Bellini: I Puritani

I Puritani, opera
Composed by Vincenzo Bellini
Performed by Mexico City Orquesta del Palacio de Bellas Artes
with Ignacio Ruffino, Roberto Silva, Giuseppe di Stefano, Maria Callas, Tanis Lugo, Piero Campolonghi, Rosa Rimoch
Conducted by Guido Picco

Bellini: I Puritani,Vincenzo Bellini,Guido Picco,Mexico City Orquesta del Palacio de Bellas Artes,Giuseppe Stefano,Giuseppe di Stefano,Ignacio Ruffino,Maria Callas,Piero Campolonghi,Roberto Silva,Rosa Rimoch,Tanis Lugo,Melodram,Classical,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

Average customer rating:

My experience of this CD
Beautiful!
Well worth the money. Wonderful! Wonderful!
Best investment to make
A great pianist interpreting the most inspired composer ever !

Chopin: The Piano Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Liszt: Piano Works
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Works for Solo Piano
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ASIN: B0000041KB
Release Date: 1997-06-24

Tracks:

24 Preludes, Op.28: I - C Major
24 Preludes, Op.28: II - A Minor
24 Preludes, Op.28: III - G Major
24 Preludes, Op.28: IV - E Minor
24 Preludes, Op.28: V - D Major
24 Preludes, Op.28: VI - B Minor
24 Preludes, Op.28: VII - A Major
24 Preludes, Op.28: VIII - F Sharp Minor
24 Preludes, Op.28: IX - E Major
24 Preludes, Op.28: X - C Sharp Minor
24 Preludes, Op.28: XI - B Major
24 Preludes, Op.28: XII - G Sharp Minor
24 Preludes, Op.28: XIII - F Sharp Major
24 Preludes, Op.28: XIV - E Flat Minor
24 Preludes, Op.28: XV - D Flat Major 'Raindrop'
24 Preludes, Op.28: XVI - B Flat Minor
24 Preludes, Op.28: XVII - A Flat Major
24 Preludes, Op.28: XVIII - F Minor
24 Preludes, Op.28: XIX - E Flat Major
24 Preludes, Op.28: XX - C Minor
24 Preludes, Op.28: XXI - B Flat Major
24 Preludes, Op.28: XXII - G Minor
24 Preludes, Op.28: XXIII - F Major
24 Preludes, Op.28: XXIV - D Minor
Prelude In C Sharp Minor, Op.45
Prelude In A Flat Major
Impromptu In A Flat Major, Op.29
Impromptu In F Sharp Major, Op.36
Impromptu In G Flat Major, Op.51
Fantaisie-Impromptu In C Sharp Minor, Op.66

Tracks:

Ballade No.1 In G Minor, Op.23
Ballade No.2 In F Major, Op.38
Ballade No.3 In A Flat Major, Op.47
Ballade No.4 In F Minor, Op.52
Scherzo No.1 In B Minor, Op.20
Scherzo No.2 In B Flat Minor, Op.31
Scherzo No.3 In C Sharp Minor, Op.39
Scherzo No.4 In E Minor, Op.54

Tracks:

3 Nocturnes, Op.9: I - B Flat Minor
3 Nocturnes, Op.9: II - E Flat Major
3 Nocturnes, Op.9: III - B Major
3 Nocturnes, Op.15: I - F Major
3 Nocturnes, Op.15: II - F Sharp Major
3 Nocturnes, Op.15: III - G Minor
2 Nocturnes, Op.27: I - C Sharp Minor
2 Nocturnes, Op.27: II - D Flat Major
2 Nocturnes, Op.32: I - B Major
2 Nocturnes, Op.32: II - A Flat Major
2 Nocturnes, Op.37: I - G Minor
2 Nocturnes, Op.37: II - G Major

Tracks:

2 Nocturnes, Op.48: I - C Minor
2 Nocturnes, Op.48: II - F Sharp Minor
2 Nocturnes, Op.55: I - F Minor
2 Nocturnes, Op.55: II - E Flat Major
2 Nocturnes, Op.62: I - B Major
2 Nocturnes, Op.62: II - E Major
Nocturne In E Minor, Op.72 No.1
Nocutrne In C Sharp Minor
Nocturne In C Minor

Tracks:

12 Etudes, Op.10: I - C Major
12 Etudes, Op.10: II - A Minor
12 Etudes, Op.10: III - E Major
12 Etudes, Op.10: IV - C Sharp Minor
12 Etudes, Op.10: V - G Flat Major 'Black Key'
12 Etudes, Op.10: VI - E Flat Minor
12 Etudes, Op.10: VII - C Major
12 Etudes, Op.10: VIII - F Major
12 Etudes, Op.10: IX - F Minor
12 Etudes, Op.10: X - A Flat Major
12 Etudes, Op.10: XI - E Flat Major
12 Etudes, Op.10: XII - C Minor 'Revolutionary'
12 Etudes, Op.25: I - A Flat Major
12 Etudes, Op.25: II - F Minor
12 Etudes, Op.25: III - F Major
12 Etudes, Op.25: IV - A Minor
12 Etudes, Op.25: V - E Minor
12 Etudes, Op.25: VI - G Sharp Minor
12 Etudes, Op.25: VII - C Sharp Minor
12 Etudes, Op.25: VIII - D Flat Major
12 Etudes, Op.25: IX - G Flat Major
12 Etudes, Op.25: X - B Minor
12 Etudes, Op.25: XI - A Minor 'Winter Wind'
12 Etudes, Op.25: XII - C Minor

Tracks:

2 Polonaises, Op.26: I - C Sharp Minor
2 Polonaises, Op.26: II - E Flat Minor
2 Polonaises, Op.40: I - A Major
2 Polonaises, Op.40: II - C Minor
Polonaise In F Sharp Minor, Op.44
Polonaise In A Flat Major, Op.53
Polonaise-fantaisie In A Flat Major, Op.61

Tracks:

3 Polonaises, Op.71: I - D Minor
3 Polonaises, Op.71: II - B Flat Major
3 Polonaises, Op.71: III - F Minor
Polonaise In B Flat Minor
Polonaise In G Flat Major
Polonaise In G Minor
Polonaise In B Flat Major
Polonaise In A Flat Major
Polonaise In G Sharp Minor

Tracks:

Waltz In E Flat Major, Op.18
3 Waltzes, Op.34: I - A Flat Major
3 Waltzes, Op.34: II - A Minor
3 Waltzes, Op.34: III - F Major
Waltz In A Flat Major, Op.42
3 Waltzes, Op.64: I - D Flat Major
3 Waltzes, Op.64: II - C Sharp Minor
3 Waltzes, Op.64: III - A Flat Major
2 Waltzes, Op.69: I - A Flat Major
2 Waltzes, Op.69: II - B Minor
3 Waltzes, Op.70: I - G Flat Major
3 Waltzes, Op.70: II - F Minor
3 Waltzes, Op.70: III - D Flat Major
Waltz In E Minor (1830)
Waltz In E Major (1829)
Waltz In A Minor (?1843)
Waltz In A Flat Major (1827)
Waltz In E Flat Major ('Sostenuto', 1840)
Waltz In E Flat Major (1829 - 1830)

Tracks:

4 Mazurkas, Op.6: I - F Sharp Minor
4 Mazurkas, Op.6: II - C Sharp Minor
4 Mazurkas, Op.6: III - E Major
4 Mazurkas, Op.6: IV - E Flat Minor
5 Mazurkas, Op.7: I - B Flat Major
5 Mazurkas, Op.7: II - A Minor
5 Mazurkas, Op.7: III - F Minor
5 Mazurkas, Op.7: IV - A Flat Major
5 Mazurkas, Op.7: V - C Major
4 Mazurkas, Op.17: I - B Flat Major
4 Mazurkas, Op.17: II - E Minor
4 Mazurkas, Op.17: III - A Flat Major
4 Mazurkas, Op.17: IV - A Minor
4 Mazurkas, Op.24: I - G Minor
4 Mazurkas, Op.24: II - C Major
4 Mazurkas, Op.24: III - A Flat Major
4 Mazurkas, Op.24: IV - B Flat Minor
4 Mazurkas, Op.30: I - C Minor
4 Mazurkas, Op.30: II - B Minor
4 Mazurkas, Op.30: III - D Flat Major
4 Mazurkas, Op.30: IV - C Sharp Minor
4 Mazurkas, Op.33: I - G Sharp Minor
4 Mazurkas, Op.33: II - D Major
4 Mazurkas, Op.33: III - C Major
4 Mazurkas, Op.33: IV - B Minor
4 Mazurkas, Op.41: I - C Sharp Minor
4 Mazurkas, Op.41: II - E Minor
4 Mazurkas, Op.41: III - B Major
4 Mazurkas, Op.41: IV - A Flat Major

Tracks:

3 Mazurkas, Op.50: I - G Major
3 Mazurkas, Op.50: II - A Flat Major
3 Mazurkas, Op.50: III - C Sharp Minor
3 Mazurkas, Op.56: I - B Major
3 Mazurkas, Op.56: II - C Major
3 Mazurkas, Op.56: III - C Minor
3 Mazurkas, Op.59: I - A Minor
3 Mazurkas, Op.59: II - A Flat Major
3 Mazurkas, Op.59: III - F Sharp Minor
3 Mazurkas, Op.63: I - B Major
3 Mazurkas, Op.63: II - F Minor
3 Mazurkas, Op.63: III - C Sharp Minor
4 Mazurkas, Op.67: I - G Major
4 Mazurkas, Op.67: II - G Minor
4 Mazurkas, Op.67: III - C Major
4 Mazurkas, Op.67: IV - A Minor
4 Mazurkas, Op.68: I - C Major
4 Mazurkas, Op.68: II - A Minor
4 Mazurkas, Op.68: III - F Major
4 Mazurkas, Op.68: IV - F Minor
Mazurka In A Minor ('a Emile Gaillard', 1840)
Mazurka In A Minor ('Notre temps', 1840)
Mazurka In B Flat Major (1826)
Mazurka In G Major (1826)
Mazurka In A Flat Major (1834)
Mazurka In C Major (1833)
Mazurka In B Flat Major (For Alexandra Wolowska, 1832)
Mazurka In D Major (1832)
Mazurka In D Major (?1820)
Mazurka In F Minor, Op.68 No. 4 - Vladimir Ashkenazy

Tracks:

