovsky's pupil Nikolay Klenovsky by Ivan Vsevolozhsky (who was a force in the composition of The Sleeping Beauty). Had it not been for the pupil's vacillation, Pushkin's story may never have been taken up by the composer. Modest Tchaikovsky had written a libretto for Klenovsky and made some changes for his brother, who composed the music in white heat and had completed the project in 5 months. Pique Dame was premiered at the Maryiinsky Theater on December 19, 1890 to great acclaim. The opera made its progress through Europe and within a decade had been performed at every major house.

There are not many recordings of Pique Dame but of them, this one is arguably the best for the energy of the performance and the quality of the singers. The Kirov Orchestra is superb, and they are recorded with great clarity. Valery Gergiev's conducting is outstanding and he produces a well-nuanced recording of Tchaikovsky's melodrama. The singers are well cast: Gregam Grigorian is an excellent Herman, particularly in his aria at the end of act 1 scene 1 when he declares he will get the secret of the three cards. I have had the pleasure of seeing Maria Guleghina singing different roles (most notably a thrilling Tosca) and always look forward to her performances. In this recording, she sings beautifully and her duets with Olga Borodina, who sings the role of Pauline, are particularly memorable for the nice blending of their voices. In the third act, Ms. Guleghina has some problems in scene 2 hitting her notes and her voice is somewhat stressed. I did not find that she has the heavy vibrato noted by another reviewer. Irina Arkhipova makes an excellent Countess and the supporting cast members are excellent.

This is an excellent recording that anyone interested in Russian opera will find of interest.

Good, but contenders please????.......2003-02-04

Gergiev really does deserve commendation for his invaluable contribution to exposing, what is for me, the greatest operatic form (Russian opera). Here is another good example and the conducting is beautiful. The vice that has hampered Russian opera generally however, is that there are too few recordings. A few artists therefore dominate the scene, sometimes benefitting from the overall excellence of the OTHER participants. I am here referring to Maria Guleghina. To have her in such a major role of Lisa should be described as no more than an "adequate performance," as the unsteady wobble in her voice is off-putting. As I have not heard other recordings of Pique Dame, I am unable to say that the role has been better sung...but I can say that there ARE better voices (e.g. Stefka Evstatieva).

Nevertheless, the recording benefits from a particularly superb performance by Grigoriam, Borodina and the legendary Arhipova....in addition to Gergiev's superb conducting. Gergiev appears not to be given to too many special effects, however (take for example, his reading of Rimsky-Korsakov's "The Tsar's Bride," where Lyubasha's violent death passes in silence). The Countess' ghost scene with Gherman is therefore sung without acoustic enhancement. This is however, a minor complaint. Pique Dame is a stunning composition and this recording has many merits....recommended.

