Falstaff

Falstaff

On this CD:

  1. Falstaff, opera
    Composed by Giuseppe Verdi
    Performed by Naples San Carlo Theater Orchestra & Chorus
    with Bernd Weikl, Marta Szirmay, Frank Lopardo, Mario Luperi, Raquel Pierotti, Sesto Bruscantini, Tullio Pane, Manlio Rocchi, Alida Ferrarini, Raina Kabaivanska
    Conducted by Daniel Oren

Falstaff,Giuseppe Verdi,Daniel Oren,Napoli San Carlo Theater Orchestra & Chorus,Alida Ferrarini,Bernd Weikl,Frank Lopardo,Manlio Rocchi,Mario Luperi,Marta Szirmay,Raina Kabaivanska,Raquel Pierotti,Sesto Bruscantini,Tullio Pane,Serenissima,Classical,Italian Romantic Opera,Opera

Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Average customer rating: 5 out of 5 stars
  • The Brown-Wrapped Version Just as Good
  • Va, vecchio John. Go, old Jack, go thy ways
  • Indispensable--will we ever see its like again?
  • The benchmark Falstaff
  • Best falstaff in the world.
 Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Giuseppe Verdi , Herbert von Karajan , Tito Gobbi , Elisabeth Schwarzkopf , Philharmonia Orchestra and Chorus , Nan Merriman , Anna Moffo , Rolando Panerai , Fedora Barbieri , Tomaso Spataro , Nicola Zaccaria , and Luigi Alva
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K4GH
Release Date: 1999-09-21

Tracks:

  1. Falstaff: Act One - Part One: Falstaff!...Ola!
  2. Falstaff: Act One - Part One: So che se andiam, la notte
  3. Falstaff: Act One - Part One: Ma empo d'assttigliar l'ingegno
  4. Falstaff: Act One - Part One: L'onore! Ladri!... lo stesso, si, io, io
  5. Falstaff: Act One - Part Two: Alice!... Med!... Nannetta!
  6. Falstaff: Act One - Part Two: Fulgida Alice! amor t'offro
  7. Falstaff: Act One - Part Two: Ripeti...In due parole
  8. Falstaff: Act One - Part Two: Pst, pst, Nannetta!...Vien qua...Labbra di foco!
  9. Falstaff: Act One - Part Two: Falstaff m'ha conzonata
  10. Falstaff: Act One - Part Two: Torno all'assalto...Torna alla gara
  11. Falstaff: Act One - Part Two: Udrai quanta egli sfoggia magniloquenza altera
  12. Falstaff: Act One - Part Two: Del tuo barbaro dignostico
  13. Falstaff: Act Two - Part One: Siam pentiti e contriti
  14. Falstaff: Act Two - Part One: Reverenza!
  15. Falstaff: Act Two - Part One: Va, vecchio John
  16. Falstaff: Act Two - Part One: Signore, v'assista il cielo!
  17. Falstaff: Act Two - Part One: Ve lo dir' Windsor una dama
  18. Falstaff: Act Two - Part One: Lo conoscete?...Il diavolo lo porti all'inferno
  19. Falstaff: Act Two - Part One: E sogno? o realt
  20. Falstaff: Act Two - Part One: Eccomi qua. Son pronto

Tracks:

  1. Falstaff: Act Two - Part Two: Presenteremo un 'bill' per una tassa al parlamento
  2. Falstaff: Act Two - Part Two: Giunta all'albergo della Giarrettiera
  3. Falstaff: Act Two - Part Two: Gaie comari di Windsor! E I'ora!
  4. Falstaff: Act Two - Part Two: Alfin t'ho colto,raggiante fior
  5. Falstaff: Act Two - Part Two: T'immagino fregiata del mio stemma
  6. Falstaff: Act Two - Part Two: Quand'ero paggio del Duca di Norfolk
  7. Falstaff: Act Two - Part Two: Vien qua. Che chiasso!
  8. Falstaff: Act Two - Part Two: Al ladro!
  9. Falstaff: Act Two - Part Two: Facciamo le viste d'attendere ai panni
  10. Falstaff: Act Two - Part Two: Bella! ridente!
  11. Falstaff: Act Three - Part One: Ehi! taverniere!...lo, dunque, avro vissuto tanti anni
  12. Falstaff: Act Three - Part One: Buono. Ber del vin dolce
  13. Falstaff: Act Three - Part One: Reverenza! La bella Alice...
  14. Falstaff: Act Three - Part One: T'aspetterl Parco Real
  15. Falstaff: Act Three - Part One: Brava! Quelle corna saranno la mia gioia!
  16. Falstaff: Act Three - Part One: Avrn me dei putti
  17. Falstaff: Act Three - Part Two: Dal labbro il canto estasiato vola
  18. Falstaff: Act Three - Part Two: Nossignore! tu indossa questa cappa
  19. Falstaff: Act Three - Part Two: Una, due, tre, quattro, cinque, sei
  20. Falstaff: Act Three - Part Two: Ninfe! Elfi! Silfi! Doridi! Sirene!
  21. Falstaff: Act Three - Part Two: Sul fil d'un saffio etesio
  22. Falstaff: Alto l
  23. Falstaff: Act Three - Part Two: Ahimu puzzi come una puzzola
  24. Falstaff: Act Three - Part Two: Un poco di pausa
  25. Falstaff: Act Three - Part Two: Ogni sorta di gente dozzinale
  26. Falstaff: Act Three - Part Two: Un coro e terniniam la scena...tutto nel mondo urla

Amazon.com essential recording

This Karajan Falstaff has much to recommend it: Fedora Barbieri's Mistress Quickly is a force of nature, Elisabeth Schwarzkopf, only slightly affected, is a liquid, appealing Alice Ford, and Luigi Alva and the young Anna Moffo are ideal as the young lovers, Fenton and Nanetta. But the star--as it should be--is Tito Gobbi in the title role. As is usual with this great singing actor, his characterization comes from within--his is a Falstaff born to be deflated, arrogant and self-deluding on a level that is actually funny. And the nice surprise is what good voice Gobbi's in--he's in charge of all of his vocal colors here and he uses all of them well. Karajan's touch is light and, yes, funny, and he treats the opera as the divine ensemble work it is, all leading up to a superb final scene. A good time is had by all--listeners included. --Robert Levine

Customer Reviews:

5 out of 5 stars The Brown-Wrapped Version Just as Good.......2007-06-12

Now that this is available in the lower-priced brown-wrapped version (shades of an old LP or even 78 sleeve), expect no less in this superb recording. The only sacrifice is the lack of a libretto -- but that's available from EMI at its website. And at this incredibly low price of about $14 (same as the Gobbi-Callas TOSCA) everything that counts is still there -- in spades.