Piano Sonata No.2 In B Flat Minor, Op.35: I - Grave - Doppio movimento
Piano Sonata No.2 In B Flat Minor, Op.35: II - Scherzo
Piano Sonata No.2 In B Flat Minor, Op.35: III - Marche funebre
Piano Sonata No.2 In B Flat Minor, Op.35: IV - Finale: Presto
Piano Sonata No.3 In B Minor, Op.58: I - Allegro maestoso
Piano Sonata No.3 In B Minor, Op.58: II - Scherzo: Molto vivace
Piano Sonata No.3 In B Minor, Op.58: III - Largo
Piano Sonata No.3 In B Minor, Op.58: IV - Finale: Presto, non tanto
Fantaisie In F Minor, Op. 49

Tracks:

Piano Sonata No.1 In C Minor, Op.4: I - Allegro maestoso
Piano Sonata No.1 In C Minor, Op.4: II - Minuetto - Trio
Piano Sonata No.1 In C Minor, Op.4: III - Larghetto
Piano Sonata No.1 In C Minor, Op.4: IV - Finale: Presto
Variations sur un air national allemand - E Major (1826)
Rondo In C Minor, Op.1
3 Ecossaises, Op.72 No.3: I - D Major; II - G Major; III - D Flat Major
Rondo 'a la Mazur' In F Major, Op.5
Marche funebre In C Minor, Op.72 No.2
Contredanse In G Flat Major (?1827) - Vladimir Ashkenazy
Rondo In C Major, Op.73 - Vladimir Ashkenazy
Variations In D Major For Piano Duet (1826) - Vladimir Ashkenazy

Tracks:

Variations In A Major ('Souvenir de Paganini', 1829)
Variations brillantes In B Flat Major, Op.12
Rondo In E Flat Major, Op.16
Bolero In A Minor, Op.19
Cantabile In B Flat Major
Variation In E Major
Largo In E Flat Major
Allegro de concert In A Major, Op.46
3 Nouvelles Etudes (1837): I - F Minor
3 Nouvelles Etudes (1837): II - A Flat Major
3 Nouvelles Etudes (1837): III - D Flat Major
Tarentelle In A Flat Major, Op.43
Fugue In A Minor (1841 - 42)
Albumblatt in E Major (1843)
Op.74 No.2: Wiosna - Spring
2 Bourrees (1846): I - G Minor; II - A Major
Galop Marquis
Berceuse In D Flat Major, Op.57
Barcarolle In F Sharp Major, Op.60

Customer Reviews:

My experience of this CD.......2007-04-04

My hats off to this CD collection! It was worth it!!! Chopin is a true genius for the piano, on this collection.

Beautiful!.......2006-08-18

This is a beautifully played collection of Chopin's work. It was a birthday gift,
and I listen to bits of it every day. I have yet to find a favorite
CD, as each is so lovely. It is well worth the price.

Well worth the money. Wonderful! Wonderful!.......2006-06-10

I am not a classical music expert but I am an expert when it comes to a great product. I have listened to the works of rubenstein and Horowitz, but nothing is comparable to this great collection of polands favorite son. The nocturnes are dreamy and romantic. The other pieces though not as mesmerizing have plenty of depth and feeling. This is a collection that you will listen to over and over again. Although this music is great anytime, it's especially meaningful during a light rainfall. Go ahead and make this investment. It's only $100.00. For the next 100 days save a dollar and you will have it paid for. I promise you won't be sorry. Excellent! Excellent!

Best investment to make.......2006-05-21

In my opinion, this is the apex of classical music. You will not find a better CD for Chopin or any piano recordings. There may be plenty of comparable CDs, but nothing can claim to surpass this.

Although some pieces are not as good as those by other artists, Ashkenazy's interpretations of Chopin are the best I've ever heard. Add in his amazing technical performance and you've got some sublime music.

Listening to these pieces have immensely helped my own Chopin reportoire. I don't play to mimic Ashkenazy, but I use his insights and apply my own style over that and end up with something exponentially better than what I could produce on my own.

The price is something you have to seriously consider. A hundred bucks. Yeah, that's a lot of money, but that's 48 cents per song. And you'll listen to these songs dozens of times, at least, I guarantee. Plus it's a great deal... if you were to get all the Ashkenazy-Chopin CDs available on Amazon, overlapping pieces as little as possible, you'd pay $30 more and still not have everything.

This is an investment for life and will definitely remain one of my favorite CD sets for decades. Decades. A hundred bucks for decades of amazing music. This stuff is larger than today, larger than life.. music this good is something you can't afford to pass up because of temporary financial difficulties.

A great pianist interpreting the most inspired composer ever !.......2005-09-15

Lets imagine that Chopin himself has recorded his own compositions in a perfectly clear CD. I am sure that some classical music reviewers would say "This is not the way Chopin is meant to be played". These classical music "pundits" are very intolerant.

Interpretation and emotion feeling is also a matter of taste, so that the only one who can give a final answer is Franois (Frederic).

Ashkenazy is gifted with a phenomenal technique, a great pianist. So that this collection is for sure 5 stars. Enjoy it.

Ah, if you like to see piano technique in action, listen to Georgy Cziffra's interpretation of Etude op. 10 no. 4. (Search the album in my reviews.)

Average customer rating:

Andrea Bocelli - Sogno
Not bad!
pleasure to lilsten
Bocelli - Aria
Why...?

Andrea Bocelli - The Opera Album ~ Aria

Manufacturer: Philips
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Binding: Audio CD

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Andrea Bocelli - Amore

ASIN: B0000069CO
Release Date: 1998-04-07

Tracks:

Rigoletto: Questa o quella
La Boheme: Che gelida manina
TOSCA: Recondita armonia
TOSCA: E lucevan le stelle
Madama Butterfly: Addio, fiorito asil
Andrea Chenier: Come un bel di di maggio
I Puritani: A te, o cara
Der Rosenkavalier: Di rigori armato il seno
Fedora: Amor ti vieta
La Fanciulla del West: Ch'ella mi creda
La Gioconda: Cielo e mar!
Adriana Lecouvreur: La dolcissima effigie
La Boheme: Musetta! - Testa adorata
Lucia di Lammermoor: Tombe degli avi miei - Fra poco a me ricovero
Werther: Pourquoi me reveiller
Carmen: La fleur que tu m'avais jetee
La Fille Du Regiment: Pour mon ame

Amazon.com

Andre Bocelli is no opera singer, but he shows far more potential in this album than does another pop-vocalist tenor-wannabe, Michael Bolton. For one thing, he can shake off the crooner mannerisms and really sing when performing music that calls for it. At his best, he has a rich, dark timbre and an easy, unforced top. At other times, however, the tone turns dry and thin and the high notes are constricted, the inconsistency suggesting a lack of technique. Never does one get the impression that he could be heard over a medium-sized orchestra without amplification. This isn't bad singing per se, but there is much better out there, readily available on disc. --Sarah Bryan Miller

Album Description

Exclusive Australian Gold pressing released to coincide with his first public appearance in Australia. He'll be performing at the opening ceremonies and then onto to tour the land down under. His back catalogue will be released & re-packaged in slipcases with his signature on them as well as all of them pressed on gold plated CD's. This pressing includes 17 tracks, all sung in his native Italian Tongue. 1998 release. Standard jewel case.

Customer Reviews:

Andrea Bocelli - Sogno.......2007-06-27

I am 45 years old. The reason why this is something I am mentioning, is to let all of you reading my review know what age group I am in. It might be important to the age you are in knowing what I have to say. I have four Andrea Bocelli CD's and they are all wonderful. I love each of them. My mom turned me on to him, and, since I love Josh Groban, I decided to listen to Andrea Bocelli and see what all her fuss over him was about. I'm glad I did. I am half Italian and half Spanish. I don't know either language, but when I listen to both Andrea and Josh, I don't have to. They make the music tell a story, and instantly, you understand something about the words from just the sound of their voices. If you love Josh Groban, then Andrea Bocelli is someone you should give a listen to. His voice is soothing, powerful, and romantic. I am looking forward to getting more of his CD's. Great Stuff!!!

Not bad!.......2007-04-09

What I have heard about Andrea Bocelli is bimodal--some think that he is not up to the operatic repertoire and is way overrated; others see him as a fine singer, from a nontraditional background and career path. What I hear on this CD is fine singing, with some limitations. He was once a law school student; he played in piano bars. He took lessons from the great Franco Corelli. Some examples of his work illustrate his skills:

"Questa O quella" is a nice romp. His smooth voice moves through this aria nicely. His voice is not a big one. On the other hand, his musicianship seems fine (thank goodness none of the sobbing and catches that some tenors adopt).

In Puccini's "Che gelida manina" (from "La Boheme"), he again sings smoothly. He has a nice sound to his voice. The high note is a bit thin, but certainly not as bad as some critics would have it. A serviceable version, in short.

Then, the twin arias from "Tosca"--"Recondita armonia" and "E lucevan le stelle." Both are well sung. His version of "Recondita armonia" compares well with other versions. He certainly has no reason to hang his head. When he amps up the volume, his voice is not quite as rich as many other tenors, bit it is still fine. Top notes, as observed before, are a bit thin, but--again--hardly reason for lamentation. This is nicely sung. My notes for "E lucevan le stelle" simply say "Ibid." That is, one could write a very similar set of comments.

The last piece is from a different tradition--a selection from Donizetti's "Lucia di Lammermoor," "Tome degli avi miei." Smoothly sung. A bit thin on higher notes. Overall, though, a nice job.

As I listen to his work, I think that Bocelli does a good job in the standard tenor repertoire. Is he a great tenor? No. Is he a good tenor? Yes.

pleasure to lilsten.......2007-01-19

This album is a pleasure. The selections are spirited and well executed. I was very satisfied with this purchse and would recommend it to any one who enjoys opera.

Bocelli - Aria.......2006-11-05

Introduced me to arias that were not known to me, and I find to be
quite beautiful. As usual, Bocelli does not fail.

Why...?.......2006-03-13

Why is there all this continuing controversy after so many years about whether or not Andrea Bocelli is - or is not - Operatically sound? All I know (and that's not saying much for me in this genre), is that after having listened to Amazon.com's sampling of the music on this Audio CD a few moments ago, I wept. Andrea Bocelli always makes me weep - because of his profound spiritual depth. And I don't care what anyone thinks on that issue. All I do know is this. The man sings from his soul...and nothing could surpass that - ever.

