Rossini: Armida

Armida, opera
Composed by Gioachino Rossini
Performed by Maggio Musicale Fiorentino
with Mario Frosini, Mario Filippeschi, Marco Stefanoni, Alessandro Ziliani, Maria Callas
Semiramide, opera Bel raggio lusinghier
Composed by Gioachino Rossini
Performed by Milan Radio Symphony Orchestra
with Maria Callas
La cenerentola (Cinderella), opera Nacqui all'affanno
Composed by Gioachino Rossini
Performed by RTF Orchestra
with Maria Callas
Armida, opera D'amore al dolce impero
Composed by Gioachino Rossini
Performed by Milan Radio Symphony Orchestra
with Maria Callas

Rossini: Armida,Mario Frosini,Gioachino Rossini,Maggio Musicale Fiorentino,Milan Radio Symphony Orchestra,RTF Orchestra,Maria Callas,Alessandro Ziliani,Marco Stefanoni,Mario Filippeschi,Melodram,Classical,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

Average customer rating:

Excellent performance and recording
Very Nice
Sparkling Performances

Rossini: Complete Overtures

Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009KV0W
Release Date: 2003-08-12

Customer Reviews:

Excellent performance and recording.......2007-02-02

If you like Rossini, this is an a must-have recording. Sure, he tended to write the same pieces over and over again, but they are utterly delightful. These performances by Neville Marriner and his personal orchestra are precise, and the fun inherent in many of these works does not get lost in the shuffle. The orchestra is blessed with excellent woodwind players; just listen to the oboe on some of the really fast passages.

Nice recorded sound. I really don't have anything bad to say about this entire package. It's almost a desert island recording for times where Mahler or Beethoven might be a little (or a lot) heavy.

Very Nice.......2005-03-17

Yes, these overtures may be cliched, but every classical collector should probably have them. Marriner, as usual, gives great performances, and the sound quality is very good.

Sparkling Performances.......2003-09-15

I only have glowing things to say about this set of Rossini overtures. First of all, Rossini's overtures are brilliant gems. They are light, fun and full of life!! Secondly, Marriner's conducting is marvellous. The performance sparkle like precious diamonds. Everything is very enjoyable, there's not a single boring number, unlike many other discs you purchase. And to top it off, it comes at a terrific bargain price. 3 very full CDs - 75 mins, 30 mins and 65 mins - of top notch music at seven dollars a piece is incredible.

Average customer rating:

Yes, she DOES sing a High G!
Intriguing and powerful voice
A beautiful voice, but the wrong stylistic approach...
The Voice God
A Bel Canto Cake: Enjoy

Renée Fleming: Bel Canto
Gioacchino Rossini , Patrick Summers , and Orchestra of St. Luke's
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006589U
Release Date: 2002-08-27

Tracks:

Bellini/La sonnambula: "Ah!..se una volta sola"
Bellini/La sonnambula: "Ah!..non credea mirarti"
Bellini/La sonnambula: "Ah! non giunge uman pensiero"
Donizetti/Maria Padilla: "Abbracciami"
Donizetti/Maria Padilla: "Il piu tenero suon d'arpa morende"
Donizetti/Maria Padilla: "Ah! non sai qual prestigio si cela"
Rossini/Semiramide: Introduzione
Rossini/Semiramide: "Bel raggio lusinghier"
Rossini/Semiramide: "Dolce pensiero di quell'istante"
Bellini/Il pirata: Introduzione
Bellini/Il pirata: "Ah! s'io potessi dissipar le nubi"
Bellini/Il pirata: "Col sorriso d'innocenza"
Bellini/Il pirata: "Oh sole! ti vela di tenebre oscure"
Rossini/Armida: "D'Amor al dolce impero"
Rossini/Armida: "Gli augei tra fronde e fronde"
Rossini/Armida: "La fresca eta sen fugge"
Rossini/Armida: "Ah! si, godete amanti"
Donizetti/Lucrezia Borgia:"M'odi, ah m'odi, io non t'imploro"
Donizetti/Lucrezia Borgia: "Figlio!...Figlio!...Ola, qualcuno!"
Donizetti/Lucrezia Borgia: "Era desso il figlio mio"

Amazon.com

Surely Renée Fleming's soprano must be one of the most beautiful voices before the public today. Though renowned for her interpretations of Mozart, Strauss, and Verdi, as well as for her commitment to contemporary music, she says that the bel canto repertoire has always been central to her career. On this recording, which features scenes and arias from operas by Bellini, Donizetti, and Rossini, she proves that she has achieved total, effortless technical mastery of the uniquely difficult vocal writing characteristic of the style. Every note is perfectly placed. Her runs, including scales over a huge range in both directions, are as clear and evenly paced as a chain of exquisite pearls. Her leaps always land in the center of the pitch. Her intonation is flawless.