5 out of 5 stars Va, vecchio John. Go, old Jack, go thy ways.......2006-05-08

.
Source: Studio recording made at Kingsway Hall, London on June 21-23 and June 25-29, 1956. Originally issued by EMI on Lps in 1957.

Sound: The booklet accompanying this issue has this to say: "This recording was made in 1956 in the early days of stereo. As a consequence, the listener may notice some slight technical flaws that derive from the original tapes." This set was digitally remastered in 1999 with considerable success. Audiophiles who spend far more time listening to hisses and joins than they do to performances may cavil, but it sounds fine to me.

Cast: Sir John Falstaff - Tito Gobbi; Ford - Rolando Panerai; Alice Ford - Elisabeth Schwarzkopf; Nanetta Ford - Anna Moffo; Meg Page - Nan Merriman; Mistress Quickly - Fedora Barbieri; Fenton - Luigi Alva; Dr. Cajus - Tomaso Spataro; Bardolfo - Renato Ercolani; Pistola - Nicola Zaccaria. Conductor: Herbert von Karajan with the Philharmonia Orchestra and Chorus. Producer: Walter Legge.

Format: Disk 1 - Act I, Part One, tracks 1-4; Act I, Part Two, tracks 5-12; Act II, Part One, tracks 13-20;55:04. Disk 2 - Act II, Part Two, tracks 1-10; Act III, Part One, tracks 11-16; Act III, Part Two, tracks 17-26; 64:38.

Documentation: Libretto in German, Italian, English and French. Short synopsis of the plot. Photographs of the conductor (of course!) and the principal singers. Track list that identifies characters singing, provides timings and the page of the libretto on which the text is to be found. Richard Osborne contributed a brief history of the opera and a gush of adulation for von Karajan. (Not recommended for readers who must control the sugar in their diet.)

Let me be up front with this: I consider "Falstaff" to be one of the two greatest operas ever written. I am fully aware that it is not and has never been especially popular with audiences and I think that a dirty rotten shame.

This is far and away the best stereo "Falstaff." No subsequently recorded Jack Falstaff approached Gobbi in the part: Taddei in Karajan's second stereo version was caught too late in his career; Terfel lost the character amid the mugging; Evans was good but no match for Gobbi in either voice or style; Fischer-Dieskau was inherently mismatched and miscast in Italian opera.

No subsequent recording musters an ensemble of singers that even comes close to the 1956 cast assembled by producer Walter Legge. Beside the extraordinary Gobbi were the equally impressive Panerai as Ford and Anna Moffo as Nanetta Ford. Luigi Alva was certainly one of the best light tenors of the day. Merriman was an old pro as Meg Page, having served under Toscanini in the same role. Barbieri was a tremendous Mistress Quickly. Her hilarious variations on the greeting, "Reverenza," ring in the mind. Schwarzkopf was an exquisite and sharp-witted Alice Ford.

Legge and von Karajan put in a great deal of time and work into preparation of this performance and it all appears in the sound of the set. Seldom has any conductor achieved such accuracy and unanimity of purpose. The Philharmonia Orchestra was at its peak of prowess and sounds tremendous.

All these things fully justify a five star rating.

That said, I feel bound to point out that while Karajan's 1956 recording is the best stereo performance, it is not the best recorded performance. Karajan's handling of any opera always requires something of an acquired taste. The ensemble is good but not perfect. Alva was a fine technician but he lacked fire. Cesare Valetti would have been preferable and Ferruccio Tagliavini better yet. Schwarzkopf, Walter Legge's wife, was wonderful, but no-one would ever mistake her for a true Italian soprano or a natural Verdian. Tebaldi was tied to rival Decca Records and therefore unavailable, but there were other full-voiced sopranos at the time, such as Antonietta Stella or Caterina Mancini. Or Callas.

The best performance is Toscanini's 1950 mono version with Giuseppe Valdengo as the Fat Knight. (Some would argue that Toscanini's pre-war "Falstaff" is better still, but time and recording technology put that one out of the running as far as I am concerned.) Toscanini's cast is very nearly a match for Karajan's and his earthy, fiery conducting makes Herr Doktor K's seem restrained and over-refined.

A 1949 performance, in mono naturally, has strong claim to be regarded as at least an equal of the 1956 Karajan. It was led by Mario Rossi, a conductor who could find the fun in the score that sometimes eluded Karajan. It's excellent all-Italian cast included the Falstaff of the young Giuseppe Taddei, who understood the character as well as Gobbi and possessed a better singing voice.

5 out of 5 stars Indispensable--will we ever see its like again?.......2005-09-29

The legendary producer Walter Legge was adored by musical artists because he demanded only the very best from them and ignored any resistance from corporate higher-ups complaining about costs or from the artists themselves, who often wound up recording late in the day after dozens of takes. Now we can be grateful that Legge went the extra mile. His opera recordings, especially the ones under Karajan, have rarely been equalled and never surpassed. In later lifeKarajan himself tried to repeat these early triumphs but never succeeded in artistic terms.

The other reviewers here have pointed out all there is to say in praise of this classic EMI Falstaff. The only reservation would be with Gobbi's voice, which isn't plush or rich and exhibits a fast beat. These shortcomings are more than compensated for by his vocal acting.

For what it's worth, Karajan recorded a second Falstaff on Philips with an aging Giuseppe Taddei in the lead, and it was not half as successful overall. Other eminent conductors, among them Giulini, Bernstein, and Abbado, have tried to find magic in this elusive score. The Giulini is too straitlaced, the Bernstein has a woefully wrong Fischer-Dieskau in the lead, and the Abbado showcases Bryn Tefel's signature portrayal, currently the best in the world if you like his extreme overacting, but the rest of the cast is forgettable. Karajan and Legge got everything right five decades ago, and in that they are unique.