Average customer rating:

If you love beautiful voices...
If you want to know Corelli's art, this is the right CD
excellent gift
Greatest Tenor of This Century!
Ah... Franco :}

The Very Best of Franco Corelli

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008V5VV
Release Date: 2003-04-22

Tracks:

A Te, O Cara
Meco All' Altar Di Venere... Me Protegge, Me Difende
Ah Si, Ben mio...De Quella Pira
Se Quel Guerrier Io Fossi!...Celeste Aida
Pur Ti Riveggo, Mia Dolce Aida
Intanto Amici... Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Recitar!... Vesti La Giubba
No, Pagliaccio Non Son
Colpito Qui M'avete...Un Di All'azzuro Spazio
Credo A Una Possanza Arcana
Legray!... Andrea Chenier!...Si, Fui Soldato
Come Un Bel Di Di Maggio
Vicino A Te

Tracks:

Donna Non Vidi Mai
Recondita Armonia
E Lucevan Le Stelle
Non Piangere, Liu... Ah! Per L'ultima Volta!
Nessun Dorma
Favorita Del Re!... Spirto Gentil
Cielo E Mar
L'anima Ho Stanca
Non Lunge Della Torre... Bianca Al Par Di Neve Alpina
Ange Adorable
L'amour, L'amour.. Ah! Leve-Toi, Soleil!
O Nuit Divine!
C'est La! Salut! Tombeau!
Fronde Tenere... Ombra Mai Fu
Ave Maria
Domine Deus
Core 'Ngrato
Torna A Surriento

Customer Reviews:

If you love beautiful voices..........2007-04-30

and passionate singing, you won't be disappointed. While Corelli certainly had his flaws, they are minor in the larger picture of this unique, magnificent force of nature. Then get this set for your friend who thinks Andrea Bocelli is a great tenor.

If you want to know Corelli's art, this is the right CD.......2007-03-10

Franco Corelli had one of the powerful tenor voices of the twentieth century. Think Mario del Monaco with more beauty and grace; think Richard Tucker with a smoother voice. He had annoying touches in his singing, such as those "catches" here and there. But, with Tucker, he is, in my estimation, one of the two most powerful and attention riveting tenors in the past century. Other tenors were more artistic, provided better characterization (think Domingo, Gigli, Pavarotti, Gedda, Caruso, and some others).

But Corelli was a wonder of nature! Some samples: "Ah si, ben mio. . .Di quella pira." If there were an aria made for Corelli, this would be it. His big, rich, powerful voice fits this cut nicely. Not much subtlety here. In "Di quella pira," he hits the high notes in a stentorian manner. There are those mannerisms, but they are so easily forgiven, taking into account that rich, lustrous voice.

"Celeste Aida" is another representative cut. This is a powerful version. Also, note how he goes from forte to piano at the end of this aria. A powerful effect indeed.

Then, there are the twin arias from "Tosca." In "Recondita armonia," his rich voice is well manifest. He exhibits a smooth line in his singing. This is a powerful version of this well known aria. "E lucevan le stele" displays again that rich voice. At one point, he goes from forte to piano in a mesmerizing manner (Who'd have thought it?). His final "la vita" grabs one's attention.

Finally, "Nessun dorma." Well, smoothly, and powerfully sung. The final "vincero" is powerfully rendered, leaving goose bumps on the spine.

This is the very best of Franco Corelli. Those who want to get a sense of the vocal prowess of one of the most powerful tenors of the 20th century should attend to this double CD set.

excellent gift.......2007-02-09

I gave it to my father and he says Its an amazing cd.

Greatest Tenor of This Century!.......2007-02-03

Franco Corelli is the greatest tenor of this century. Although there are many fine tenors including Carlo Bergonzi - no tenor comes close to singing with the pure heart and animal magnetism of Franco Corelli. Surprisingly, he was also quite comfortable with bel canto, listen to the incredible "A te o'cara". I've heard "Nessun Dorma" sung by many excellent tenors and hands down, none can touch the sublime beauty of Corelli's version. This 2cd set of his greatest arias is a wonderful gift for any opera fan. "Recondita Armonia" is my personal favorite. His thrilling vocal beauty and intensity of performance is truly unforgettable.

Ah... Franco :}.......2007-01-10

Such a pleasing voice. I can't believe the clarity and perfection. He was well before my time and others have become more 'popular' since then, but for some reason his voice seems better than the more current singers. I do not know much about opera so I will have to rely only on my own ears. I happily recommend this double album. I like to have it playing on the 5 CD changer with other opera cds, mixing through them...it is a perfect saturday morning accompaniment. enjoy.

Average customer rating:

I am in love with Anna
simple stunning
Ok but not a bel canto singer
Having It All
Talented singer, but should she choose her reportoire better?

Sempre Libera
Giacomo Puccini , Giuseppe Verdi , Claudio Abbado , Sascha Reckert , Sara Mingardo , Mahler Chamber Orchestra , and Saimir Pirgu
Manufacturer: Deutsche Grammophon
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Anna Netrebko: Opera Arias
Russian Album
Violetta: Arias and Duets from Verdi's La Traviata [Includes DVD]
Anna Netrebko - The Woman, The Voice
Verdi - La Traviata

ASIN: B000295TXC
Release Date: 2004-08-10

Tracks:

E strano! - "Ah, fors'ui"
Sempre libera
Ah! Se una volta sola
Ah, non credea mirarti
Ah! non giunge uman pensiero
O rendetemi le speme...Qui la voce
Ah! tu sorridi
Vien, diletto, n ciel la luna
O giusto cielo! (Act 2)
OihmSorge il tremendo
Ardon gli incensi... (Act 2)
Spargi d'amaro pianto (Act 2)
Era pimo?
Piangea cantando nell'erma landa...
Ave Maria, piena di grazia
O mio babbino caro

Amazon.com

Anna Netrebko's second CD is even more impressive than her first. She still may not be an absolutely polished, finished artist, but she's working at it and presents here a very satisfying---even thrilling---program. She doesn't quite have the stature or insights for Verdi's Violetta yet, but aside from some smudged coloratura in low-lying passages she sings the first act scene quite well (capped with a well-placed, big E-flat). She's close to ideal in the Sonnambula and Puritani excerpts, where her girlishness is entirely right, her coloratura dazzling, and her ability to sound tearful really impressive. The Lucia Mad Scene (also notable here for its use of the glass harmonica for which it was composed in place of the usual flute) is quite wonderful, even if the runs are sometimes not as well-delineated as they should be. And although she's not vocally suited to Desdemona's Willow Song and Ave Maria, she does manage to darken her voice to fit the character and presents a very moving portrait. The CD ends with an utterly charming "O mio babbino caro." Artistry and everything else aside, her voice is just beautiful. Claudio Abbado's leadership is ideal. --Robert Levine

Customer Reviews:

I am in love with Anna.......2007-05-15

Did you see her in the Met's big screen broadcast of I Puritani? Then you know what I mean. Here is a just stunningly, impossibly gorgeous woman with a voice of liquid fire and gold who can sing with passion and precision while she's bending over and crawling around on the floor! If she weren't real I would guess she was the invention of the overinflamed imagination of a heterosexual opera queen (if such a being exists).

If you love getting great voice, buy this.

simple stunning.......2007-05-10

having just found this young womans CD in our local speciality store I was transformed from the mundaine life to the peak of ecstasy with her wonderful voice and the intense colours created by her own intensity.Here is a woman who can fill the heart with words that are pure gold and like velvet on the mind ,a truly wonderful voice and a stunning person to go with it .Here at last is a worthy successor to Dame Joan and others who gave opera to the world ,now we have in Anna Netrebko someone to give the passion and drama of opera to a new audience with the fire and fun of the pleasure this style of music can give.It is great to at last have an opera singer of this caliber who is unafraid to be herself and to let her own warmth and passion come through LONG May she continue to be the standard for others to attain.May she never change her love of singing and life

Ok but not a bel canto singer.......2007-03-21

Anna Netrebko's I Puritani selections are way below the art and skill of Callas, Sills, Sutherland, Caballe, and Gencer. She has no passion, no trills, no high notes that are deep and rich. Her best is in the Russian repertoire and possibley some undemanding Mozart.

Her broadcast from the Met Live of the I Puritani was alright, but scooping, avoidance of repetitions, running through passages like a locomotive, and an ending that would have brought the wrath of most opera houses in the world..scooping again, and a tight awful sounding high note. The same tentativenes is also here on this CD.She should know this. Her beauty and acting and allure are what interest the masses, not the voice, which is forgiven everything.

Too bad; she could be a lovely Tatyana some day.Also too, the Traviata is not that great; Anna Moffo , Renee Fleming, M. Caballe, and of course Maria Callas..Listen to these and hear the difference.

Having It All.......2007-01-22

This is a remarkable CD by the current "it" soprano. Anna Netrebko has it all. She is a wonderful singer, and a beautiful woman. Any star on the rise, particularly one with this much physical beauty and commercial promise, will always fall victim to criticisms that are more or less trivial. Believe me, I get it. When I first saw Anna, I wanted to be judgemental. After all, maybe she was just another pretty face being pushed by a record company. Then I heard her "Sempre libera" and became a fan.

There are criticisms of her trill, or her lack of a trill. Renee Fleming doesn't have a trill, and she has been the acclaimed queen for some time. Because of Anna's trill issues, she's criticized as lacking something that a coloratura should have. Well, she's not a coloratura. A good bel canto singer does not have to be a coloratura. There are criticisms of Anna's repertoire choices. You know why she picked this interesting melange for this CD? Because these are difficult scenes and arias, and she can do them. The only aria I didn't think "fit" is the "O mio babbino caro". She does it well, I just can't figure out what it's doing on this CD.

The "La Traviata" scene that starts the CD is absolutely magnificent. She is a wonderful Violetta, and sings this demanding scene with panache. She does the high E-flat at the end. Of course, she was coached by Scotto on this aria. Nice coaching if you can get it. No less remarkable are her scenes from "La sonnambula" and "I puritani". Her "Qui la voce" was beautiful. To listen to that gorgeous singing, and only focus on whether or not she has a trill is to miss the point of the music. I can definitely see why the Met is giving her the "Puritani" this season. Her scenes from "Lucia di Lammermoor" were technically perfect, and her mad scene very well done. The "Otello" scenes were amazing, particularly the floated pianos and pianissimos in the "Ave Maria". Abbado and the Mahler Chamber Orchestra are wonderful collaborators.

Ignore the criticisms and buy this CD! You'll be glad that you did. Highly recommended.

Talented singer, but should she choose her reportoire better?.......2007-01-10

Anna Netrebko has an attractive voice and a pleasing personality in this recording. But her performance also raises some questions.