Fleming also displays her emotional affinity for the drama, pathos, and lyricism of the music and her ability to identify with her larger-than-life heroines. Chosen from familiar and unfamiliar operas, the music is beguilingly beautiful, ranging from peacefully pastoral to darkly menacing. However, some listeners may feel that Fleming's tendency to overinflect, overphrase, make long pauses, and put swells on long notes, especially in the slow arias, undercuts the music's simplicity and the directness of her expressive communication. The performances are based on the latest scholarly research into the "bel canto" style regarding historically correct ornamentation (only in repeats) and the problems of balancing textual fidelity with imaginative freedom. The Orchestra of St. Luke's gives splendid support, with outstanding solos, especially from the winds. --Edith Eisler

Album Details

Bel Canto is Shrink Wrapped as a Strictly Limited Edition, with a Bonus Disc of Four Unreleased Tracks of Popular Favorites By: Bach, Handel, Mozart and Debussy

Customer Reviews:

Yes, she DOES sing a High G!.......2007-03-21

When I was reading the other reviews of this album, I saw people talking about Renee Fleming going up to a High G (that is G above High C), and I was a bit skeptical...I was used to hearing her in the roles that climax on High B-Flat or High C. But now that I have the album, I can verify that she does indeed go that high! She just touches on it, but hey, that counts! My favorite selections from this album are "Ah! Non Giunge" when she sings a brilliant high E-flat, and because I just love that bouncy little aria. And "Era desso il figlio mio"... that's the one where she sails up to a High G...and She ends the piece with another glorious High E-Flat. Her melismas are delectable. And her high notes are not grating or shrill. Her tone quality is, as usual, plush and sumptuous...and the way she turns the musical phrases so poetically is just amazing. I'm SO glad she made this CD!

Intriguing and powerful voice.......2007-01-21

Renee Fleming has an interesting voice and is obviously an accomplished bel canto singer. Her voice seems to have a heavier, darker sound than many sopranos who essay the coloratura corpus. The sound is very rich. While I'm not sure that I would call her voice ravishing or beautiful, it is clearly up to the task of producing a compelling sound.

This CD begins with a scene from Bellini's "La Sonnambula." Her version of "Ah! Non giunge uman pensiero" is nicely done. She displays an agile voice. She hits the high notes well. Other versions feature trills; hers does not. However, later cuts on this CD surely show that her trill is one of the better ones today. I had never heard even small selections from Donizetti's "Maria Padilla" before. However, Fleming does a very good job. In the final part of the scene that she sings, "Ah, non sai qual prestigio si cela," she trills wonderfully. I have been acquiring CDs and listening to contemporary bel canto singers lately and, to this point of those to whom I have listened, she has one of the best trills around.

"Bel raggio lusinghier" from Rossini's "Semiramide" is nicely sung. Again, she is agile, can hit the high notes, and displays good coloratura technique. The high notes are wonderfully wrought; appoggiaturas well crafted. A number of other reviewers comment on her high note to conclude the cut from Donizetti's "Lucrezia Borgia." She nailed it pretty well, as those others noted.

And so on. No need to go through each cut one by one. All in all, a very good CD. Her darker, heavier voice combined with her vocal agility and coloratura technique make for a very interesting work. She clearly has some of the better coloratura technique among sopranos working in the vineyards of opera today.

A beautiful voice, but the wrong stylistic approach..........2005-11-16

I remember hearing Renee Fleming's first CD - I was instantly struck by the extremely beautiful lyric sound, and the ease with which Ms Fleming sang repertoire that required a high tessitura. I was reminded very much of Kiri Te Kanawa's tone, atlhough at the time, of course, Ms Fleming didn't have the polish of Te Kanawa.

The voice itself is a miracle. It is one of the beautiful voices of this age. But increasingly, I have become disenchanted with the WAY in which Renee Fleming uses her voice. Endowed with such a lovely voice, with a rich and even legato quality throughout, one would think that bel canto repertoire would suit Ms Fleming perfectly. And I think potentially it does... If you do not already possess the full opera recordings of Rosmonda d'Inghilterra (Donizetti) and Armida (Rossini), with Fleming in the title roles, I would like to recommend that you purchase them. They are very beautiful - stunningly so.