5 out of 5 stars The benchmark Falstaff.......2004-07-16

Reference recordings are the touchstone by which all others are judged. The Callas-Gobbi Tosca is the universal example of a recording whose excellence so towers over the field as to bend the artistic vision of every subsequent laborer in the operatic vineyard in homage, conciously or not. Such recordings are extremely rare. Perhaps two dozen at best. By such rigorous standards this 1956 recording of Verdi's miraculous final Opera falls short of attaining the lofty status of Reference recording. Rather, it occupies that second tier of presumptive best for a large number (but not all!) of Opera devotees to whom the status of favorite recording is defended with a rabid zeal best reserved for fanatic warriors and religious zealots. Opera fans are a tough crew prepared to defend their favorites with a level of Mutually Assured Destruction not seen since the Cold War. It can get positively radioactive in the lobby of the Met between acts. I know. I've seen it.

There is a Golden-Age warmth to this recording. EMI had perfected the business of Vocal recordings in the 1950's. Something in the water, perhaps. One can hear it in all
of EMI's classic Opera recordings of the era. Even the ones in Mono (for which we can thank Producer Walter Legge's alleged hatred of stereophonic sound). Recorded in London's Kingway Hall in June 1956 there is a Midsummer's magic in the sparkle with which Gobbi inhabits the role of Falstaff. Recording during those long days was an inspiration not to be ignored. Everything about this Opera screams "more light!" As if the 80 year old Verdi willed himself youth through art. Karajan in his youth - well before illness slowed him considerably - had a clarity of style I have always admired. Listen to the way the woodwinds cavort throughout this recording. They seem to speak, commenting on the action. Sometimes they merge with women's voices with truly magical effect. Afterall, this is an Opera of texture, of delicacy of sound prefiguring Webern by 30 years. In this it is truly modern: pointing the way to a new century while simultaneously (and literally) ending an era.

Sure it's tuneful. The tunes are shorter. It's as simple as that. Don't be put off by the lack of bang-up aria. The entire Opera is a song. Schwarzkopf, Merriman and Moffo (What a cast!) are suberb. They have rarely sounded so youthful yet wise. Vocal quality (to my ear at least) sounds easy and natural for each member of the cast. I cannot find a hint of Scarpia in Gobbi's performance. That's quite a feat since Gobbi is not a Falstaff that comes quickly to mind when discussing casting this role. Everything falls comfortably into place in this classic recording. It is a personal touchstone Opera performance.
In a review of Gardiner's recent recording of this Opera, I mention Toscanini's justifiably lauded performance as occupying one of the antipodes of Falstaff performance practice. Karajan's is unquestionably the other. Lighting the way for all that comes after. Not bad for a long day's work. I love this record. 5 out of 5 stars with no debate.

5 out of 5 stars Best falstaff in the world........2003-12-29

This is the best falstaff in the world bar none. As the Gramophone puts it aptly, it stands peerless in the catalogue. Enough said!!
Story Of Verdi In Words And Music
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    17. Aida: Celeste Aida
    18. Aida: O Patria Mia
    19. Requiem: Dies Irae
    20. Otello: Opening
    21. Falstaff: L'Onore! Ladri!
    22. La Traviata: Addio Del Passato
    23. Il Trovatore: Stride la Vampa
    24. Nabucco: Chorus Of The Hebrew Slaves
    25. Aida: Chorus And Triumphal March From Act II
    26. La forza del destino: Pace, Pace, From Scene 4
    27. Aida: Qui Radames verra, From Scene 3
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    Similar Items:
    1. A to Z of Classical Music
    2. The Most Famous Opera Duets
    3. The Most Famous Opera Arias
    4. The Best of Italian Opera
    5. Amor--Opera's Great Love Songs

    ASIN: B00004YYRR
    Release Date: 2000-10-17

    Tracks:

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

    Tracks:

    1. Rigoletto: La Donna E Mobile - Yordy Ramiro/Slovak Phil Chor
    2. Die Walkure: Ride Of The Valkyries - Czecho-Slovak RSO/Uwe Mund
    3. Tannhauser: Begluckt Darf Nun Dich (Pilgrims' Chor) - Slovak Phil Chor
    4. La Wally: Ebben, Ne Andro Lontana - Miriam Gauci
    5. Rusalka: O, Silver Moon (Song To The Moon) - Jana Valaskova
    6. Gianni Schicchi: O Mio Babbino Caro - Luba Orgonasova
    7. La Boheme: Che Gelida Manina - Jonathan Welch
    8. Madama Butterfly: Un Bel Di Vedremo - Miriam Gauci
    9. Tosca: E Lucevan Le Stelle - Giorgio Lamberti
    10. Turandot: Nessun Dorma - Thomas Harper/Slovak Phil Chor
    11. Lakme: Dome Epais (Flower Duet) - Adriana Kohutkova/Denisa Slepkovska
    12. Thais: Meditation - Janos Selmeczi
    13. Carmen: L'Amour Est Un Oiseau Rebelle (Habanera) - Graciela Alperyn/Slovak Phil Chor/Bratislava Children's Chor
    14. The Pearl Fishers: Au Fond Du Temple Saint (Duet) - Janez Lotric/Igor Morozov
    15. Pagliacci: Recitar!... Vesti La Giubba - Nicola Matinucci/Slovak Phil Chor
    16. Cavalleria Rusticana: Intermezzo - Czecho-Slovak RSO/Alexander Rahbari
    17. Andrea Chenier: Come Un Bel Di Di Maggio - Thomas Harper
    18. King Roger: Roxana's Aria - Barbara Zagorzanka
    19. 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:

    4 out of 5 stars 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!

    5 out of 5 stars 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.

    5 out of 5 stars 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!

    5 out of 5 stars 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.

    There is a sister set titled (8.555319-20) that uses the same format. There are 2 CDs with 36 selections from Gregorian Chant to Glass. The 562-page book gives us the major facts about "the Great Composers and Their Greatest Works, " a glossary, and a 45-page list of classical music heard in films. The discography is included in the composers section. Again, the value of this set as an educational tool is enormous and well worth the extremely low price Naxos is asking.
    The Very Best of Thomas Hampson
    Average customer rating: 4 out of 5 stars
    • SImply Untrue
    • an extra star for all the guest artists
    • An Homage to a Great Artist
    • superb vocals
    		 The Very Best of Thomas Hampson
    Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
    Manufacturer: EMI Classics
    ProductGroup: Music
    Binding: Audio CD

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    Similar Items:
    1. Song of America
    2. No Tenors Allowed: Famous Duets for Baritone and Bass
    3. Arias - Haydn, Mozart, Beethoven, Schubert
    4. Christmas with Thomas Hampson
    5. Leading Man

    ASIN: B0006VYEI2
    Release Date: 2005-04-26

    Tracks:

    1. La Ran La Lera...Largo Al Factotum
    2. O Sainte Medaille...Avant De Quitter Ces Lieux
    3. Ce Breuvage...Vision Fugitive
    4. C'est Toi...Au Fond Du Temple Saint - Placido Domingo
    5. La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
    6. Ecoute!...Dieu, Tu Semas Dans Nos Ames
    7. C'est Mon Jour Supreme
    8. Tout Est Desert...Son Regard
    9. Ove Son Io?...Vada In Fiamme
    10. Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
    11. Di Provenza Il Mar, Il Suol
    12. E Sogno? O Realta?
    13. Komm!
    14. Der Garten Des Herzens
    15. Lied Des Venezianischen Gondoliers
    16. Le Lazzarone
    17. L'Ultimo Ricordo

    Tracks:

    1. Mein Sehnen, Mein Wahnen
    2. Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
    3. Wie Todesahnung...O Du Mein Holder Abendstern
    4. Gruss Op.48 No.1
    5. Im Wunderschonen Monat Mai
    6. Aus Meinen Tranen Spriessen
    7. Die Rose, Die Lilie
    8. Ich Will Meine Seele Tauchen
    9. Ich Grolle Nicht
    10. Gute Nacht
    11. Die Post
    12. Blicke Mir Nicht In Die Lieder
    13. Ich Atmet' Einen Linden Duft
    14. Ich Bin Der Welt Abhanden Gekommen
    15. Von Der Schonheit
    16. O Vaterland, Du Machst Bei Tag
    17. Als Flotter Geist
    18. Komm, Zigany
    19. An Old Song Re-Sung
    20. At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
    21. Jeanie With The Light Brown Hair
    22. Beautiful Dreamer

    Album Description

    Details TBA. EMI. 2005.

    Customer Reviews:

    5 out of 5 stars SImply Untrue.......2006-08-16

    The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

    2 out of 5 stars an extra star for all the guest artists.......2006-05-08

    The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

    5 out of 5 stars An Homage to a Great Artist.......2005-10-30

    EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

    The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

    But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

    Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

    5 out of 5 stars superb vocals.......2005-08-07

    Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.
    Verdi without Words: Grand Opera for Orchestra
    Average customer rating: 4 out of 5 stars
    • The Music Behind The Grand Opera: Verdi Spectacular
    • Dreadful Sound Engineering
    • Karaoke fans - eat your heart out!
    • Great, but you are not really singing the tune !
    • HIGHLY RECOMMEDED.....
    		 Verdi without Words: Grand Opera for Orchestra

    Manufacturer: Telarc
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000003D03
    Release Date: 1995-01-24

    Tracks:

    1. Grand Entrance ...'Su! Del Nilo Al Sacro Lido'
    2. 'Celeste Aida'
    3. Triumphal Scene 'Gloria All'Egitto'
    4. 'Ave Maria'
    5. 'Vedi! Le Fosche Notturne Spoglie'
    6. 'Di Quella Pira'
    7. Prelude
    8. Introduction To Act I
    9. 'Brindisi'
    10. Waltz
    11. 'Un Di Felice'
    12. La Traviata: 'Sempre Libera Degg'io'
    13. 'Di Provenza Il Mar, Il Suol'
    14. 'Questa O Quella'
    15. 'Caro Nome'
    16. 'La Donna E Mobile'
    17. 'Un Di, Se Ben Rammentomi'
    18. 'Tutto Net Mondo E Burla'
    19. 'Va, Pensiero' (Prisoners' Chorus)

    Customer Reviews:

    5 out of 5 stars The Music Behind The Grand Opera: Verdi Spectacular.......2005-10-04

    This recording is a delight for fans of classical music. In opera, the singing/words/text is married to the music, but it is the music above all that must create moods and evoke sentiment- whether it is pity, romance, jealousy, rage, pomp, melancholy, heartbreak, ecstasy, passion, mystery, etc. Eric Kunzel and his Pops Orchestra performs a wonderful array of Verdi music scores from his most famous grand operas. This album opens with Aida and there is much to admire here. The Triumphal March is a spectacle-scene which features parades of dancing girls and wild animals as Radames returns victorious. This music is famous for its prominent use of trumpet and chorus. Its orchestral version is equally bombastic. The Anvil Chorus from Il Trovatore is another smash Verdi hit, a chorus piece but on orchestra, it is very catchy as well. Further to these fine works, the album features music from Verdi's Otello and La Traviata. This is a fine intro to opera for those who wish to begin by listening to the orchestral music first.

    1 out of 5 stars Dreadful Sound Engineering.......2005-06-17

    Such beautiful Verdi and tis a shame to have to fiddle with the volume control on every single track (and even within the track). One will be inaudible, the next will blare.

    4 out of 5 stars Karaoke fans - eat your heart out!.......2002-12-29

    This disc, containing selections of Verdi's most famous operatic works, is a must buy for fans of Opera that want to "try out their pipes".

    What Opera fan hasn't at least sung a few bars of "La Donna e mobile" while in the shower? This 70 minutes of Opera greats from the pen of Verdi under the able direction of the Cincinati Pops orchestra under the baton of Erich Kunzel will make most opera fans dreams come true.

    There are no words on any of these numbers - making it a cross between a Karaoke disc and Verdi's greatest hits. It contains some selections from "Aida", "Othello", "Il Trovatore", "La Traviata", "Rigoletto", "Falstaff", and "Nabucco".

    My only "complaint" is that the lyrics to the numbers were not included in the liner notes. That would have made this the world's first Opera Karaoke.

    Still worth listening to for the majesty of the music behind the words - music that is often overshadowed by the singers. Worth a look for inclusion in any opera fan's classical library.

    4 out of 5 stars Great, but you are not really singing the tune !.......2002-05-24

    "Celeste Aida"
    1. Cincinnati Pops did not play the recitativo. Something is missing, if you are an opera freak.
    2. The second verse does not include "Il tuo bel cielo vorrei ridarti", which will mislead a whistling person.

    "La donna e mobile"
    In the second verse, the "refrain" (la donna e mobil qual piu mal vento ...) is replayed. This gives a "queer" feeling for a singing person who is used to practicing singing it "the way it should be sung".