First, she has a Callas-like habit (not a great compliment) when she ups her volume on higher notes of producing a rather unpleasant sound. In "Sempre libera," from "La Traviata," this is manifest. I compare this with the silky smooth lyric voice of Anna Moffo, from the 1960s and 1970s, who essayed this same piece in a manner much more attractive to the ear. Second, I could not hear a single trill on this CD (although maybe I missed something). In the colorature/bel canto repertoire, this is not a trifle. A trill is a standard part of a coloratura soprano's armamentorium. In that, again, she is like Callas, who scarcely issued forth a trill. "Spargi d'amaro pianto" is one of the classic cabalettas for coloratura sopranos. Sung without trills, it is not very satisfying. Some who have recorded the pyrotechnics of the "Mad Scene" have only displayed adequate trills (e.g., Anna Moffo or Angela Gheorghiu). Others, of course, have deployed wondrous effects, such as Joan Sutherland and Beverly Sills. Just so, the cabalettas in "La Sonnambula" and "I Puritani."

Certainly, Netrebko also exhibits considerable strengths. Other ornamentation is fine; she has an agile voice; she can hit all the notes, including the high ones. Her vocal sound is most attractive (outside the one example noted earlier of a certain harshness). Her singing in the pieces from "Otello" and "Gianni Schicchi" are very well done.

So, all in all, a nice CD, but one that does not seem to feature Anna Netrebko at her best.

A - Z of Opera (includes 762 page booklet)

Average customer rating:

AN OPERA OPUS THAT'S A MUST!
The Best
Superb Modestly Priced Favorite Arias Collection!!!
Wonderful introduction to opera

A - Z of Opera (includes 762 page booklet)
Puccini , Thomas Harper , Ingrid Kertesi , Scholars Baroque Ensemble , and Hungarian State Opera Orchestra
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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A to Z of Classical Music
The Most Famous Opera Duets
The Most Famous Opera Arias
The Best of Italian Opera
Amor--Opera's Great Love Songs

ASIN: B00004YYRR
Release Date: 2000-10-17

Tracks:

L'Orfeo: Sinf/Ecco Pur Ch'a Voi - Cappella Musicale Di S. Petronio Di Bologna/Sergio Vartolo
Dido And Aeneas: When I Am Laid In Earth - Kym Amps
Rinaldo: Lascia Ch'io Pianga - Ingrid Kertesi
Serse: Ombra Mai Fu (Largo) - Ingrid Kertesi
Orfeo Ed Euridice: Dance Of The Blessed Spirits - Slovak State PO/Johannes Wildner
Alceste: Ombre Larve - Theresa Ringhoz/Drottningholm Theatre Chor
Don Giovanni: Madamina! (Catalogue Aria) - Andrea Martin
Cosi Fan Tutte: Soave Sia Il Vento (Terzetto) - Joanna Borowska/Rohangiz Yachmi/Peter Mikulas
The Marriage Of Figaro: Non Piu Andrai - Natale De Carolis
Die Zauberflote: Der Holle Rache (Aria Of The Queen Of The Night) - Helen Kwon/Hungarian Festival Chor
Fidelio: Abscheulicher! - Inga Nielsen/Hungarian Radio Chor
Der Freischutz: Huntsmen's Chor - Slovak Phil Chor
The Barber Of Seville: Largo Al Factotum - Roberto Servile
L'Elisir D'Amore: Una Furtiva Lagrima - Vincenzo La Scola
I Puritani: Qui La Voce Sua Soave - Luba Orgonasova
La Traviata: Un Di Felice (Love Duet) - Monika Krause/Yordy Ramiro
Nabucco: Va Pensiero (Chor Of The Hebrew Slaves) - Slovak Phil Chor (Bratislava)
Aida: Grand March - Nat SO Of Ireland/Rico Saccani
Falstaff: E Sogno? O Realita - Roberto Servile

Tracks:

Rigoletto: La Donna E Mobile - Yordy Ramiro/Slovak Phil Chor
Die Walkure: Ride Of The Valkyries - Czecho-Slovak RSO/Uwe Mund
Tannhauser: Begluckt Darf Nun Dich (Pilgrims' Chor) - Slovak Phil Chor
La Wally: Ebben, Ne Andro Lontana - Miriam Gauci
Rusalka: O, Silver Moon (Song To The Moon) - Jana Valaskova
Gianni Schicchi: O Mio Babbino Caro - Luba Orgonasova
La Boheme: Che Gelida Manina - Jonathan Welch
Madama Butterfly: Un Bel Di Vedremo - Miriam Gauci
Tosca: E Lucevan Le Stelle - Giorgio Lamberti
Turandot: Nessun Dorma - Thomas Harper/Slovak Phil Chor
Lakme: Dome Epais (Flower Duet) - Adriana Kohutkova/Denisa Slepkovska
Thais: Meditation - Janos Selmeczi
Carmen: L'Amour Est Un Oiseau Rebelle (Habanera) - Graciela Alperyn/Slovak Phil Chor/Bratislava Children's Chor
The Pearl Fishers: Au Fond Du Temple Saint (Duet) - Janez Lotric/Igor Morozov
Pagliacci: Recitar!... Vesti La Giubba - Nicola Matinucci/Slovak Phil Chor
Cavalleria Rusticana: Intermezzo - Czecho-Slovak RSO/Alexander Rahbari
Andrea Chenier: Come Un Bel Di Di Maggio - Thomas Harper
King Roger: Roxana's Aria - Barbara Zagorzanka
Die Tote Stadt: Gluck, Das Mir Verblieb (Marietta's Lied) - Katarina Dalayman/Thomas Sunnegardh/Tomtberga School Children's Chor/Royal Swedish Opr Chor

Album Description

A-Z of Opera is a 762-page, illustrated book, accompanied by two-and-a-half hours of opera's most glorious and moving moments on two CDs, and reflects the ever-growing Naxos catalog of recordings ranging from Monteverdi to the contemporary. A-Z of Opera provides a wide range of information on operas and their composers, from Handel's Rinaldo to Mozart's Die Zauberflote, and beyond. It features plot synopses, background details and cast lists for hundreds of operas including well-known standards as well as opera rarities. In addition, there is a wealth of information about all the great composers and a glossary of key musical and operatic terms.

Customer Reviews:

AN OPERA OPUS THAT'S A MUST!.......2003-01-19

Oh, such letter-perfect perfection! This marvel features a two-hour-plus showcase of well-known arias from "Cosi Fan Tuti," "Aida," "Carmen," "Madame Butterfly" and "The Barber of Seville." It also comes with a book --- 762 pages of remarkable facts, figures and illustrations.Encore!

The Best.......2002-06-09

This is, by far, the best introduction to opera on the market. It also contains some gem performances for anyone who already has a serious opera collection. Several tracks on this collection of mostly Eastern European singers rival those of their Western counterparts. This is a collection for EVERYONE - from the opera novice to the person who has long collected all the major Western stars. At this price, it's the best opera bargain in the world. GET IT NOW!!! Thank you, Naxos! I hope that some of these Eastern European singers at last get the attention they deserve.

Superb Modestly Priced Favorite Arias Collection!!!.......2001-02-12

I received this as my 20th birthday gift from my bestfriend and I was amazed at the quality and the content of this CD. Some of the arias which I am immensely fond of are included, i.e. "Habanera" from Bizet's "Carmen." And who would have guessed that the soprano on track 10 performing Queen of the Night's Aria from Mozart's "Die Zauberflote" was none other than Hellen Kwon? Amazing!

I really love this gift from my bestfriend for it was thoughtful and well, what can I say that this makes an excellant gift for opera neophytes (though I am not an opera neophyte).

The highlight of this CD is track 13, Rossini's "Largo al Factotum" from "The Barber of Seville." When I first heard this, I was contemplating to myself as to where have I heard this before. Then it hit me: Michigan J. Frog's signature tune! (In case people are wondering who on earth is Michigan J. Frog is, he is the Warner Brother's frog; the frog can be seen on WB network channel). I love this track! Buy this for yourself if not this makes a perfect gift for your opera neophyte friend(s)! This track brings joy and smiles on my face everytime I hear this piece!

Wonderful introduction to opera.......2000-12-16

More than just a promotional sampler, the Naxos (8.555037-38) contains not only 2 CDs crammed with 39 excerpts from that company's seemingly bottomless catalogue, but also a 762 page book. The text offers plot summaries of almost every important opera and many of far lesser renown (Delius' "The Magic Fountain," Mascagni's "Iris," for example), a brief biography of the composers, a glossary, and finally a discography. The recorded examples are in chronological order from Monteverdi to Korngold. The entries in the book, however, are in alphabetical order--so be careful to look for "Zauberflote," not "Magic Flute," and so on.

Of course, Big Names do not appear on many Naxos opera sets; but this set is an introduction to that vast area of culture and is meant to be an educational (and of course a promotional ) device. Nevertheless, many of the selections on the CDs are beautifully sung, a very few lack characterization (the arias from"Don Giovanni" and "Nozze di Figaro" for two). But at this incredibly low budget price, who can complain?

As soon as I saw what this set had to offer, I immediately ordered a copy as a seasonal gift for a friend who wants to "get into" opera. I could think of no better gift.

Tracks:

Artaxerxes: The Soldier Tir'd
Samson: Let The Bright Seraphim
Norma: Sediziose voci ... Casta diva ... Ah! bello a me ritorna
I Puritani: Son vergin vezzosa (Polonaise)
Semiramide: Bel raggio lusinghier
I Puritani: O rendetemi la speme ... Qui la voce ... Vien, diletto
La Sonnambula: Care compagne ... Come per me sereno ... Sovra il sen
Faust: O Dieu! que de bijoux ... Ah! je ris de me voir

Tracks:

Romeo et Juliette: Ah! Je veux vivre
Otello: Mia madre aveva una povera ancella ... Piangea cantando
Die Entfuhrung Aus Dem Serail: Martern aller Arten
La Traviata: E' strano ... Ah, fors'e lui ... Sempre libera
Hamlet: A vos jeux, mes amis
Lakme: Ah! Ou va la jeune Indue
Les Huguenots: O beau pays de la Touraine!
Rigoletto: Gualtier Malde ... Caro nome

Amazon.com

In February 1959, an unknown (well, comparatively) Australian singer appeared at Covent Garden in Franco Zeffirelli's new production of Lucia di Lammermoor and took the world by storm. The following year, Joan Sutherland went into the studio to record this reissued tribute to prima donnas of previous generations, illustrating along the way the bel canto tradition of which she was to become a leading exponent. The 16 excerpts on this digitally remastered double CD include several roles she had already sung or was on the verge of singing, from Gilda in Rigoletto, which she had sung at Covent Garden before her Lucia debut, to Norma. What a performance! The voice is fresh, remarkable in its beauty, and she makes it all sound so effortless, tossing off Handel's "Let the bright Seraphim" or the Jewel aria from Gounod's Faust as if they're the easiest things in the world. This sparkling selection of glorious singing demonstrates just why Sutherland was to remain at the top of her profession for the next 30 years and join those to whom she here pays tribute as one of the great singers of all time. --Richard Fawkes

Customer Reviews:

La Stupenda is stupendous on this recording. Don't miss it!.......2007-01-05

I originally bought "The Art of the Prima Donna" in 1963, when I was just a kid, after seeing Dame Joan's debut in "Norma" with the Vancouver Opera in October of that year, and I was completely bowled over by both her live performances and her recording. She made me an opera fan for life. I've worn out and replaced that miraculous recording since then, and now have a third version on CD.