A small digression... My CD collection, I should mention (just casually), is nearly 3000 CDs strong, all of which are classical, and the majority of which are vocal (opera, oratorio, Lieder, operetta, early music, French chansons, etc.). The bel canto portion of my collection is substantial. I am also a bel canto singer myself. I speak, thus, with a knowledge of bel canto style, with particular reference to the ways in which the composers would have expected singers to handle their works.

So I hope readers will understand that when I say that Ms Fleming isn't performing on this CD with appropriate bel canto style, I am not speaking out of ignorance, malice, or uninformed opinion. The liner notes shed light on Renee Fleming's approach: she mentions that "like the great singers who premiered these works, we must use our own musical intelligence and imagination to make this music come alive. For someone like myself, trained as a jazz singer, this comes as a liberating reveltion."

Yes. That puts the finger on the major difficulty here. Of course the arias and scenas need to give interpretation and wonderful ornamentation in the repeats of cabalettas, etc. - but NOT, please God, with jazz in mind. The two fields are completely different. This explains to me why Ms Fleming's later recordings fail to satisfy me as much as her earlier ones. I was surprisingly enchanted by her Schubert album, in which I thought a lot of careful interpretative work had gone, and those two earlier full recordings of bel canto operas were superb. How had that wonderful bel canto technique gone astray in this recording? I think - I may be wrong - but I think that Renee Fleming is now relying almost entirely upon her own idea of how bel canto should be sung, rather than being given detailed guidance from an experienced conductor who's both au fait with the requirements and not intimidated by Ms Fleming's very beautiful voice and star billing.

I did buy this CD with great anticipatory pleasure, and I was disappointed because I had such high hopes. I am sorry, because I adore Ms Fleming's voice, but the swoops and the bathos of the interpretations are not moving to me. I so much want Ms Fleming to record bel canto in the future with a great conductor guiding her to avoid the mannerisms that may seem very expressive to Ms Fleming, but strike many listeners as only detracting from the creamy and lovely tone.

Three stars from me, because the voice is unquestionably beautiful.

I do hope that Renee Fleming decides to follow the guidance of some bel canto specialists.

For more authentic bel canto soprano singing, I recommend the peerless Edita Gruberova (still singing wonderfully), the beautiful Sumi Jo, and the great classic recordings of Callas, the young Caballe, and the young Joan Sutherland.

The Voice God.......2005-09-08

I've been a lover of opera for the past 5 years, and I'm 20 now. Never have I been so utterly blown away from a recording, and I have many. After purchasing this CD, I quickly bought 4 of her other recordings, as well as her film. After listening to "Bel Canto" I am sure that you will be convinced, as I am that Renee Fleming is hands down this generation's greatest soprano. Every selection on the CD is amazing, especially the scene from Lucrezia Borgia where she hits a high G above high C. You can feel the passion and drama through her voice, it pierces your heart it's so beautiful! For me, this CD was truly an epiphany. I did not realize that the human voice could be so beautiful, and now singing is all that I want to do! I highly recommend this CD for anyone who wants to hear unbelievable singing.

A Bel Canto Cake: Enjoy.......2005-07-27

Renee Fleming is today's leading American opera diva and her many albums attest to her versatility and superb musicianship. Among these albums, the recent jazz album Haunted Heart, (Fleming originally intende to sing jazz)Strauss- Der Rosenkavalier, Arabella and Cappricio as well as Four Last Songs, Mozart Don Giovanni (in the role of Dona Ana) Nozze Di Figaro (Countess)Cosi Fan Tutte (Fiordiligi)The Schubert Album, and such successful roles as Violetta in Traviata, Massenet's Manon and Dvorak's Rusalka. Not to mention she sang for such films as Lord of the Rings (in Elvish) and Bride of the Wind about the composer Gustav Mahler's ambitious composer wife Alma. Fleming has established herself as the most beautiful voice of recent years in the opera scene. I didn't know of her until she rose to prominence in the late 90's (she is also credited in the Mass In C by Beethoven in the movie Immortal Beloved). Fleming is primarily a lyric voice, whose purity and focus on tone is more important to her than dramatic effect. In this way, she is only following the tradition of the techniques of such sopranos as Elisabeth Schwartkopff, Leontyne Price, Montserrat Caballe and Joan Sutherland. She does have an ethereal beautiful voice, and this album - bel canto - is a showcase for gorgeous legato, pianissimi and coloratura trills and roulade fireworks.