    5 out of 5 stars HIGHLY RECOMMEDED............2002-03-13

    I LIKE OPERA WITHOUT THE WORDS AND THIS IS ONE OF THE BEST I HAVE
    PURCHASED LATELY (AND I HAVE BOUGHT MANY LATELY). CARMAN WITHOUT
    WORDS IS ALSO VERY ENJOYABLE, AS ARE ALL THE "OPERA WITHOUT WORDS" CDS OUT TODAY. I HIGHLY RECOMMEND THIS CD TO ADD TO ANY
    COLLECTION OF CLASSICAL MUSIC..
    Bryn Terfel - Opera Arias / MET, Levine
    Average customer rating: 4.5 out of 5 stars
    • Look out world
    • What fun!
    • I LOVE YOU, BRYN!
    • awesome..
    • Why do people think this guy can SING???
    		 Bryn Terfel - Opera Arias / MET, Levine
    Wolfgang Amadeus Mozart , Richard Wagner , Jacques Offenbach , Charles Gounod , Alexander Borodin , Gaetano Donizetti , Gioachino Rossini , Giuseppe Verdi , James Levine , Bryn Terfel , and The Metropolitan Opera Orchestra
    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

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    Wagner, RichardWagner, Richard | ( W ) | Composers, A-Z | Classical Music Blowout | Stores | Music
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    ASIN: B000001GP8
    Release Date: 1996-04-09

    Tracks:

    1. Le nozze di Figaro: Non pirai, farfallone amoroso
    2. Don Giovanni: Deh, vieni alla finestra
    3. Don Giovanni: Madamina, il catalogo uesto
    4. Cosi fan tutte: Rivolgete a lui lo sguardo
    5. Die Zauberfl Der Vogelfer bin ich ja
    6. Tannher: Wie Todesahnung Drung deckt die Lande...O du mein holder Abendstern
    7. Der Fliegende Holler: Die Frist ist um
    8. Les Contes d'Hoffmann: Allez!...Pour te livrer combat...Seintille, diamant
    9. Faust: Vous qui faites l'endormie
    10. Prince Igor: Ni sna ni otdycha izmucennoj duse
    11. Don Pasquale: Bella siccome un angelo
    12. La Cenerentola: Miei rampolli femminini
    13. Macbeth: Perfidi! All'anglo contra me v'unite!
    14. Falstaff: Ehi! paggio!...L'Onore!

    Customer Reviews:

    5 out of 5 stars Look out world.......2006-01-20

    Maestro Terfel throws down the vocal gauntlet in this tour de force offering of selected opera arias and dares any male singer, future or current, to pick it up. From the elegance and humor of Mozart, to the giddy delights of Rossini, and the vocal power of Verdi, Bryn Terfel diplays clearly why he is the preeeminent bass-baritone of our age. Short of some misguided forays into American Musical Theater, there seems to be nothing that this proetean singer cannot do. James Levine leads the bravura Met Orchestra with equal parts style and substance. A must have for a fan of great singing and artful music making.

    4 out of 5 stars What fun!.......2005-11-22

    This is definitely the best recording of the selections chosen from "le Nozze de Figaro" I have ever heard. Terfel has a wonderful sense of musical humour, and is able to make his voice do seemingly, whatever he likes. In fact I think one could liken his voice to a big red bouncy ball, it's so round and fun to play with, you can tell that he himself has fun using it. However this is the only one of his albums I have really fallen in love with, in spite of listening to quite a few. Some of the same pieces are on his other cds, but not as well-sung as in this one.

    5 out of 5 stars I LOVE YOU, BRYN!.......2005-06-03

    Terfel is amazing. The voice is warm, wide and sensous, and the acting is top-notch. This recital is the best recording I have heard of him outside full operas, where he is (of course) at his best. Every peice on it is a gem, but especially the first five Mozart arias. You will never hear a better Catologue Aria. I make it a point to listen to his at least once a week.
    If you are an opera lover and (God forbid!) have not yet stumbled upon Terfel, this is an excellent introduction. And by the way, you needn't be a singer to appreciate his voice - I know very little of the technicalities of singing (about as much as a year in the church choir can give you), but I play the violin and we violinists are very keen on singers who know what they are doing. In the words of my violin teacher, Terfel is "charming!"

    5 out of 5 stars awesome.........2004-03-10

    this is an awesome cd. if you're a fan of Bryn Terfel, you should buy this. you'll enjoy every song in this cd. I also recommend his recital dvd.

    ps) don't listen to what the guy under my review said. i don't think this person knows how to sing.

    1 out of 5 stars Why do people think this guy can SING???.......2004-02-09

    It baffles me that people think that Bryn Terfel is a great singer. It sounds like he is SINGING HOLDING HIS NOSE CLOSED. Absolutely AWFUL. Just because you can sing LOUD and POWERFUL does NOT mean you are GOOD. I would rather listen to my dishwasher running than this stuff!! The TONE of the voice is what matters to MOST people, and this guy doesn't have it. If you want to hear a beautiful voice, do yourself a favor and go buy Josh Groban's new CD, Closer. You won't regret it!!
    Verdi: Falstaff
    Average customer rating: 5 out of 5 stars
    • Libretto for Karajan's EMI Falstaff
    • STILL AN ATHLETE IN HIS OLD AGE
    		 Verdi: Falstaff

    Manufacturer: EMI Classics
    ProductGroup: Music
    Binding: Audio CD

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    1. Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
    2. Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
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    4. Bellini: I Puritani
    5. Richard Strauss: Der Rosenkavalier

    ASIN: B000J20W66
    Release Date: 2007-01-16

    Tracks:

    1. Falstaff!...Ola!
    2. So Che Se Andiam, La Notte
    3. Ma E Tempo D'assottigilar L'ingegno
    4. L'onore! Ladri!...Io Stesso, Si, Io, Io
    5. Alice!...Meg!...Nannetta!
    6. Fulgida Alice! Amor T'offro
    7. Ripeti...In Due Parole
    8. Pst, Pst, Nannetta!...Vien Qua...Labbra Di Foco!
    9. Falstaff M'ha Canzonata
    10. Torno All'assalto...Torna Alla Gara
    11. Udrai Quanta Egli Sfoggia Magniloquenza Altera
    12. Del Tuo Barbaro Diagnostico
    13. Siam Pentiti E Contriti
    14. Reverenza!
    15. Va, Vecchio John
    16. Signore, V'assista Il Cielo!
    17. Ve Lo Diro. C'e A Windsor Una Drama
    18. Lo Conscete?...Il Diavolo Se Lo Porti All'inferno
    19. E Sogno? O Realta?
    20. Eccomi Qua. Son Pronto

    Tracks:

    1. Presenteremo Un 'Bill' Per Una Tassa Al Parlamento
    2. Giunta All'Albergo Della Giarrettiera
    3. Gaie Comari Di Windsor! E L'ora!
    4. Alfin T'ho Colto, Raggiante Fior
    5. T'immagino Fregiata Del Mio Stemma
    6. Quand'ero Paggio Del Duca Di Norfolk
    7. Vien Qua...Che Chiasso!
    8. Al Ladro!
    9. Facciamo Le Viste D'attendere Ai Panni
    10. Bella! Ridente!
    11. Ehi! Taverniere!...Lo, Dunque, Avro Vissuto
    12. Buono. Ber Del Vin Dolce
    13. Reverenza! La Bella Alice
    14. T'aspettero Nel Parco Real
    15. Brava! Quelle Corna Saranno La Mia Gioia!
    16. Avro Con Me Dei Putti
    17. Dal Labbro Il Canto Estasiato
    18. Nossignore! Tu Indossa Questa Cappa
    19. Una, Due, Tre, Quattro, Cinuqe, Sei
    20. Ninfe! Elfi! Silfi! Doridi! Sirene!
    21. Sul Fil D'un Soffio Etesio
    22. Alto La!
    23. Ahime! Tu Puzzi Come Una Puzzola
    24. Un Poco Di Pausa
    25. Ogni Sorta Di Gente Dozzinale
    26. Un Coro E Terminaiam La Scena...Tutto Nel Mondo E Burla

    Customer Reviews:

    5 out of 5 stars Libretto for Karajan's EMI Falstaff.......2007-02-11

    David Bryson's review of this great recording emphasizes the need to have the libretto in hand when listening to Falstaff. This Karajan/EMI Falstaff issue comes without a printed libretto--but the EMI website does provide the complete Italian text for this issue along with English, French, and German translations, in PDF format. I've hesitated to print a copy, however, because it runs to 228 pages.

    5 out of 5 stars STILL AN ATHLETE IN HIS OLD AGE.......2007-01-30

    That's Verdi, not Sir John Falstaff. It was Shaw's tribute to the octogenarian prodigy, said admiringly while he still hankered after his beloved composer of Trovatore and Un Ballo. Believe if you like what Verdi said about Falstaff being written for himself. He was one for putting up smokescreens such as his claim to be unlearned, he was still developing as a composer at age 80, he knew Falstaff would baffle most of its early audiences (I doubt that Shaw ever really got the hang of it), but the idea of Verdi in an ivory tower without a thought of applause in the opera-house does not come to me at all.

    This reissue is admirable in every respect, but be aware that at this price no full libretto is included. Unless you know the work by heart, a full libretto is an absolute essential, and if you are new to the piece I strongly recommend becoming thoroughly familiar with the libretto before you listen to a note. Not only is it one of the best, cleverest and subtlest libretti ever, the action is complex and moves at a scorching pace, and unless you know exactly where you are you will miss not only the intricacies of the plot but the mandarin refinement of the music. The vocal style is lyrical throughout with no suggestion of recitative, but it rarely slows down sufficiently to be lyrical in a sustained way (and then mainly in the last act), and the mistaken impression can be gained that Falstaff lacks melody. Nor has the aged athlete lost his sheer physical power, and for all the quicksilver delicacy of much of the orchestration you will still hear, at the end of the scenes and in the orchestral refrain at `Va, vecchio John', the kind of Verdian orchestral writing that Shaw called, not unfairly and not in any critical sense, `brutal'.

    From an early age Karajan had admired Toscanini's interpretation (small wonder), and it was a pleasure to replay that by way of comparison. In all essentials, Karajan follows Toscanini's lead, and although the recording of Toscanini's live performance is far from bad, it's not comparable with what Karajan is given, and it's also probably true to say that the NBC orchestra is not quite the equal of the Philharmonia at the height of its glory either. Above all, the casting is better in the Karajan set. Valdengo as Toscanini's Falstaff sings superbly and most beautifully, but his voice seems to me slightly youthful -- better to err on the side of musicality rather than of buffoonery for sure, but I prefer the extra weight to Gobbi's tone. The two tenor parts of Gabor Carelli as Dr Cajus and Antonio Madasi as Fenton seem very strangely allocated on the Toscanini version - they would have each been better in the other's part. Nan Merriman as Meg is actually in both versions, but I'm with the liner-note writer in thinking she sings better for Karajan. Herva Nelli as Alice and particularly Teresa Stich-Randall as Nannetta are no match for Schwarzkopf and Moffo respectively. Moffo and Luigi Alva as Fenton make a heavenly partnership as the young lovers on this set, and if anyone decides to find Schwarzkopf's voice too German for Verdi or her artistry and workmanship too precise, let him. I was also delighted with the casting of Fedora Barbieri as Mistress Quickly here. This part is that Verdian rarity a genuine contralto role, and Barbieri has the voice for it.

    I should not suggest that this set is absolutely perfect, whatever that is. Other great interpreters have taken on the challenge of this great work, and to be frank Karajan has never been an enormous favourite of my own. Whether the shadow of Toscanini over his interpretation has something to do with the matter or not, if I had to name the best thing, in my opinion, that Karajan ever did, this might be my nomination. I love his tempi, I love the lightness of his touch in the `patter' ensembles, I love the contrasting Verdian brutality here and there where required, and I love the slightly eerie ambience in the scene in the midnight forest. This is not Weber but a comedy of course, but it's a Shakespearean comedy, expertly stitched together by Boito from the Bard's various plays involving Falstaff. It is neither cynical nor escapist, and there is always the sense that the merriment is only a hair's breadth away from tears and worse. Practical jokes can have deadly consequences, and they nearly do in this story, what is funny to their instigators may be very unfunny at the receiving end, and of course midnight woods are creepy places on any scenario. It is all quite `funny' in one sense, but to me it is `fun' in no sense. This is the Shakespearean view of humanity, with all the participants genuine characters and not caricatures or stick-men. Their jokes and stratagems are dangerous because such carrying-on is dangerous, and the jealous Ford for one, while uneasy about his wife's fidelity, starts to remind me of the Otello that Verdi had burned into music not long before.