I completely disagree with those who believe that Sutherland lost the gleam on her voice after 1961. It's true that she suffered for several years with intermittently poor diction and rhythmic lapses, but these were due to terrible medical problems and the results of serious operations that were required to restore her health. Later she recovered most of her vocal lustre and all of her enthusiasm for performing, and her diction steadily improved. Her fabulous technique remained intact until her retirement in 1990.

No singers sound as fresh at 50 as they do at 30. Just listen to how Callas sounded in her later years, when her voice had almost completely deteriorated, and her career was far shorter than Sutherland's. The fact is that Sutherland sang in public for forty years, without amplification and often in barnlike theatres, and yet she still sounded formidable when she retired. Just listen to her performance of the final aria from "Lucrezia Borgia" on YouTube. I heard her debut in that role, again in Vancouver, shortly before that Covent Garden performance, and can attest that she was still in fabulous voice at the age of 53 and her coloratura remained spectacular.

What "The Art of the Prima Donna" gives us is the memory of an unparalleled vocal phenomenon in her glorious youth, before her physical disabilities briefly interrupted her career. No singer since has created a recording that exhibits anything like the range, vocal beauty and versatility that Sutherland displayed on this historic recording--not Callas, nor Caballe, nor Sills, nor any of their recent imitators. The title of this recording was not an exaggeration. This is singing that truly revived "The Age of Bel Canto," to quote the title of another Sutherland recording. "The Art of the Prima Donna" and Sutherland's earlier recordings, if you can get them, constitute an invaluable legacy from an artist who truly restored the golden age of singing.

Sutherland is Amazing.......2006-06-29

The first thing I ever heard by Sutherland was the Bel Raggio and I was floored. The voice sounded huge but I wondered if it was a technicians trick. I heard her on stage many times. Recordings do NO JUSTICE to the hugeness of the voice. Her diction was weak and her line sometimes droopy but the warm, huge, fexible voice was amazing. I don't think she or anyone else was the Voice or Singer of the century- no voice or singer could sing every role in the repetoire. Sutherland could no more sing Brunnhilde than Flagstad could sing Lucia.

In her repertoire, JS was one of the greatest voices with an incredible technique and style that ever made recordings. This is a great CD - but some others which were issued on vinyl but to my knowledge not on CD help round out the Sutherland greatnes, viz., Command Performance, The Age of Bel Canto and the French Opera Album. She did a 2 disc set called "A Festival of Baroque Operas- There is an aria called "Barbaro, Barbaro" which is mind boggling for the speed and clarity of its coloratura. Even in 1977 at 51 yrs old her video performance of Lucrezia Borgia is amazing - it is one of the greatest performances she ever did- exciting, tender and again with that huge voice and flexibility. The last scene is amazing.

Flawless-NO Unique-WITHOUT A DOUBT!!!!!

A Phenomenal Historic Recording Newly Minted.......2005-10-08

There is not much to add to the encomiums of previous reviews. This is one of the most astounding vocal recitals, if not THE most astounding, ever recorded. It caught one of history's greatest singers in her absolute prime, before the well-known defects - mushy diction, cloudy tone, sliding into notes, enervated rhythmic sense - began to compromise her singing. (Well, ok, the diction here is not crystal clear, but mostly quite acceptable and MUCH better than it later became.)

One wonders if any other soprano in history ever sang so fast, so high and so loud while always preserving such a full, golden, round sound. Sutherland was a genuine vocal phenomenon, and even those who don't generally care for her singing surely must find their jaws on the floor repeatedly during this recital. Every selection has something treasurable. My personal favorites: "A soldier tir'd," "Bel raggio lusinghier," "Qui la voce," "Come per me sereno," the "Hamlet" Mad Scene, the Bell Song, and "O beau pays."

The remastering is superb, enabling us to hear Sutherland's voice in all its pristine glory. The engineers have even managed to mitigate the rumble of Underground trains (the Picadilly Line?) that were a perpetual problem in Kingsway Hall, although I was glad to hear that the loud yell in the distance one hears during the "Croce e delizia" section of "Ah, fors'e lui" is still there; by now it is an old friend, and I would miss it.

Canary in the silver mine .......2005-09-20

This is a good compilation, and Sutherland was captured at the right time, before she went completely mushy dictionwise and lost her vocal sheen. The remastered sound is very good, too, spectacular for a recording from the 1960s.
However, after digesting this CD for several weeks, I still have a mixed response to all these Stupendous vocalistics.
The beginning is the main sour note- Arne is tired, with often imprecise, behind the beat coloratura, quite unlike the rest of Sutherland's output, and Let the Bright Seraphim is unbelievably leaden- the orchestra in particular sounds awful, and clunky. I can't comment on ornamentation here because I didn't detect any. This is a poor man's Seraphim, only impressive if you never heard any other versions, and Sutherland's voice is wasted in this piece.
This CD really picks up with Casta Diva, a dazzling showcase for Sutherland's voice. I was very impressed with Sutherland's performance as Norma in this recording- what happened to her in later years, when her "acting" was limited to, as she herself described it, wearing a "generally pained expression" and singing without much color or feeling?
Pieces from I Puritani are great, then we get excellent Rossini, wonderful Jewel Song, and then sparkling Juliet and very effective, beautiful and dramatically involved Desdemona.
And then- another fly in the ointment, Marten Aller Arten. This is one of my favourite arias and I can be very unforgiving when it comes to its performance, plus I like Konstanze to be really angry and wired, which is sort of opposite of what Joan does. This is a pretty, chirpy Marten, and she works hard on her German- way too hard actually, she seems to be slowing down trying to pronounce it, and still "Ich verlache" and "mich" turn into "Ich ve-ayee" and "meeeh", plus she does not sound as secure on top as I would expect, with a metallic high C. She picks up at the very end, putting some feeling into the sound, then topples again... This is a hit and miss one.
Fortunately the rest of the CD is filled with sparklers more in Sutherland's vein. Violetta is really great, with a fantastic high E, Ophelia is nice, Lakme is vocally one of the best I have ever heard, the dull Meyerbeer aria is made interesting and shimmery- that fabulous trill is finally put to work after many tracks of underuse- and then it all ends with a most charming Gilda.
It's not the greatest vocal performance ever put on vinyl/plastic/megabites, but overall, a good, historical set to add to your collection of opera recitals and soprano specials.

Bel Canto from an angelic voice.......2005-04-19

There are only a few soprano-recitals that are absolutely essential and must be in every opera collector's collection. The art of the primadonna, does it qualify? Oh yes indeed and here's why. Joan Sutherland had one of the most brilliant and beautiful voices in recorded history, combine that with an excellent technique, high notes that sparkle like stars and coloratura of angelic quality and you get what Joan Sutherland was in 1961. To describe only a few favourites:

2. Samson, oratorio, HWV 57 Let the bright Seraphim
Composed by George Frideric Handel
with Joan Sutherland

A sparkling and intense interpretation of this well known yet hardly ever magnificently performed piece. Lucid, beautiful and technically impeccable.

3. Norma, opera Sediziose voci... Casta diva... Ah! bello
Composed by Vincenzo Bellini
with Joan Sutherland

Surely her best studio-recording of this killer-aria. She is one of the few Normas who masters the recitativo without cracking or sounding strained, yet full of authority and intelligent drama. The Casta Diva itself is fluent, the make-or-break coloratura wonderfully executed. As for the cabaletta, not since young Callas in 1949 have I heard this piece sung so beautifully! Amazing high notes crown a cabaletta that broke more than one famous Norma before.

6. I Puritani, opera O rendetemi la speme... Qui la voce... Vien, diletto
Composed by Vincenzo Bellini

A Bellinian madscene at its finest. Once again only Callas in 1949 can be compared to this wonder of a recording. Callas too found darker colours and more intensity. (Dolore e passione as described in the score) Sutherland may lack these but she sings it with her own sense for drama which is uniquely sublime.

10. Otello, opera Mia madre aveva una povera ancella... Piangea cantando
Composed by Giuseppe Verdi
with Joan Sutherland

An interesting and excellent choice. There are pictures of Joan Sutherland as Desdemona and what a pity that no complete recording of her performances survived. I find her Desdemona to be far more convincing than Tebaldi because she sounds more fragile and elegant, plus she has that silvery tone of innocence that I don't hear in Tebaldi's golden, sensual voice. Excellent in the floating lines, beautiful and tender in the cantabile.

16. Rigoletto, opera Gualtier Maldè... Caro nome
Composed by Giuseppe Verdi
with Joan Sutherland

This can be compared to Maria Callas' live-performance of this piece and, being in excellent sound, might be preferred. (Callas was excellent in the studio as well, yet in 1955 she was less daring and defying) Stunningly intense in the cantabile and brilliant in the coloratura-passages. Far better than her famous performance with Pavarotti where she had lost the youthful, silvery sound that made her earlier Gilda so loveable.

I do not adore her as much in French opera and La Traviata or anything German but that doesn't mean that her singing was anything but amazing, just a personal preference. In short: Buy it and discover why Joan Sutherland is indeed La Stupenda!