The victorious Kirov company.......2002-12-19

Opera fans, if you enjoy Russian opera in general and Kirov company in particular, I am certain you see a lot of reviews posted all over by someone named moskvich (Russian for Moscovite) who consistently praises Bolshoi company and finds various faults in Kirov. For the lack of better word, this is baloney. The singers he mentions (Atlantov, Milashkina, Mazurok, et al) have been stars of the Bolshoi in the 70's and have been pretty average even at that time next to Galina Vishnevskaya, for instance. Their rise to fame was largely due to politicking and pushing talented singers our of Bolshoi for "not adhering to Communist Party line". Bolshoi's best conductor ever, Melik-Pashaev was driven to death by such accusations. The claims moskvich makes are completely groundless, basically resorting to saying "A is better than B", with A, naturally, being from Bolshoi. While this rivalry between the theaters ensued for the longest time, the supporters of the Moscow theater like the one in question fail to see that their company needs to have several things to stake their claim. These are:
1. Great Conductor. Bolshoi had several opportunities to get one, but failed. Gergiev's talent is so immense he needs a formidable opponent. Currently there isn't one at Bolshoi.
2. At least Two great sopranos. Kirov has Gorchakova AND Guleghina as two phenomenal dramatic (spinto) sopranos. Plus, Anna Netrebko as a true lyric one. Bolshoi, again, has no one of this caliber.
3. One good tenor. Grigoryan (on this recording) is a wonderful versatile artist. He can sing lyric parts expertly and has enough heft to attempt heavier parts, like the one of Gherman here, or Alvaro in La Forza. Atlantov (at Bolshoi) has several virtues, but there's not subtleness or real feeling in his singing. His legato is rough, and he often produces unattractive sound. Not to mention that his prime was in the 70's.
4. A mezzo, a baritone, and a chorus. Where do we start? Here we have Putilin and Chernov, two very different and incredibly exciting baritones, one Heldenbariton, one Kavalierbariton. Just listen to Putilin in Mazeppa and Chernov in Rigoletto. Olga Borodina is an internationally known all-around star, she can sing Dalila, or Olga, or baroque, and do each of these with charm and finesse. Opera News just ran a special feature on Larissa Diadkova, another great Kirov mezzo. Bolshoi currently has no one of such caliber, just drop by any day.
The list can go on and on. Last but not least, a theater needs to have a good recording label. Philips has done a spectacular job of digitally recording the masterpieces that until recently only have been available as pitiful restorations of Bolshoi's performances on LPs. As Bolshoi failed to draft the talents and enter the world arena with a formidable roster of operas, may they be Russian or western, Gergiev's company forged ahead, and, like it or not, they became The operatic face of Russia. Since we all have ears, we can easily appreciate the numerous virtues of Gergiev's recordings and enjoy the only thing that Bolshoi currently has - the ballet.

Operas Greatest Moments / Domingo, Price, Caballé, Kraus, Norman, Lanza

Average customer rating:

My FIRST opera cd
Better compilations available
My desert island CD pick
Fine Querschnitt!
A collection of opera gems on one CD

Operas Greatest Moments / Domingo, Price, Caballé, Kraus, Norman, Lanza

Manufacturer: RCA
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Binding: Audio CD

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ASIN: B000003FDD
Release Date: 1992-11-10

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Customer Reviews:

My FIRST opera cd .......2006-09-29

I purchased this compilation in late summer 1994. I always skipped over Merrill's "Largo al factotum", just because I am not a big fan of that aria - kinda hokey to me :) I fell madly in love with the two contributions by Miss Leontyne Price!!! Especially "Pace, pace mio dio", the reference recording of that aria! I like Caballe's performance of "Si, mi chiamano Mimi", and the Domingo and Hvorostovky recordings. This disc opened up a whole new world for me. Yes, I have discovered MANY different singers than those included on this cd, but it started it all for me. It is a good sample of some very fine singing on the RCA label. OH! Let's not forget the superb Pearl Fisher's duet, sung by Bjoerling and Merrill!!

Better compilations available.......2003-09-26

I recently began collecting compilations of great opera performances as raw material for custom CD's. After listening to this CD side-by-side with others, I ended up using not a single selection from it. Three double CD's that, in my opinion, have much more to offer, in both quantity and quality, are (1) Decca's The #1 Opera Album, (2) EMI's The Opera Album, and (3) Warner Brothers' Simply The Best Night At The Opera. If I could have only one, it would be the Decca product, but each has it's own strengths, unlike the RCA disc. The caveat here is that taste in music is a highly personal matter.

My desert island CD pick.......2003-01-10

I could -- and sometimes do -- listen to Nessum Dora over and over. I have never felt music so passionately as I do the selections on this CD. It is truly the best of the best: the best "songs" from the best operas being sung by the best singers at their very best. I challenge anyone who doesn't like opera or ever music to listen to this CD. You will fall deeply in love.

Fine Querschnitt!.......2001-10-12

This is a good set as it includes some of the very finest moments of recorded opera history, noticably with Jussi Björlings Pearlfishes, which was one of his most inspired singings, Placido Domingo in his charming interpretation in The Loves Exlire, Anna Moffo outside the Wienniese standards is interesting, and Montserrat Caballe was really the best Mimi that ever sung that role, and I don't think that many today doubt that Lanza was one of the finest and most flexible voice that have sung Verdi. There is a nice querschnitt through the century as old pearls have been mixed with new. I enjoyed immensely to hear Caballes Mimi and Normans "Du bist der Lenz" or Kraus clicky "Donna Mobile" and a fresh new Ben heppner in 3D sound in one and the same hour.