    He was no innocent, this composer, and he was fully equal to a theme like this. It must all be wonderful if exhausting to perform, and the performers here are wonderful without betraying a trace of exhaustion. It only requires from the listener the modest effort of obtaining and mastering that indispensable libretto, and at this price there must be some change to spare for that.
    Verdi: Falstaff
    Average customer rating: 4.5 out of 5 stars
    • 3 Great Knights
    • Wonderful Recording
    		Verdi: Falstaff

    Manufacturer: Decca
    ProductGroup: Music
    Binding: Audio CD

    All Works by VerdiAll Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B000787WWE
    Release Date: 2005-05-10

    Tracks:

    1. Falstaff!
    2. Sei Polli: Sei Scellini
    3. Ehi! Paggio! Andante A Impendervi
    4. Alice
    5. Fulgida Alice! Amor T'Offro
    6. E' Un Ribaldo, Un Furbo, Un Ladro
    7. Pst, Pst, Nannetta
    8. Falstaff M'Ha Canzonata
    9. Torno All'Assalto
    10. Udrai Quanta Egli Sfoggia
    11. Siam Pentiti E Contriti
    12. Reverenza!
    13. Alice E Mia!
    14. V'Assista Il Cielo!
    15. In me Vedete Un Uom
    16. E' Sogno? O Realta?
    17. Presenteremo Un Bill
    18. Ola! Ned! Will!
    19. Alfin T'Ho Colto
    20. Voi Mi Celiate
    21. Al Ladro!
    22. Se T'Agguanto!

    Tracks:

    1. Ehi! Taverniere!
    2. Reverenza. La Bella Alice
    3. Non Dubitar, Tu Sposerai Mia Figlia
    4. Dal Labbro Il Canto
    5. Una, Due, Tre, Quattro
    6. Ninfe! Elfi! Silfi! Doridi! Sirene!
    7. Alto La!
    8. Ogni Sorta Di Gente Dozzinale
    9. Ah! Ah! Ah! Ah!
    10. Tutto Nel Mondo E Burla

    Customer Reviews:

    5 out of 5 stars 3 Great Knights.......2007-04-29

    I have owned this recoring for 35 years on vinyl and CD and also saw Sir Georg and Sir Geraint in the Zeffirelli production at Covent Garden: it has always been my favourite version of my favourite Verdi. Sir Georg brings brilliance and sparkle as well as lyrical loveliness to the snatches of melody and Sir Geraint's is a richly rounded portrait of Sir John. The highlight of the recording is the duet with Robert Merill, terminating in Falstaff arriving "in his Sunday" best: the violin melody here is a delight.

    4 out of 5 stars Wonderful Recording .......2006-07-23

    If you love this opera, which I do, then this recording must be a part of your collection. I gave it four out five stars only because Solti seems to be confusing energy with a bombastic approach. There's nothing subtle here about the conducting.

    Soloists are first class and what a cast it is.

    I have another reservation abou the recording and that has to do with engineering. The recorded sound is at times muddy. There's distortion too here and there which have to do with the master tape used. It's an old recording but it is too bad Decca couldn't find a better master.
    Verdi: Greatest Hits
    Average customer rating: 4 out of 5 stars
    • A sound compilation of Verdi's famous works
    		 Verdi: Greatest Hits

    Manufacturer: Sony
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000002A2B
    Release Date: 1994-08-09

    Tracks:

    1. Aida: Grand March
    2. Rigoletto: La donna e mobile
    3. Il Trovatore: Anvil Chorus
    4. La forza del destino: Overture
    5. Aida: Celeste Aida
    6. Don Carlos: O don fatale
    7. La Traviata: Drinking Song
    8. La Traviata: E strano!... Ah, fors'e lui
    9. Falstaff: L'onore!...L'onore! Ladri
    10. Aida: Ritorna vincitor
    11. Luisa Miller: Quando le sere al placido
    12. Nabucco: Slave Chorus
    13. Manzoni Requiem: Dies irae
    14. Simon Boccanegra: Come in quest'ora bruna
    15. Don Carlos: E lui!...desso!...l'infante

    Customer Reviews:

    4 out of 5 stars A sound compilation of Verdi's famous works.......2007-05-05

    This disc, along with all of the Sony Classical catalog, has very good sound quality, little if any background noise (aside from applause at the beginning or end of a track), and very respectful interpretations of the works of a master.

    Giuseppe Verdi was one of the 19th centuries most influential composers of operas and orchestrated music. Verdi's operas are very, well 'user-friendly', if you are new to opera. I am slowly learning to appreciate operas after a decade of love for classical music without vocals.

    This is a very good CD for those looking to break in to operatic scores. It has large, haunting compositions for chorus, solos, duets, trios and a good mix of orchestrations with no vocals, perfectly showcasing Verdi's gift as a composer.

    Performers on the album include Luciano Pavarotti, Jose Carreras, Dietrich Fischer-Dieskau and other well known and talented artists as well as some of the most famous, gifted and revered orchestras in the world.
    Sumi Jo - Bel Canto / Arevalo · ECO · Carella
    Average customer rating: 5 out of 5 stars
    • The artistry of Sumi Jo
    • Nice Collection, Pure Voice. Slightly Weak High Notes
    • Angels sings like this...
    • This is a tribute to Bel Canto
    • Another Sutherland, yet even better...
    		 Sumi Jo - Bel Canto / Arevalo · ECO · Carella
    Gioachino Rossini , Vincenzo Bellini , Giuseppe Verdi , Gaetano Donizetti , Federico and Luigi Ricci , Giuliano Carella , Sumi Jo , Octavio Arevalo , and English Chamber Orchestra
    Manufacturer: Erato
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000005E5A
    Release Date: 1997-09-16

    Tracks:

    1. Semiramide: Bel raggio lusinghier
    2. La Sonnambula: Care compagne
    3. Falstaff: Sul fil d'un soffio etesio
    4. I Puritani: Son vergin vezzosa
    5. I Capuleti e i Montecchi: Eccomi in lieta vesta...Oh! quante volte, oh! quante
    6. Linda di Chamounix: O luce di quest' anima
    7. Tancredi: No, che il morir non e
    8. I Puritani: Qui la voce sua soave
    9. Crispino e la Comare: Io non sono piu l'Annetta
    10. La Traviata: E strano, e strano

    Customer Reviews:

    5 out of 5 stars The artistry of Sumi Jo.......2007-02-28

    This CD shows Sumi Jo's bel canto technique off to good effect. She has a light agile voice that exemplifies top notch coloratura singing (and I know that bel canto and coloratura are not the same). Indeed, she probably must be rated as one of the best coloratura sopranos of the current era.

    Some samples of her work. . . .