Bel canto literally means "beautiful singing" and Renee Fleming brings that meaning back. Because of the illustrious efforts of such singers as Beverly Sills, Shirley Verrett, Leyla Gencers and inevitably Maria Callas, bel canto has now been a vehicle for dramatic intensity. Callas was never afraid to sound ugly or gritty to bring out the dramatic portions in the opera. But Renee Fleming knows she has a miraculous voice of sheer beauty of sound and she pleasures our ears with the sound of it. But one also sees her own efforts to sound as dramatic as she can sound. In La Sonnambula, Bellini created a vehicle for beautiful lyric sopranos with coloratura prowess. Singers like Anna Moffo made it sound gorgeous but Callas sang it and unearthed its dramatic power. Fleming attempts the Callas effect and even at times sounds like Montserrat Caballe, especially in such arias from Il Pirata (an opera Caballe recorded and performed on stage). She sounds creamy, golden, full-voiced, with gleaming high tops and rich chest registers, effectively colorizing all the melodic lines. I have not heard singing like this in a long time, and again Montserrat Caballe comes to mind. Just listen to how she sings Lucrezia Borgia, especially in the outburst "E sperto! " (He's dead!) the dramatic moment when Lucrezia discovers she has poisoned her own son. Fleming is also exceptional in Rossini's Semiramide. This is not her first experience singing Rossini. She has sung Il Vaggio A Reims, a rare Rossini opera. Bel canto is truly challenging, and it was for her, but she stepped up to the challenge and came out on top.

What's in the future for Fleming ? I would love for her to take on heavier roles, but she is herself very cautious about ruining her voice. Lyric sopranos like her can easily break if not properly trained. While she has sung Handel well and modern operas like "Ghosts of Versailles" I fear she will never take on the roles I long for her to sing - Tosca, Norma, not even Madame Butterfly. Mirella Freni, a voice quite like Fleming's managed to transition to heavier repertoire well- she sang Butterfly and Tosca with flying colors. Perhaps Fleming will continue to sing purely lyric roles- more Desdemonas, more Tatianas in Eugene Onegin or perhaps the heroine in Queen of Spades. But perhaps she can step outside herself and sing Elisabeth Valois in Don Carlo, or perhaps Lucia Di Lammermoor (why hasn't she sung that ? It's tailor made for her)Who knows what she has in mind but whatever it is, she will sound brilliant.

Average customer rating:

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

Montserrat Caballé: Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000J914
Release Date: 1999-05-25

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Bianca e Falliero: Tu non sai qual colpo atroce
L'Italiana in Algeri: Per lui che adoro
La Cenerentola: Una volta c'era
Semiradime: Eccomi alfine in Babilonia
Armida: Amor... possente nome!
L'Italiana in Algeri: Cruda Sorte!
Othello: Ah, vieni nel tuo sangue
La Donna Del Lago: Tanti affeti in tal momento

Amazon.com essential recording

Once again, Bulgarian mezzo-soprano Vesselina Kasarova proves that one can forget even the fabulous Cecilia Bartoli. With a voice at least twice that of Bartoli's, with the same agility in fast music, and capable of a similar number of shadings from ppp to fff (Bartoli can go from ppppp to f), Kasarova here tackles some of the same repertory as her Italian counterpart. We discover that her Cenerentola is much more easily wounded and far gentler, and maybe even more appealing than Bartoli's. But forget comparisons and just listen to Kasarova's infectious, seductive scene from L'Italiana and the amazing, breakneck finale to La Donna del Lago. Marvel at her manly singing in Arsace's big scene from Semiramide (totally different from Horne's and no less riveting), and bask in the charm of her Armida. Enjoy a scene from the almost unknown Bianca e Falliero. And just to surprise yourself, listen to Kasarova in a duet from Rossini's Otello and be knocked out by her foray up to a high D natural. Kasarova is joined in this and a couple of other scenes by sweet-voiced tenor Juan Diego Florez. Arthur Fagen conducts throughout as if this were Kasarova's show--which it most certainly is. --Robert Levine

Customer Reviews:

Pyrotechnique showcase.......2007-05-02

Reviewers concentrated mostly on Vesselina Kasarova. Certainly, this is a soprano with an astounding range - her aria in track 4 demonstrates a natural contralto voice, yet in more places than one she sores up way beyond the high C, to the envy of many sopranos.
To me, the duets in tracks 3, 5 and 7 with the then 25 year-old Juan Diego Florez are in a similar degree revelations of Florez's amazing voice.
Call him 'graceful tenor' or what not, his is a distinctive voice between a counter-tenor and tenor that only he possesses. But living with the high range is not his only skill - he has fine phrasing, sensitive musicality and wonderful intonation, even at the early age of 25!
The vocal talents displayed by the two singers in this recording are simply mesmerising.