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Classic coloratura singing by Dame Joan
Great Sutherland Recordings
Joan Sutherland in her Prime!! Amazing!!!
La Stupenda!
Exquisite combination of lyricism and coloratura

Joan Sutherland - The Greatest Hits

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000006P4S
Release Date: 1998-05-12

Tracks:

Samson: Let The Bright Seraphim
La buona figliuola: Furia di donna
Norma: Casta diva
I Puritani: Son vergin vezzosa (Polonaise)
La Fille Du Regiment: Pour ce contrat fatal...Ah! salut a France
Lakme: Ah!...Ola jeune Indoue (Bell Song)
Rigoletto: Gualtier Mald.Caro nome
Faust: Dieu! que de bijoux!...Ah! je ris de me voir si belle (Jewel Song)
La Traviata: E' strano!...Ah, fors'ui...Sempre libera
Les Contes d'Hoffman: Les oiseaux dan la charmille (Doll Song)
Lucia di Lammermoor: Il dolce suono mi colpi di sua voce!...Ardon gl'incensi (Mad Scene)

Customer Reviews:

Classic coloratura singing by Dame Joan.......2007-01-21

Joan Sutherland was one of the wonders of coloratura technique in the 1950s and 1960s. Some say that the 1960s represent the peak of her accomplishments. The cuts on this CD represent that period, so this is Dame Joan at her best. Music ranges from Handel to Bellini to Delibes to Donizetti to Verdi, with Gounod, Piccinni, and Offenbach thrown in for good measure. She was not great on characterization (no Tebaldi, Callas, or Moffo here), but, oh, that voice! Some illustrative examples follow. . . .

She began as a dramatic soprano, so that there is a lot of punch behind her coloratura technique. It is amazing that she exhibits such agility, given that background. "Let the Bright Seraphim" from Handel spotlights that agility, as well as one of the best trills of the past 60 years. While some CDs that feature coloratura singing may end up with excessive ornamentation, ornamentation at some level is di rigueur. And a trill is a key part of the coloratura soprano's armamentarium. Also present on this cut is a command of high notes, precisely hit.

Bellini's opera, "I Puritani," includes a "polonaise," entitled "Son vergin vezzosa" that shows off Sutherland's gifts to good effect. Coloratura techniques, again, are evident. The repeat features increased ornamentation and a clean hit on the final high note. The "Bell Song" from Delibes' "Lakme" is included on this CD. Some stunning trills are featured; again, she hits the notes well, including the high ones. This ends with a nice trill and high notes well done.

Verdi's opera, "Rigoletto," features wonderful music, including ""Gaultier Malde. . .Caro nome," where an innocent is messed around with by a genuine cad. But the music is wondrous, one of Verdi's best tunes. Sutherland hits trill after trill. Well conceived and executed effects. From "La Traviata," also by Verdi, a nice rendering of "Sempre libera." Again, characterization is not her forte; for Violetta, go to others like Renata Scotto and Anna Moffo for that. Once more, trills that are glorious are manifest. An agile voice and well done high notes.

The "Mad Scene" from Donizetti's "Lucia di Lammermoor"? Here is one of the iconic recordings. This was one of Sutherland's genuine "greatest hits." Again, forget characterization and acting; that was never her strength. Listen to the voice and the singing. "Spargi d'amaro pianto," the culminating segment of the "Mad Scene," is absolutely stunning. Trills, runs, high notes cleanly hit, other ornamentation (e.g., appoggiaturas) are exemplary.

I have not listened to Sutherland's work in some time and I had begun to wonder if I had romanticized her skills as I was listening to more contemporary coloratura sopranos singing the same repertoire. However, listening to this CD reassures me that I am not simply some old-timer going into the past. While there is talent today (including the voices of Netrebko, Fleming, Dessay, and others), Dame Joan Sutherland is one of "the real deals" among coloratura sopranos.

Great Sutherland Recordings.......2006-08-02

For starters, I am not not a die-hard Sutherland fan,
for various reasons not to be discussed here. However,
it's impossible to deny her status as one of the
quintessentially impeccable soprano voices of
recorded history. Many of her recordings are
prototypes of how certain arias "should sound."
Above all, I love her clarion-like vocal presentation.
Her virtuoso trills and technical ability are
hall of fame-worthy.

This CD displays much of her famed vocal
ability. Although, a couple of the tracks
seemed personally out of place for me, several
other tracks are wonderful showpieces of her talent.

"Ou va la jeune hindoue" from Lakme is text book perfect. She lifts the roof about 10 meters on the final E; over a full orchestra! (Outstanding work.) "Il dolce suono" from Lucia di Lammermoor is incredible. Her control of pitch and dynamics are almost frightening. She displays power and vocal grace in equal parts. Her "Casta Diva" is well done, but I can't help but compare it to that of Maria Callas. Sutherland is the soprano
archetype in term of technique, however,
her emotional delivery is not always on the par
with other great sopranos. Nonetheless, the "Casta Diva"
track is still superb and pleasant to the ears.

This is an excellent collection of recordings. I believe that both new and veteran fans of Joan Sutherland will be pleased.

Highly recommendable.

Joan Sutherland in her Prime!! Amazing!!!.......2006-07-21

Joan Sutherland is truly the voice of the twentieth century. Up until hearing this album, I had only heard recordings of her from the 80's, and frankly, I wasnt impressed. I have since learned that she was is her prime in the 60's and early 70's.

Her sound during her vocal prime is so bright and amazing. Her high notes are truly umatched by any other singer, and she has such expresssion. Although her diction is somewhat lacking, she makes up for it in vocal splendor. WOW!

She goes from heavy, bright Verdian arias like Sempre Libera to a light, high aria like the Doll Song. She is truly an amazing vocalist with unparalled vocal versatiltiy.

He sound from the 80's was very covered and her high notes sometiems seemed almost strained. If not strained, they were very small and dainty. While she was in her prime, her high notes were big and bawdy, and thats how us opera folks like it!

If you are looking for a reasonable priced compilation of Ms. Sutherlands finest work, then look no more. This is the one for you. It has excellent recordings of Verdian Soprano arias, Coloratura arias, and lots of Bel Canto vocal fireworks. Her recording of the Bell Song from Lakme is alone worth the purchase. The whole thing is great.

La Stupenda!.......2006-06-04

I have to say that Dame Joan Sutherland has one of the most amazing voices ever with such a range. This collection is my first but not my last. In fact, I would use this cd when the upstairs neighbors would start getting loud and I assure you that it probably made them quieter down. Anyway, God Bless Dame Joan Sutherland who has accomplished so much more than anybody. No wonder, her nickname is La Stupenda.

Exquisite combination of lyricism and coloratura.......2004-02-03

Here Sutherland proves that she wasn't a "mere" lyric coloratura songbird but a full-voiced dramatic soprano d'agilita. Singing Violetta's aria and the Jewelsong she manages an exquisite balanche between glittering acuti and lyric ardour. This is by far one of the best recitals ever recorded and no opera-collection is complete without it!

Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin

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For Callas and DiStefano fans
The Callas-Sutherland Catfight explained for newbies
Excellent rendition of this opera
The colour of tears, the colour of madness, the colour of joy
A Supreme Elvira

Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin
Vincenzo Bellini , Orchestra e Coro del Teatro alla Scala , Tullio Serafin , Maria Callas , Giuseppe di Stefano , Nicola Rossi-Lemeni , Rolando Panerai , Angelo Mercuriali , and Aurora Cattelani
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002RXQ
Release Date: 1997-08-19

Tracks:

I Puritani: Sinfonia
I Puritani: Act One, Scene One: All'erta!
I Puritani: Act One, Scene One: O Di Cromvel Guerrieri
I Puritani: Act One, Scene One: A Festa!
I Puritani: Act One, Scene One: Or Dove Fuggo Io Mai
I Puritani: Act One, Scene One: Ah! Per Sempre Io Ti Perdei
I Puritani: Act One, Scene One: Tappellan Le Schiere... Bel Sogno Beato Di Pace E Contento
I Puritani: Act One, Scene Two: O Amato Zio, O Mio Secondo Padre!
I Puritani: Act One, Scene Two: Sai Com'arde In Petto Mio
I Puritani: Act One, Scene Two: Odi... Qual Suon Si Desta?
I Puritani: Act One, Scene Three: Ad Arturo Onore
I Puritani: Act One, Scene Three: A Te, O Cara, Amor Talora
I Puritani: Act One, Scene Three: Il Rito Augusto Si Compia Senza Me
I Puritani: Act One, Scene Three: Com'io, Vi Unisca
I Puritani: Act One, Scene Three: Son Vergin Vezzosa
I Puritani: Act One, Scene Three: Sulla Virginea Testa
I Puritani: Act One, Scene Three: Ferma, Invan Rapir Pretendi
I Puritani: Act One, Scene Three: E Gia Al Ponte - Passa Il Forte
I Puritani: Act One, Scene Three: Oh Vieni Al Tempio - Fedele Arturo
I Puritani: Act One, Scene Three: Ma Tu Gia Mi Fuggi?

Tracks:

I Puritani: Act Two: Ah... Dolor! Ah, Terror!
I Puritani: Act Two: Qual Novella?
I Puritani: Act Two: Cinta Di Fiori E Col Bel Crin Disciolto
I Puritani: Act Two: E Di Morte Lo Stral Non Sara Lento
I Puritani: Act Two: O Rendetemi La Speme... Qui La Voce Sua Soave Mi Chiamava
I Puritani: Act Two: Vien, Diletto, E In Ciel La Luna!
I Puritani: Act Two: Il Rival Salvar Tu Dei
I Puritani: Act Two: Se Tra Il Buio Un Fantasma Vedrai
I Puritani: Act Two: Riccardo! Riccardo!
I Puritani: Act Two: Suoni La Tromba
I Puritani: Act Three: Son Salvo, Alfin Son Salvo
I Puritani: Act Three: A Una Fonte Affitto E Solo
I Puritani: Act Three: Qual Suon! Alcun S'Appressa
I Puritani: Act Three: Son Gia Lontani!
I Puritani: Act Three: Fini... Me Lassa!
I Puritani: Act Three: Ch'ei Provo Lontan Da Me?
I Puritani: Act Three: Vieni Fra Queste Braccia
I Puritani: Act Three: Alto La! Fedel Drappello
I Puritani: Act Three: Cavalier, Ti Colse Il Dio
I Puritani: Act Three: Credeasi, Misera!
I Puritani: Act Three: Suon D'Araldi?

Amazon.com essential recording

This dates from near the beginning of Maria Callas's recording career. It was for many fans their first encounter with her, and it contains some of the most beautiful singing she ever did before a recording microphone. Set in 17th-century England, during the struggle between the Puritan supporters of Oliver Cromwell and the Cavalier royalists who supported the Stuart dynasty, this opera focuses on the problems of Elvira, a young Puritan woman in love with Arturo, a member of the Cavalier faction. Complications arise, Elvira believes she has been betrayed by Arturo, and she loses her mind. Her mad scene (a kind of music for which Callas developed a formidable technique) is the opera's musical and dramatic climax, but by no means the only reason for getting to know it. While the role of Elvira towers over the others, ensemble singing is a strong part of I Puritani's appeal. Callas's voice was in its top form for this recording, and her superb acting skills convey many subtle shades of anguish. She dominates the performance, but her supporting cast is better than those she usually got before becoming a major international star, and they work well together. --Joe McLellan

Customer Reviews:

For Callas and DiStefano fans.......2007-01-04

This is a beautiful CD. It is unmistakably Callas and there is a breathtaking aria by DiStefano. The sound quality is not great (but not poor). A pleasure for Callas fans!