A collection of opera gems on one CD.......2001-04-07

I have to agree that these are some of opera's greatest moments in the later part of the 20th century. The Pearl Fishers Duet (Au Fond du Temple Saint) sung by Jussi Björling, Robert Merrill is a big favorite of mine. Monserrat Caballe sings La Boheme here, and I couldn't believe my ears; maybe the best version of this I've ever listened to.

Tracks:

Ov The Freeshooter
The Freeshooter-Act II Scene 2: 'How Did Sleep Come To Me...Softly, Softly, My Pure Song!'
The Queen Of Sheba-Act II, Intro: Night Piece
Das War Sehr Gut.../Dann Aber, Wie Ich Sie Gespurt Hab' Hier Im Finstern Stehn
Ov To May Night-Act III
May Night-Act III: Sleep My Beauty 'Cradle Song'
Rusalka-Act I: Song To The Moon
'Jenufa's Prayer-Jenufa-Act II: Surely This Is My Mother's Room
The Little Boots Or Oxana's Caprices-Entracte Act III, Scene 1: Christmas Eve
The Little Boots Or Oxana's Caprices-'Maria's Lullaby-Mazeppa-Act III: Sleep My Small One And Dream
The Little Boots Or Oxana's Caprices-Pique Dame-Act III: Twill Soon Be Midnight
The Little Boots Or Oxana's Caprices-Eugene Onegin-Act I: Letter Scene

Average customer rating:

Kyra Vayne

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

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Pique Dame: Lisa's Aria
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2 Trovatore: Tacea la notte placida...Di tale amor

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Galina Gorchakova is that rarity--a genuine spinto soprano--rather than the usual pushed-up lyric, and she wields her dark, sumptuous voice with assurance; her high notes can be thrilling in their power. She is at her best in the four arias by Tchaikovsky, particularly her believably impetuous reading of the Letter Scene from "Eugene Onegin." She sometimes carries too much heft too high for the Verdian repertoire, with an occasional hint of strain as a result, but most listeners will forgive a measure of Slavic production in an Italian role for the chance to hear a soprano who can sing this music without apologies. She is ably and sympathetically accompanied by conductor Valery Gergiev and the Kirov Orchestra. --Sarah Bryan Miller

Customer Reviews:

impressive & impressionable.......2007-07-27

At first I had some doubts about the selections on this CD: 4 Tchaikovsky arias (2 of the operas are totally unknown to me) sandwiched by 5 of Verdi's. I still don't understand the logic behind the ordring of the selections but that was the last of the concern I had about this CD. As soon as I started listening to it, I was totally taken by the incredible quality of her voice and I started enjoying every bit of this CD. She is definitely more at home with the Tchaikovsky (the Letter scene is just impressive) but I give her high marks for the Verdi's also. She won me over with her Willow Song - something I never cared too much about before. Even though I don't know any Russian, I really enjoy hearing her singing in Russian. If you're like that, I'd recommend her "Memories of Love" CD which has good selections of Russian Romances.

Galina Gorchakova is top class.......2005-11-22

Galina Gorchakova is one of the greats. Her voice is beautiful, expressive and metallic. Verdi and Tchaikovsky are two of my favourite composers and Galina Gorchakova has the perfect voice for them. I personally don't find anything lacking in her voice. Her Pace pace mio dio is absolutely amazing! I love this CD!

Wonderful Recording.......1999-06-14

I heard her at the first time in Pacific Music Festival in Sapporo, 1996. Once I heard her singing, I loved very much. Her voice is so beautifully. Many people there is something is lacking in her voice. I don't mind it. Because her voice is especially wonderful, and this is the one that I have been wanted to hear. Of course, I had to admit that her voice isn't great in these time, but someday, her voice will be wonderful and dramatic like Tebaldi and so on.