Impassioned and polished singing.......2007-01-09

This is a great CD. At least one critic suggested earlier in her career that Kasarova should stick to the dramatic roles and stay off the bel canto repertoire, but she has certainly developed since then. The performances are beautifully crafted, with the added excitement of a substantial voice and real dramatic flair.

If you want to hear the most exciting performance ever of "Cruda sorte" go to Della Jones. But all in all this is a wonderful CD.

An exquisite Falcon.......2004-02-03

Madame Kasarova is an exquisite Falcon-Soprano (Natural Mezzo capable of doing soprano-roles) in the tradition of del los Angeles. Her mezzo-range is most powerful but she has acuti that would make sopranos pea-green with envy. I love her in Rossini and if you like romantic opera buy "Werther" with her as Charlotte, the most fantastic Charlotte since Victoria de los Angeles. She also AMAZING in Donizetti, esp. as Giovanna in "Anna Bolena". Enjoy this fabulous CD!

Vocally Astounding.......2001-07-12

In terms of vocal power, talent and technique, this may well be the most impressive collection of Rossini arias on record. This is a unique, very powerful voice, with shades of the rare agility of a coloratura contralto, as we are told Malibran was.

Much of the lightheartedness of Rossini's world is lost in these readings, though--and this will be a problem for many listeners accustomed to the aura of playfulness convention has taught us is central to Rossini's work, the tongue-in-cheek naivete of the Rossini Heroine. And while there IS at times more gravity in the readings than the music seems to demand, this untraditional interpretation also challenges many popular preconceptions about the a major composer of the mezzo/contralto repitoire.

And when it works--wow. Kasarova's "Una volta c'era...Un soave non so che" from *La Cenerentola* is the most rivoting performance of the aria I have ever heard. With simply a bit more variation in her shadings, Kasarova will become even better than she is, which is really, really good.

Different mezzo voice.......2001-03-31

By far, this is not a voice like Bartoli's. It is quite different and can not be compared to anyone else. You will not find the chest notes of Horne, neither Bartoli's charm. I am not an expert, but I can tell you that the security and the power contained in this bulgarian mezzo is worth trying.

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Maria Callas 100 Best Classics
Maria Callas: The Platinum Collection
Maria Callas - Passion / A Film by Gerard Caillat
Callas: La Divina [Limited Edition]
Lyric & Coloratura Arias by Maria Callas (EMI's Great Recordings of the Century)

ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Rossini - Armida / Gasdia · Merritt · Matteuzzi · Ford · F. Furlanetto · Workman · I Solisti Veneti · Scimone

Average customer rating:

A good reading
Good performance of a minor work

Rossini - Armida / Gasdia · Merritt · Matteuzzi · Ford · F. Furlanetto · Workman · I Solisti Veneti · Scimone
Gioachino Rossini , Claudio Scimone , Cecilia Gasdia , William Matteuzzi , I Solisti Veneti , Ambrosian Opera Chorus , Chris Merritt , Bruce Ford , and Charles Workman
Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

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Rossini: Otello
Rossini: L'Assedio di Corinto
Rossini: Ciro in Babilonia
Rossini - Ermione / Gasdia, Zimmermann, Palacio, Merritt, Matteuzzi, Alaimo, Scimone
Rossini: Torvaldo e Dorliska

ASIN: B00002MXQK
Release Date: 1999-11-16

Customer Reviews:

A good reading.......2007-03-07

This difficulty opera- because of the large part of the soprano and the six roles for tenor - has a vivid music and Scimone knows how to express all the colours of the score, as those composed for the bright world of knights, as those composed for the witch's dark and mysterious world. All parts are well sung by the four tenor in this version (Matteuzzi and Ford sing two roles each that never coincided on stage), and Gasdia with a darker voice than her old young years, give to Armida the drama she need and Callas succesfully did. Of course, you must know Gasdia won a Callas' contest and her voice is similar to the greek-american diva.
Good booklet, with libretto and articles, this is one of the recordings people who loves Rossini must have, cosidering the almost whole rossinian cast. I never listened other version, but I know that the Serafin to Callas jewel, has its used cuts.

Good performance of a minor work.......2000-10-17

I am lucky enough to have two versions of Rossini's Armida, this one and one conducted by Gatti with Renee Flemming. Of the two this version is clearly superior.