The Callas-Sutherland Catfight explained for newbies.......2006-10-23

In the unlikely event that anyone reading this isn't already exhaustively familiar with the subject, I'll volunteer to explain who this Joan Sutherland person is and why she figures so prominently in these reviews of a recording on which she is not heard.

Devotees of operatic sopranos [which I insist on calling them, since I still remember a time when "diva" was supposed to have some negative connotations] can be as fiercely partisan towards their "home team" as any sports fanatic. All the more so since the "sport" in question produces what is arguably the most intense esthetic pleasure to be found in any human endeavor. [There are those who might get something similar from a perfectly timed Michael Jordan dunk - but really it's not even close.] So don't kid yourself - even though the opera house is supposed to be at the opposite end of the civilization scale from the sports stadium, the fans in attendance are just as likely to get rowdy if they don't like a particular call.

Now to stretch this analogy to what is perhaps its breaking point: you can consider Joan Sutherland to be the New York Yankees to Maria Callas's Boston Red Sox. It's not simply that Sox fans passionately detest the Yankees. It's that the Yankees offend their fundamental sense of what the game is supposed to be about. The Yankees have their expensive roster and that galling number of World Series trophies [i.e. Sutherland's technically spectacular voice and long, happy career], while the Sox have *heart* [i.e. Callas's unequalled expressiveness and womanly struggles with weight and disappointed love].

This kind of fan identification - though technically irrelevant to an appreciation of the art - is a significant part of the opera aficionado's experience, so I would never minimize its importance. [Besides, if anyone ever said anything mean about Birgit Nilsson, I would want to scratch their eyes out.] So, from a consumer guidance perspective, it's completely irrelevant that the Sutherland performance is more technically proficient [the importance of which in this style of music can't be simply argued away] or has better sound. *This is Callas*. And it's close enough to her best that you don't have to buy into the Judy Garland/Billie Holiday-ish cult of La Divina [in which the cracked notes of the late career have something of the redemptive suffering of the Seven Stations of the Cross] in order to hear what was extraordinary in her music-making.

Excellent rendition of this opera.......2006-04-07

Firstly, before discussing the singers, one must discuss this version of the opera. It is hardly complete, and even the solo numbers for Callas are heavily cut, often to the point they lose any real direction. To those that think this is because of Callas' poor techique, that is NOT the case. That was the custom of the times. Because Bel Canto operas often have long lovely melodies, and little drama, producers and directors felt cuts were needed to keep the audience's attention. Some cuts were traditional from performances through the years, but NONE of the cuts were ever made with the intent to make the music better, just shorten it.

One will not find the extra number at the end of the opera that Sutherland and Sills both sing, which Bellini wrote for a version of the opera he completed for Italy and for Malibran. The "Son Vergin vezzosa" of this version was included in the first production because Grisi could sing it well. Because of length of performance do to popularity of the numbers (and audience requiring repeats), some sections in the Act III duet were cut, and other cuts made as well.

None of those cuts ruined the structure of the pieces of the opera, these cuts do. "Son Vergin" is so cut and slashed it ends before it really has a chance to being. And the mad scene is omitting much, though all the long slow parts are in tact. It is the finale of the entire opera that is butchered to death. After the famous "Credeasi Misera", the opera just ends! Any development that could come out of that extremely cut ending (lacking the additional aria that Sutherland and Sills both sing) is cut even worse by removing an entire 3 pages of the score. And excepting the final notes, the lead singers sing NONE of the notes or interjections that would render some sense to what is happening. Again, a common practice of the time so that the singers could save their voice for a high note ending.

As a conception of the opera and what Bellini intended, this is certainly an extremely flawed version.

Yet, in spite of the lack of understanding of that time period in keeping music intact, there are wonders that come out of this recording that are simply jewels worth the experience.

Firstly, the conducting and reading of the score by Serafin is incredible. He makes each phrase telling, have meaning, and flow with such emotion. Even with this heavily cut version of the opera, with cuts that ruin the progression of the musical thought, he works magic. His understanding of this type of music, of this type of opera, is incredible. Would that many modern conductors would listen to his recordings and learn. He also supports his singers well, and NEVER overshadows them. Every thing blends into a perfect whole.

As for Callas, there is little to say. I enjoy her singing immensely and always have, even as a child when I actually heard her in her last Normas in Paris, and her Tosca in London. I have no problems admitting her voice was flawed, it was not beautiful at all, and at times it was simply UGLY. But her understanding of technique, of how to use the voice, what was musical and appropriate and what was not, was unbelievable. She says that Serafin taught her all she knew about a recitative, but did she ever learn and master what she was taught to perfection.

Her understanding of what Bel Cant is was not only evident in her recordings, but in her own words when teaching at Julliard. She knew how to make many small breaths appear as one long seamless whole, she knew the art of phrasing, and she used incredible musicality when performing. Was she perfect? By no means. Was she the most polished singer? Not in the least. But she knew how to tern a phrase and make it live. Some have talked about her "using flute notes" in their reviews. What they mean to say is her habit of using pianissimo when singing coloratura, or reducing the volume of the tone to sing very difficult passages. Yes, she did that. No, Joan Sutherland does not do that. Callas was a creature of her training, and she as trained by a great colorature soprano (at least of her day), and was therefore taught the way to turn a phrase and use a quieter tone when singing coloratura passages, the reason for doing so was so the voice didn't need to use a cover through the passagio in quick scales and trills. ( a cover should be used only in full voiced singing, and not with coloratura since it often makes it very heavy sounding; since Sutherland covered all the time, no matter what she was doing and knew how to use that cover to her advantage, avoiding the cover was not something she had to worry about)

What makes Callas great is her use of technique to bring out the drama she feels within, and there, she has no peers at all.

As for di Stephano, he is fine in this role, even if he is quite wrong for it. His D's are more than strained. His high F is not there at all but is replaced with a D Flat. Though that shows he couldn't handle the note Pavarotti can (and he wouldn't have sing that note in falsetto as Pavarotti did simply because at that time no one would have accepted it as proper at all, when in reality, Rubini, the creator of the role of Arturo sang everything above a G in a head voice), it hardly ruins the music, for the repeat of that high-lying phrase using the D flat instead of the F actually works better musically in some ways.

The basses were fine but I did find Rossi-Lemeni barks too often, and has a very rough legato line because of harsh blasting consonants.

All in all, it is a great performance, but if one wants a real representation of the opera, not just great singers (and in this case, mostly Callas) buy the recordings of Joan Sutherland/Pavarotti or Sills/Gedda and you will get the opera more complete (including all the reworked parts that are in the Malibran score). As for which is best? I really have no clue, as I love them all, and own them all, and listen to them all, depending on which mood I am in. If for emotional connection, I listen to Callas; if emotion with good technique, Sills; for just plain dazzling display, Sutherland.

My operatic world have room for them all.

The colour of tears, the colour of madness, the colour of joy.......2006-03-13

"I Puritani" is a splendid opera. One doesn't listen to it for a lifelike plot, after all, but for some of the most ravishing music ever written, and some beautiful characterisation which emanates from the music itself.

While this is my favourite Puritani, because of the marvellous Maria Callas in the role of Elvira, I also own and delight in other recordings of this opera. I see no point in downgrading other singers' performances - Callas's achievements do not need that. I do not need to despise other singers in the role - Callas's beautiful and emotionally powerful singing is not given anything extra by scorning others.

On the contrary... I adore all beauties in music, and respect all the work that great singers have put into bel canto music such as is found in Puritani. Beverley Sills is a marvellous Elvira; Anna Moffo is incredibly beautiful in the role; Mirella Freni is heartbreakingly lovely as Elvira; Joan Sutherland (particularly in her earlier recording) was stunning in the role; Gruberova is a dream Elvira... and it goes on.

For all that, Callas remains my favourite. I can hear the aching truth of Elvira's emotions in the voice of Callas. I hear Callas not as Callas, but as Elvira. There really is no better recording of this gorgeous opera, and each note, each phrase has meaning in the superb artistry of Callas.

Di Stefano is fine in the role of Arturo, and the other singers are equally adept. The conducting by Serafin is magnificent - I think no other conductor understands Bellini as Serafin does.

I refuse to part with any of my "Puritani" recordings - but this one, above all, is the most frequently played of them all.

A Supreme Elvira.......2005-06-03

It was fate that brought Elvira and Maria Callas together when soprano Margherita Carioso (who died only a year or two ago! Can you believe that?) was indisposed for the performance and was discovered by Serafin during her run of Walkures in Fenice. His wife had heard her singing the Qui la voce mad scene and immediately asked Serafin to give her a listen. He didn't realize that she didn't know the part yet, only the aria from her studies with Hidalgo, and to her complete surprise he signed her up for a run of Elviras in the middle of a series of Brunhilldas, and so the Callas legend began with this dramatic soprano who sang the leggero role of Elvira. But that is another story.

There exists a copy of her I Puritani in Mexico with di Stefano, which finds her in spectacular voice. However, as astonishing as the recording may be, it doesn't have the sensitivity that this recording with Serafin has. Under the baton of Guido Picco, the inner beauties of Bellini's score is not realized. Under Serafin, a greater dramatic canvas is laid out for Callas' genius. The many coloratura sopranos who handled the part before Maria sang the role to showcase the many runs and trills to impress the operatic audience, but Callas renewed the part with dramatic insight and a darkness that other sopranos could never explore. The mad scene alone is worth the price of this recording, and I find that it has more meat to it than the Cetra recordings. Her voice is freer in this recording than most of the recordings that she made for EMI in the years to come. Hers is an Elvira of madness, of delirium, something that only Callas can touch, and it is because of this that I would highly recommend it to you to listen to her Elvira. Accompanying her in this recording is Giuseppe di Stefano, a legendary lyric tenor who effectively sings Arturo's part with an ardour that he compensated for in the Mexico performances. The opera is conducted by Serafin, a master of bel canto, and I would just like to say that this recording is as essential as Puccini if you want to hear truly good music.

Average customer rating:

A flawed Puritani
The finest complete recording of I Puritani
The Best Bel Canto Beverly Sills Ever Recorded
A Benchmark Recording
An Outstanding "Puritani"!