The rise of the lirico-spinto.......1999-05-13

I will never forget the impression Galina Gorchakova's voice produced on me when I first heard her in the Verdi and Tchaikovski arias album. It was like a punch in the stomach, a flow of pure adrenaline running through my veins. An excitement I have only previously felt listening to Astrid Varnay, Eva Turner, Birgit Nilsson, Kirsten Flagstad, Maria Callas, Anita Cerquetti, Elena Souliotis and Leontyne Price. The opera world seldom produces singers who are able to do full justice to the Verdi and, in general, to the lirico-spinto repertoire. We are accustomed to hear the great dramatic Verdi roles (specially the two Leonoras, Elisabeth de Valois, Aida and Amelia) sung by lyric sopranos who painfully struggle to adapt their voices to those killers. Of course, in this pathetic process, transpositions and strained voices are at the order of the day. Perhaps this is the reason why we are so deeply impressed when a full blooded lirico-spinto soprano makes its appearance in a musical world where dramatic voices are practically extinct. Certainly, Gorchakova's voice is far from perfection. She needs to tame her huge voice and work hard on her breath control, specially for roles such as Aida and Il Trovatore's Leonora where legato and pianissimo are as important as volume and power. Nevertheless, we have to be grateful to Gorchakova for such a powerful, sovereign and impetuous voice and, specially, for reminding us the greatness of the lirico-spinto soprano repertoire and for being the living evidence that from time to time truly great voices come to the world of music.

Average customer rating:

A good collection
A Musician of Great Dignity and Style
Passed the "Opera in English" test with flying colors.

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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

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English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

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Great Baritone Arias

ASIN: B0006SGF1Y
Release Date: 2005-02-22

Tracks:

'Even Bravest Heart My Swell'
'I Am The Barber Everyone Wants, I Am!
'Must I Be Made To Suffer'
'Look Down, Oh Gentle Evening Star'
'You Have My Love And My Devotion
'Oh Wine, Deliver Me From Sadness' - Geoffrey Mitchell Choir
'Marriage Is Sacred' - I Was Right To Be So Suspicious'
'Turning My Gaze Upon This Proud Assembly'
'O Nadir, Best Of Friends'
Billy In The Darbies
'Though I'm Somewhat Out Of Practice' - Janice Watson
'Hello, Here's A Soldier Bold' - Janice Watson
'I Wonder What He'll Think Of Me!'
'In Visions, Illusions'

Customer Reviews:

A good collection.......2007-05-14

Unlike the huge names, collections by Allen are not many - plenty of his opera performances are recorded, but there are only a few collections. My voice teacher recommended I listen to him to understand better how to deliver power without weight, something we've been working on. Yes, it's all in English, but that's fine, and the quality of Allen's instrument comes through very well.

A Musician of Great Dignity and Style.......2005-07-27

Sir Thomas Allen is one of the enduring baritones who has been able to move throughout the operatic repertoire and the recital stage with intelligence, informed characterization, and immaculate musicianship. To have a recording of some of the roles he has inhabited at this point in his career is a gift (this CD was recorded in 2003). To have the added challenge of retaining the stature of the roles while sung in English translations at the request of Chandos is a credit to his abilities and communicative powers.

English is a difficult language to make musical, though saying that abruptly is countered by the fact that some of the most beautiful operas in history are by Benjamin Britten, a composer who truly understood his native tongue and kept it as fluid as the soaring melodies he wrote, as Thomas Allen proves here in 'Billy in the Darbies' from Britten's 'Billy Budd'. It is the other major arias from Korngold to Wagner to Tchaikovsky to Rossini, Bizet, Mozart, Gounod, Verdi, Thomas, Strauss, and Lehar that Allen proves that English translations do not detract at all from the performances!