Armida is a rather peculiar opera, with one soprano role, six tenor roles and two bass roles. The tenors can to a large extent be doubled as can the bass roles, the lack of real dramatic coherence being indicated by the way in which so many of the characters do not interact with each other.

One of the main strengths of this recording is the conducting by Claudio Scimone of a first-class and sympathetic orchestra and a great chorus. As Gatti's unfortunate performance demonstrates, this work needs solid direction to make it at all coherent and this Scimone provides. The tenors produce some very fine singing indeed and they have sufficiently distinctive voices to help keep the drama alive in aural form alone. Chris Merritt in the principal male role gives a well-balanced and satisfying rendition. Bruce Ford and William Matteuzzi, each of whom sings two roles, also do very well; indeed, I can't remember hearing a better performance by Bruce Ford.

The central figure in the opera is Armida herself. Only here is there real competition from the alternative set. I actually prefer Cecilia Gasdia's interpretation, partly because Flemming, though more spectacular, is poorly recorded, but many would find Flemming preferable.

This set only provides the libretto in Italian only, while the rival does have translations into English, German and French.

Overall, however, there is no real competition to this set. It is not the best Rossini, but it does provide an enjoyable, well executed work.

Nelly Miricioiu - Rossini Gala
Average customer rating:

As near as we'll get to the sound of Isabella Colbran

Nelly Miricioiu a rare treat among singers and recordings

Exótico

Nelly Miricioiu - Rossini Gala
Gioachino Rossini , David Parry , Nelly Miricioiu , Bruce Ford , Enkelejda Shkosa , Garry Magee , Patrizia Biccire , Alastair Miles , and Simon Bailey, Antonia Sotgiu Dominic Natoli, Barry Banks Dean Robinson
Manufacturer: Opera Rara UK
ProductGroup: Music
Binding: Audio CD

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Nelly Miricioiu - Bel Canto Portrait ~ Scenes from Emma d'Antiochia, L'assedio di Corinto, Belisario, Parisina

ASIN: B00004TAS2
Release Date: 2000-09-12

Tracks:

Elisabetta Regina D'Inghilterra: Cavatina 'Quante'E Grato All'alma Mia' - Nelly Miricioiu/The Geoffrey Mitchell Choir/Geoffrey Mitchell
Aureliano In Palmira: Duetto 'Se Tu M'ami, O Mia Regina' - Nelly Miricioiu/Enkelejda Shkosa
Bianca E Falliero: Quartetto 'Cielo, Il Mio Labbro Ispira' - Nelly Miricioiu/Enkelejda Shkosa/Bruce Ford/Garry Magee/The Geoffrey Mitchell Choir/Geoffrey Mitchel
Zelmira: Rondo Finale 'Riedi Al Soglio' - Nelly Miricioiu/Garry Magee/Barry Banks/The Geoffrey Mitchell Choir/Geoffrey Mitchell
Mose In Egitto: Quartetto 'Mi Manca La Voce' - Nelly Miricioiu/Patrizia Biccire/Bruce Ford/Barry Banks
Semiramide: Duetto 'Se La Vita Ancor T' E Cara' - Nelly Miricioiu/Alastair Miles
Armida: Duettino 'Dove Son Io?' - Nelly Miricioiu/Bruce Ford
Mose In Egitto: Act II Finale 'Porgi La Destra Amata' - Nelly Miricioiu/Garry Magee/Barry Banks/Patrizia Biccire/Dean Bobinson/Dominic Natoli/The Geoffrey M
Vallace: Finale Ultimo 'Viva Vallace! Vallace Viva!' - Nelly Miricioiu/Garry Magee/Barry Banks/Dean Robinson/Antonia Sotgiu/Patrizia Biccire/Simon Bailey..

Customer Reviews:

As near as we'll get to the sound of Isabella Colbran.......2003-03-21

First things first, this is one of the Opera Rara 'recitals' which really is a real recital not just a compilation from the back catalogue, and for once it also comes with texts and translations. The only other Opera Rara releases I know in this category are the 'Three Rossini Tenors' and Matteuzzi 'Ferme tes yeux' recitals, and of course the worthy decade by decade 3CD sets. Further this is a recital which won a host of plaudits, not just in the music press but even in the Economist annual arts round up.

Secondly although there is a significant overlap with the second Bartoli Rossini recital on Decca (the first conducted by Patane was mainly standards, the second conducted by Marin invaded Opera Rara's territory) there are enough new items on this disc for it to still be attractive. Some might well prefer Miricioiu to the occasionally rather tremulous Bartoli, although personally the Bartoli Marin disc is the one for the desert island. Either way the real star features only in the booklet notes in either disc - Isabella Colbran, for whom these arias were written.