Bellini - I Puritani
Vincenzo Bellini , and Beverly Sills
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005KBJU
Release Date: 2001-10-09

Customer Reviews:

A flawed Puritani.......2007-06-20

As a Sills fan, a listener of bel canto for 40 years, and as a singer myself, I was all set to order this Puritani until I heard Gedda's Arturo. Sills, as expected, does a wonderful job with Elvira. I have rarely heard Sills do less than an excellent job, and never on recording. She may not be for everyone (hard to believe) but her ability is indisputable. Quilico and Plishka sound great together in Suona la tromba (unfortunately I missed the earlier part of the opera). In the final act, Gedda nixed it for me. With a bow of deep respect for an obviously great tenor, I definitely missed the "bel" in his bel canto. I thought the tone was often pinched, the singing lacking legato and coarse of style. As one example, not expecting that he would attempt the high F, I was already steeling myself for his second high D-flat (which I was not looking forward to, even at that). I would have much preferred a mezza voce attempt than the unlovely sound he achieved from a showier approach. While bel canto is partly about the vocal fireworks that we all love, the guts of the style is about finesse and subtlety - both of which I found irritatingly lacking from Gedda in this role.

The finest complete recording of I Puritani.......2007-01-07

It is popular for opera lovers to say that Joan Sutherland, due in large part to her magnificent instrument, sang the best Elvira preserved on records. While I agree that Sutherland had a magnificent dramatic coloratura voice (perhaps the only one besides Maria Callas), I would say that there were several aspects of her singing where some singers achieved or even bettered her. If one were to take Mariella Devia, one of today's greatest bel canto sopranos, as an example, one could find the several places where Sutherland could have improved her singing. Diction and drama were one of Sutherland's pitfalls, and although the coloratura was impeccable, her sense of drama nowhere achieved the ideal balance that say...Maria Callas did in her renditions of the roles. Montserrat Caballe, another golden age soprano, did not possess the coloratura facility to undertake Elvira, and her timbre sounded quite old for the youthful Elvira. Maria Callas is perhaps the greatest soprano to tackle the part, unleashing much of the pathos and passion that most sopranos fail to convey in their singing, but she was supported by a cast that failed to rise to her excellent standards. Sutherland's second recording had nice names in the parts of Arturo, Giorgio, and Riccardo, but their singing was somewhat unidiomatic in the bel canto style, especially Ghiaurov and Cappuccilli in the lower males.

Which leaves us to this recording. Beverly Sills was one of the most underrated sopranos of the 60's and 70's. While it was true that she didn't have the voice of Sutherland (but then again, who did?), she exuded a charisma onstage that often escaped the Australian songbird. She also had a great sense of drama and a youthful voice and a coloratura skill that matched Sutherland's note for note, and to add to that, her embellishments were often well suited to the musical writing. Although I love Maria Callas' Elvira in the sense that her mad scenes have never been approached by any soprano in terms of pathos and gravitas, Beverly Sills imbues them with a sense of drama that is different from Callas but keeping with Italian melodramma. If you listen to her opening lines to the Polonaise to her first mad scene and then the second mad scene and the closing scene, you will find several vocal lines that sound perfect for Elvira's taxing music. I find her to be an ideal Elvira, and if Bellini were alive today, he would probably find Sills to be an ideal interpreter beside Giulia Grisi and Maria Callas. She is girlish, innocent, naive, playful, sad, and mad--everything that the role asks for.

Her Arturo is Nicolai Gedda. Although he doesn't have the dulcet voice of Pavarotti, I find him more involved with the text than the great Italian tenor. He certainly sings all of Bellini's music with a grace and style that Pavarotti did not have, even if he did have the more ideal instrument. Gedda also was more passionate and charismatic, and was a perfect foil to Sills' Elvira than Pavarotti was in the live recording the two singers had together. He sings the high F in full voice, a feat thought to be impossible, but he did it anyways. It sounds strange, but then again, how many male singers have you heard doing that note without sounding like a girl? Even I have not heard Juan Diego Florez attempt that note before (I'm sure it's fabulous), and the one I heard from Pavarotti and William Matteuzzi sounded strange too! Imagine di Stefano doing a high F!

Louis Quilico was one of the greatest baritones of the 60's and 70's who failed to achieve the fame of baritones in his repertoire. He appeared in a recording of Manon with Cotrubas and his singing there was pure heaven! Here, in this recording, he sings with much grace in the part of Riccardo, keeping in with the bel canto line without straying away from the beauty of the drama. A truly wonderful interpretation, and one that I prefer to Gobbi's viper or Cappuccilli's (wow, that man has so many letters doubled in his name!) cobra. A gentleman of an interpretation, if I should say so myself.

Paul Plishka...marvelous Giorgio. This artist did not dominate the world scene like Ghiaurov did, but what a bass he was! He was a great singer, and he did much of his work with Levine and the New Yorkers, although he did work occasionally with Muti and in some parts of Italy. A truly formidable yet understanding, compassionate Giorgio. The two singers are able to bring much of the grandeur to the duet "Suoni la tromba!". A truly magnicent supporting cast!

Julius Rudel is one of the greatest bel canto conductors I've ever heard, and this recording makes me wonder why he never achieved the fame that a second-rate conductor like Bonynge did. Bonynge was probably famous only because he was the husband of Dame Joan, and his performances were often affected with LAAANGUIIIID tempi. His Norma literally bores me, and although I adore the singing, the conducting is abysmal. Rudel brings much life to the music, and we can here this same treatment of the music from his Anna Bolena and Manon with Sills from the same label. This truly is a great recording, and I would place this Puritani on top of the list if you were to buy one.

The Best Bel Canto Beverly Sills Ever Recorded.......2005-08-11

The loveable American anti-diva Beverly Sills recorded Bellini's Il Puritani twice- one opposite Pavoratti and this one opposite Nicolai Gedda. This recording is the superior version, since Nicolai Gedda blended well in duets with Beverly Sills and there was a harmonic balance between the two, whereas Pavoratti would try to outshine the co-singer by singing fortississimo and grab all the glory, typical! This is well-recorded without any sound problems and the talents of the lower men's voices- Louis Quilico and Robert Lloyd are in excellent condition. Nicolai Gedda has the better bel canto voice, with a souave sophistication that matches with Beverly Sill's own lyric elegance. In the famous Mad Scene (or semi- Mad since Elvira returns to sanity) Sills delivers sparkling coloratura. She was an experienced bel canto specialists and other works that are sure to knock your socks off include- Roberto Devereaux (recorded 1969) Lucia (1970) Maria Stuarda (1972) and Anna Bolena (1974). In 1975, she recorded Norma under James Levine's conducting. But this recording is sadly neglected and has not seen the light of digital remastering for reissue. This is a fine opera and Sills is impressive in her delivery and dramatic. Other Elviras of great success include Joan Sutherland, different technique- more into beauty of tone and ornamentation and Maria Callas, heavier voice than the two and more emphasis on drama.

A Benchmark Recording.......2005-04-27

I do agree that this is a recording that should be used as a benchmark for the standard of a Puritani recording. Even though, as mentioned, Sill's top notes are almost no more than screaming, yet her voice itself has a crystal quality, sharp and clear. And Sill's coloratura is in fact matchable to Sutherland's, displaying both astounding agility and inventiveness in embellishments. Gedda's voice also is crystal clear even though it may lack volume at times, but the high F of 'Credeasi misera!' is spectacular, a very thrilling and lovely ring to it, though a little thin personally. There good chemistry between the singers, no one outsings anyone, especially in duets like the prelude to Son Vergin Vezzosa with Gedda and Begg, and ensembles like Son Vergin Vezzosa.

Buy this set. You won't regret it! (unless you hate Sills, then you shouldn't be getting this in the first place anyway)
Molto buon!

An Outstanding "Puritani"!.......2004-12-14

I find it fruitless for reviewers who dislike the quality of certain voices to trash their recordings. One may not care for Sills'voice, but that doesn't mean that they can't write a constuctive review rather than writing something silly like "Beverly Shrill".

I've never been a big fan of Callas, but I don't trash her recordings. In fact I find great artistry in them even thought I may not care for the voice.

That being said, I find this recording of "I Puritani" to be possibly the best committed to vinyl (and now CD). Sills handles the coloratura better than any of her counterparts and she gets to the root of the role of Elvira playing her as the unstable creature that she is. She gives dimension to a character that is very easy for a singer to give no dimension to. She OWNS the mad scene!

Gedda is fantastic here. He was often overshadowed by other tenors (i.e. Pav). He doesn't always get his just reward in the history of recorded music, as the case here. But he holds his own against Pav and perhaps even outshines him.

The overlooked Paul Plishka is another delight on this recording.

Julius Rudel conducts the opera at a rapid, yet clean pace - unlike the second Sutherland recording led by Bongynge which is deathly slow. Chorus and ochestra here are in fine shape too.

This is the "Puritani" to judge all other by - whether you like Sills' voice or not!

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The Very Best of Giuseppe di Stefano

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000A5BXQ
Release Date: 2003-09-02

Tracks:

Addio, Mignon
Ah! Non Credevi Tu
Io Son Solo...Ah! Dispar, Vision
E La Solita Storia (Lamento Di Federico)
Lunge Da Lei...De' Miei Bollenti Spiriti
Fra Poco A Me Ricovero
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Son Gia Lontani!...Corre A Valle
Intanto Amici Qua...Viva Il Vino Spumeggiante
Mamma, Quel Vino E Generoso
Recondita Armonia
E Lucevan Le Stelle
Dovunque Al Mondo
Addio, Fiorito Asil
Recitar!...Vesti La Giubba
La Vita E Inferno...O Tu Che In Seno Agli Angeli
Una Parola Sola...Or Son Sei Mesi
Ch'ella Mi Creda Libero
Avete Torto!...Firenze E Come Albero
Non Piangere, Liu
Nessun Dorma

Tracks:

Questa O Quella
Ella Mi Fu Rapita!...Parmi Veder Le Lagrime
La Donna E Mobile
Ah Si, Ben Mio
Di Quella Pira
Di' Tu Se Fedele
Teco Io Sto...Non Sai Tu Che Se L'Anima Mia...Oh, Qual Soave Brivido - Maria Callas
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
Che Gelida Manina
In Un Coupe?...O Mimi, Tu Piu Non Torni - Rolando Panerai
Donna Non Vidi Mai
Oh, Saro La Piu Bella - Maria Callas
No! Pazzo Son! Guardate!
A La Barcillunisa
Cantu A Timuni
'O Sole Mio
Marechiare
Core 'Ngrato
Torna A Surriento

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