For those purists who prefer opera sung in the original language (and for those who don't even need supertitles in the opera house!), then this recording may provide a temporary barrier to respecting Allen's singing. But once caught up in the ease with which he moves from style to style and comedy to drama, it is hard not to relinquish old preferences and not be wholly impressed with the beauty of the voice and the warmth and dignity of this fine musician. Highly recommended. Grady Harp, July 05

Passed the "Opera in English" test with flying colors........2005-07-04

For me, the test here was Figaro's Cavatina, from Rossini's Barber of Seville - sung in English, as is this entire compilation of 14 operatic favorites, sung by baritone Sir Thomas Allen. Could he pull it off? Could Chandos pull it off? The answer is an unequivocal, unqualified yes! The secret in singing classics in English, that were written and scored in another language, is in three things: pacing, vocal agility and appreciation for "fit", and what greater test for tongue and timing than Figaro? When you listen to this one song, you will understand why Chandos and its benefactor, Sir Peter Moores have such a passion for their Opera in English series. Sir Allen's voice is a matured unmistakably settled baritone voice that contains a lifetime's worth of understanding of the music and words he imparts through his magnificent delivery. For example, when he sings, Tchaikovsky's "You have my love and devotion" from The Queen of Spades, he delivers a smooth and deeply emotional rendition that lacks nothing in translation. Wagner's "Turning my gaze upon this proud assembly", from Tannhäuser is another example of how fine, full orchestration behind a seasoned voice that waxes eloquent with every phrase, can create a mood of relaxed familiarity with word and music, that may be lacking when sung in another tongue. Great Operatic Arias, serves up a smorgasbord of tunes that are familiar, made more so by the care and attention given to creating a place for the Opera in English series in every home library. The mood here is romantic, relaxed and with few exceptions consistent throughout. If you haven't heard Opera in English, this might be a good way to start, given the fact that the listener gets to sample how different composers might sound in other than German, Italian or French. You might be surprised to discover that when done with care, as is obviously the case here, the sound is about as good as it gets. As an added bonus, the booklet that comes with the CD is full of pictures, libretto in English, and biography that gives us a good insight into history of the singer and his identifying rolls.

Opera Heroes Series / Nicolai Gedda 18 Works (EMI Classics)

Average customer rating:

Gedda, a Truly Great Tenor!

Opera Heroes Series / Nicolai Gedda 18 Works (EMI Classics)

Manufacturer: EMI Classics
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

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B000002SAR
Release Date: 1997-10-14

Tracks:

Die Entfuhrung Aus Dem Serail: Hier soll ich dich denn sehen (Akt I)
Die Zauberflote: Dies Bildnis ist bezaubernd schon (Akt I)
L'Elisir d'Amore: Quanto e bella (Atto I)
L'Elisir d'Amore: Una furtiva lagrima (Atto II)
La Boheme: Che gelida manina (Atto I)
Il Barbiere di Siviglia: Ecco ridente in cielo (Atto I)
Un Ballo in Maschera: Di' tu se fedele (Atto I)
Rigoletto: La donna e mobile (Atto III)
Les Contes d'Hoffmann: Va, pour Kleinzach! (Acte I)
Les pecheurs de perles: Zurga, quand tous deux...Au fond du temple saint (Acte I)
Les pecheurs de perles: A cette voix...Je crois entendre encore (Acte I)
Le Postillon de Longjumeau: Mes amis, enoutez l'histoire (Acte I)
Carmen: La fleur que tu m'avais jetee (Acte II)
Mignon: Elle ne croyait pas dans sa candeur naive (Acte III)
The Queen Of Spades: What is our life? A game (Act 3)
Guillaume Tell: Asile hereditaire (Acte IV)
Friederike: O Madchen, mein Madchen (Akt II)
Das Land des Lachelns: Dein ist mein ganzes Herz (Akt II)

Customer Reviews:

Gedda, a Truly Great Tenor!.......2000-07-16

This CD is wonderful! How can a tenor encompass with equal success so varied a repertoire? The first two arias, by Mozart, are exemplarily done, as are the two arias form "L'Elisir d'amore", especially "Una furtiva lacrima", with wonderful soft singing. He could give a pianissimo high C in "Je crois entendre encore" (no falsetto), from "The Pearl Fishers", and boast a powerful high D in the aria from "Le Postillon Longjumeau". His singing in the French arias is outstanding, with plenty of style, elegance, refinament, character and a perfect voice. Surprinsingly, his "Che gelida manina" is extremely succesful, impassioned and extrovert, as is his "Ecco ridente in cielo", from "The Barber of Seville", in which he displays outstanding agility (no softening of the tone in the fioriture). "Asile hereditaire" is outstanding (clear, powerful, perfectly focussed high C and awesome soft singing). His operetta renditions are extremely well done, showing his love for the style, and his Verdi (at least in this CD) is exemplary, with (again) wonderful soft singing in "Di' tu se fedele" (as well as powerfull sounds when they are called for) and much exuberance in "La donna è mobile". The Tchaikovsky item is a delight, too. No sign of strain throughout the CD. A real treat!