Nelly Miricioiu a rare treat among singers and recordings.......2001-08-12

Buying this record will change how you think about singing,here is an artist of exceptional ability who is prepared to take risks vocally to bring to life all the characters she creates on this disc no small feat. Nelly Miricioiu is for me a fantastic singer and actress,through the music she conveys the personality of the characters making them totally believeable. If you want just beautiful sounds there are numerous singers around such as Angela Gheorghui or Renee Fleming but if you want to have a truly exciting experience then thats certainly what awaits you here. It is a disc that you wish to return to time after time. THANK YOU NELLY MIRICIOIU

Exótico.......2001-04-14

Uma soprano romena, Nelly Miriciou, e um repertório não muito adequado a sua voz. Pela primeira vez me decepciono com a Opera Rara, pela inadequação do elenco. As interpretações de Miriciou (muito mais adequada como Tosca ou Adriana Lecouvreur) para Zelmira e Elisabeta são muito inferiores as de Cecilia Bartoli em Rossini Heroines, sua Semiramide é convincente mas não chega aos pés de Joan Sutherland. Vale pela cena final de Vallace, a primeira versão de Guilherme Tell, e pela ária final de Mosé in Egito. Decepcionante.

Average customer rating:

Opera in English
4 1/2Stars...exciting voice and singing

Barry Banks Sings Bel Canto Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Gitano

ASIN: B0002AAPB2
Release Date: 2004-07-27

Tracks:

'In Dreams Of Endless Pleasure'
'Through Her Soul In Endless Grieving'
'May Destiny Befriend You'
'The Blow At Last Has Fallen'
'Could I Ever Believe'/'Her Joy Is My Joy'
'Here I Stand'/'Since It Is Not By Merit'
'Poor Lost Ernesto'/'I Shall Go, No More Returning'
'Only One Teardrop'
'Palace Of Horrors!'/'Ah, How Can I Hide The Flames'
'Darling! Darling, Let Me Embrace You!'
'I Lost The Will To Action'
'Suzel, Good Morning!'
'The Night Is Calm'

Customer Reviews:

Opera in English.......2007-03-19

Barry Banks is certainly a contender for one of the best tenors around. THis is a great example of coloratura and legato line which is very well executed in a rather booming tenor voice. I just saw Mr. Banks in "The Elixer of Love" and he was stupendous. This is a large tenor voce in the theatre which alas is difficult to capture in a studio recording...you have to take my word. THe translations are often odd as they generally are, but this recording is certainly worth having. (although I prefer in the original language)

4 1/2Stars...exciting voice and singing.......2004-12-02

Mr. Banks has a "heroic lyric tenor" if there is such a category. His fast vibrato and power lend the voice excitement and attention getting presence. I was intrigued by him in his stunning appearance in the Rimsky-Korsakov "Le'Coq d'Or" DVD (a not-to-be-missed experience)-- he was a stand-out there there and I went looking for other things by him. This CD is treasurable in many ways. The repertoire is interesting and the duets add flavor to the whole. The only small complaint I have is that perhaps Mr. Banks lacks just the last bit of emotional connection in his singing. You won't go wrong getting this excellent CD.

Average customer rating:

Sound Worse Than Expected
Outstanding
Just buy it.
Goddess of belcanto!
VOCAL MIRACLE!

Rossini: Armida

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Verdi: I Vespri Siciliani
Spontini - La Vestale / Callas · Corelli · Votto
Cherubini: Medea
Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan

ASIN: B00004TCHL
Release Date: 2000-06-20

Tracks:

Ov - Orch Of The Florence May Festival/Tullio Serafin
Act One: Lieto, Ridente... Arditi All'ire
Act One: Germano, A Te Richiede Donna Real
Act One: Signor, Tanto Il Tuo Nome Ovunque Suona
Act One: Sventurata! Or Che Mi Resta
Act One: Or Che Faro? Ceder Dovro?
Act One: German, Se Togli Al Campo Breve Drappel
Act One: Per Me Propizio Il Fato Rallenta Il Suo Rigore
Act One: Cedei, Guerrieri E Ver
Act One: Come! A Dudon Costui Succede?
Act One: Non Soffriro L'Offesa... Ah! Tutti V'Unite
Act One: Grata Quest'alma... Amor... Possente Nome!
Act One: Vacilla A Quegli Accenti, Manca La Mia Costanza
Act One: Ah! Non Poss'io Resistere... Cara/Caro...
Act One: Ecco Il Guerriro, Il Duce, Il Primier Degli Eroi
Act One: Ah Menzognero! Se Pari Agli Accenti
Act One: Che Terribile Momento!... Deh, Se Cara A Te Son Io
Act One: Vieni, O Duce... M'Invita La Sorte

Tracks:

Act Two: Alla Voce D'Armida Possente
Act Two: Sovrumano Potere, Numi Del Tetro Abisso
Act Two: Dove Son'io?... Al Fianco Mio
Act Two: Mio Ben, Questa Che Premi
Act Two: Canzoni Amorose, Carole Festose
Act Two: D'Amore Al Dolce Impero
Act Two: (Ballet) - Orch Of The Florence May Festival/Tullio Serafin
Act Three: Come L'Aurette Placide Spiran
Act Three: Oh! Quanto , Amico, D'Ascalona Al Saggio
Act Three: In Quale Aspetto Imbelle Io Mi Ravviso
Act Three: Unitevi A Gara Virtude, Valore
Act Three: (Interlude) - Orch Of The Florence May Festival/Tullio Serafin
Act Three: Sia Lode Al Ciel!
Act Three: Ed E Pur Vero?... E Abbandonar Mi Vuoi?
Act Three: Se Al Mio Crudel Tormento
Act Three: Dove Son'io?... Fuggi, Lasciarmi, Ohime!
Act Three: E' Ver... Gode Quest'alma In Te

Customer Reviews:

Sound Worse Than Expected.......2007-03-02

This is a live performance from 1952, so you can't really expect very good sound. I'm not a sound fanatic - some of my favorite CDs are from the 50's (Mitropoulos's La Forza, Perlea's Aida, etc.), but the sound on this CD was just too poor for me to enjoy.

Callas was undoubtedly great in this difficult role, and she was in good voice. While I'm glad to have heard this (wincingly, several times), I'm probably going to give it away (along with a De Sabata Falstaff and a couple of others). For me, it's just too painful to listen to - and I no longer have enough space to keep CDs I don't want to listen to just because of their historical value.

You may be able to get beyond the poor sound quality and enjoy the virtuoso coloratura. It's inexpensive and worth hearing - just be forewarned about the sound.

Outstanding.......2006-08-03

Despite the rather poor sound and mediocre supporting cast, this is a legendary Callas performance, captured live in 1952 during her vocal zenith.

Maria displays a range of 3 full octaves, from low F to F in alstissimo, endless breath control, elegant phrasing, and simply amazing coloratura. Just listen to the way she repeats the tenor's lines in the Act 1 duet Amor possente nome, which she crowns with a huge E flat, the gradually climbing stanzas of the bravura aria D'Amor al Dolce Impero, with no less than 3 high Ds, and the extraterrestrial final scene, again ending on a long, fortissimo E flat. This performance, together with the 1949 Naples NABUCCO, reveals her in pristine and unparalleled vocal form.

Such a pity that her vocal prime was so short lived. For other exciting live performances of the young Callas one should also refer to the 1951 Naples TROVATORE, the 1951 Mexico AIDA, the 1952 Mexico LUCIA and RIGOLETTO (again, she is superb here despite a mediocre cast, and her Caro Nome is a lesson in great singing art) and 1952 Scala MACBETH, finally the 1953 Scala MEDEA, probaly her last fearless vocal performance.

Just buy it........2005-05-20

If you have been worried about the audio quality of this recording
detracting from your enjoyment of this performance, JUST BUY IT.
The price is right and you have never heard anything like this
performance by Callas.

Goddess of belcanto!.......2004-06-17

Callas' Armida is the belcanto-miracle of the century. La Divina outshines them all, how amazing! Coloratura, acuti, arpeggios, roulades, scales are done to perfection. And the interpretation is BLAZING, the phrasing and diction crystal-clear and idiomatic. The only ARMIDA to buy!

VOCAL MIRACLE!.......2004-01-30

This is perhaps the greatest display of belcanto di bravura ever recorded. Callas goes up to an F in alto, and a ROCK-SOLID one! The allure of the enchantress Armida is brought to life like never before and never after. A TOP-NIGHT for Callas who did her greatest, most astonishing belcanto singing here, an opera not even Sutherland attempted to sing! To comprehend why Callas is the queen of belcanto, listen to her "D'Amore Al Dolce Impero"!!! People say Callas wasn't ideal for Belcanto? This recording proves that this is anything but true! ENJOY THE PERFORMANCE OF A LIFETIME!