Average customer rating:

Tchaikovsky: Pique Dame

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Russian | Languages | Opera & Vocal | Styles | Music

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Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
ASIN: B000RGSVW6
Release Date: 2007-06-26

Average customer rating:

An Interesting Collection of Russian Tenor Arias
Another Naxos winner.

Russian Opera Arias

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Russian Opera Arias 2

ASIN: B00005UO8J
Release Date: 2002-04-16

Tracks:

Overture
Hermann's Arioso (Act I) I Do Not Know Her Name
Hermann's Arioso (Act I) Forgive Me, Heavenly Creature
Hermann's Arioso (Act III) What Is Our Life? A Game!
Overture
Levko's Aria (Act I) The Sun Is Low
Levko's Recitative & Song (Act III) Sleep, My Beauty
Waltz (Act II)
Lensky's Aria (Act I) I Love You, Olga
Polonaise (Act III)
Lensky's Aria (Act II, Scene 2) Where, O Where Have You Gone?
Ecossaise (Act III)
Gopak
Grit'sko's Song (Act I) Why, O Heart, Do You Sob And Groan?
Overture
Song Of The Off-Stage Singer My Heart Quivers

Customer Reviews:

An Interesting Collection of Russian Tenor Arias.......2005-09-19

When people think of the great tenors, the name Vladimir Grishko does not come as quickly to mind as say, Placido Domingo or Franco Corelli and a disc with arias from Mussorgsky's SOROCHINTSY FAIR or Rimsky Korsakov's May Night may not be as tantalizing as a disc with arias from AIDA, LA BOHEME, or FAUST. While I do not expect that this disc from Naxos will steer people away from the tried and true favorites, it will certainly show people the beauty of Russian opera. It will also introduce many people to a tenor who performs some beautiful arias from a type of opera known primarily for its great bass roles.

Two of the sets of arias are from Tchaikovsky's well known QUEEN OF SPADES and EUGENE ONEGIN. Grishko does a particularly fine job with the three arias from QUEEN OF SPADES, displaying the lyrical quality of his voice. He does a good job with the ONEGIN arias as well. Since the other operas with arias are not all that familiar to most non-Russian listeners (including me), it is hard to say whether he does an exceptional job or his interpretations are on the mark, but it is safe to assume that with the beauty of his voice, his pace and control, and overall delivery of the pieces that he does them justice as well. An added bonus to this disc are the orchestral excerpts including the well known Waltz and Polonaise from ONEGIN and the familiar Gopak from SOROCHINTSY FAIR, as well as lesser known works such as Arensky's overture to DREAM ON THE VOLGA and Rimsky Korsakov's overture to MAY NIGHT.

This disc will be a great addition to any opera recording library and fans of great tenors may discover a new rising star. Since he is young and his voice is in excellent shape, he may also be a name we hear with critical acclaim in the future.

Another Naxos winner........2002-06-06

Serious music lovers with half an ear will be aware that Russian is one of the most suitable languages for singing. They'll also be aware that not many CDs come to hand which provide opportunities to hear it. All the more welcome therefore is this issue, from the adventurous and widely-distributed Naxos label, of a collection of tenor arias and orchestral excerpts from Russian operas.

The tenor arias are allocated to Vladimir Grishko, a Ukrainian tenor whose career seems to date from several prize winning appearances he made in competitions in 1989. He enunciates beautifully, his voice is free of wobble, and the tone is free and open throughout the whole range. All the orchestral forces are Russian and the orchestral items are conducted by Theodore Kuchar, who secures wider dynamic extremes that are usually heard in the popular Tchaikovsky, Rimsky-Korsakov and Mussorgsky items.

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