    "Bal raggio lusinghier," from Rossini's "Semiramide" is enchanting. She displays, as always, an agile voice with a lovely quality to it. Her technique is good; this is fun to listen to. She hits a nice high note at the end.

    From Bellini's "I Puritani," we have "Son vergin vezzosa." There are iconic versions of this, first, from Joan Sutherland, and, second, from Beverly Sills. However, Sumi Jo's rendering of this work stands well in comparison. She sings this at a quick pace, as seems appropriate. She shows a nice trill; her florid singing is nicely done. She hits high notes cleanly, although one appears a bit thin and strained--but that's a mere quibble. The repeat is very well done.

    "O luce di quest'anima," from Donizetti's "Linda di Chamonix," is also well sung. The opening portion is prettily sung. The cabaletta picks up the pace. She shows off nice appoggiaturas and her singing is, as always, very agile. She displays a decent trill before the final high note.

    And then there is one of the great showpieces for coloratura sopranos, "Qui la voce. . .Vien diletto," from Bellini's "I Puritani." "Qui la voce" is poignantly and touchingly sung, showing some nice characterization. The cabaletta is smoothly and agilely sung the first time through. Her voice sounds quite sweet in the slower parts of this segment. The repeat features nice ornamentation, including a good trill here and there. Her repeat is not as florid as some, but it is nonetheless nicely done. The final high note is hit dead on.

    Finally, from Verdi's "La Traviata," "E strano". . ."Sempre libera." This has been well sung by many who came before her, such as Renata Scotto and Anna Moffo from decades ago. Her singing seems to represent a nice characterization of the doomed Violetta. The early parts are well sung and expressive. "Sempre libera," of course, picks up the pace. And so does Jo. She handles the demands of this music well. She, once more, manifests considerable vocal agility. The repeat is fine, with some nice runs and a final high note well done.

    In short, this is a good representation of the work of Sumi Jo. For what it's worth, in my estimation, she rates very high among the current crop of coloratura sopranos, alongside Natalie Dessay, for instance. With singers such as these, the current generation of coloratura sopranos ranks well against their historical predecessors.


    4 out of 5 stars Nice Collection, Pure Voice. Slightly Weak High Notes.......2003-04-09

    I don't want to say more about her since she is too famours to introduce. I just bought two of her cds recently, which I had big expection for her.

    Undoubtly, she has beautiful voice and wonderful coloratura style, I was amazed by the flexiblity in her voice. However I was slightly disappointed by the weakness in her high notes. It seems that she never has strong high notes, and those high notes can't last as long as Dilber's or Organasova's.

    Sorry to say this to the pretty Sumi.

    5 out of 5 stars Angels sings like this..........2002-06-18

    This is, without doubt, the most beautiful bel canto recital disc since Dame Joan's Art of the Prima Donna. Sumi Jo is without equal in this repertoire today. Her interpretations are immaculately rendered and her technique (just incredible) is beyond reproach.

    This disc is worth ever penny because it contains the best Elvira ever recorded. Sumi's angelic (albeit small) voice floating above a chamber orchestra creates one of the most intimate operatic portraits of Elvira in recent history. Callas gave us penetrating pyscholgical insights into Elvira, Dame Joan gave us vocal fireworks, but Sumi Jo IS Elvira. She's simply exquisite.

    5 out of 5 stars This is a tribute to Bel Canto.......2002-01-06

    This record is realy a Tribute to Bel Canto.
    When we talk about bel canto, we have to refer Sutherland. Dame Joan had (has) the most beautiful voice I've ever heard. The range of her voice is incredible and I have to desagree with the reviewer that says that Sutherland lower range was heavy. It was strong, not heavy. With that voice range she could do any kind of reportoire.

    Now, let's talk about Sumi Jo. Miss Jo is realy a coloratura Soprano and in bel canto she is the best we have now. All the high notes are very clean and she has no difficulties to reach them. Qui la voce sua soave is very good, I even prefer this interpretation over Sutherland's.

    Well, she is not Sutherland, but she is with no doubt a Tribute to Bel Canto.

    5 out of 5 stars Another Sutherland, yet even better..........2000-12-28

    As I have explained in another review I wrote of Sumi Jo's music, she has become one of my favorite sopranos. I started out with Dame Joan Sutherland, La Stupenda herself in her recital disk "The Art of the Prima Donna." A fantastic CD. And I must say that it has been hard to find other sopranos that could do as well as Dame Joan in such traditional bel canto repertoire. You know how it is, once you hear one version, it's hard to find another that is better. And although some of the arias on this CD are different than you find on Sutherland's, they are just as great, if not better. What one finds with Sumi is a gorgeous voice, clear and pure throughout(not mushy and heavier as Sutherland had in her lower range... Ahhh!! I can't believe I admitted it... I hate to put Sutherland down), and the enunciation is never a problem. So what is there to complain about?... Nothing really, except maybe if her top note wasn't a high F, and instead a C above high C, and then I wouldn't like Natalie Dessay just for her high notes(she has a high A flat I believe). But a high F is more than enough for any bel canto piece as Sutherland showed us throughout her career(I just love high notes, the higher the better).

    Now that I've settled with my love of the voice... the recording itself is to be talked about. Bel raggio lusinghier from Rossini's Semiramide is the first track. A different interpretation than Sutherland, but gorgeous. All throughout this recording, Sumi Jo shows us just how effortless her coloratura is, and this track especially conveys this. As for Sumi Jo's lyrical skills, the perfect track for that is track 5, "O quante volte" from Bellini's "I Capuleti e I Montecchi." What a gorgeous Juliette she is! And if only the previous reviewer knew I was going to see Sumi this coming February in this exact role. I know I can't wait, and I'm sure Ms. Jo will not disappoint. Anyways, this entire recording, each and every song is wonderful. And the Violetta aria from Verdi's "La Traviata" is a nice end to the CD, summing up just how great Sumi Jo is. To those who say bel canto has withered away lately, they should hear this disk. Sumi Jo would convert them right away. And could there be no better praise than the fact that Sutherland's husband Maestro Richard Bonynge has worked with Sumi Jo... Afterall, his wife was practically the Queen of Bel Canto. It's obvious that Bonynge has found his new reigning queen. We could be in for a real treat in the coming years!!!

    This is bel canto at its finest. Enjoy

    P.S. - Even though it's not bel canto repertoire, one wishes Sumi Jo's famed Queen of the Night from Die Zauberflöte were on this set to wow people even more. But not to worry, it's on a couple of her other recordings.

    Meditation Music:

    1. Francesca Da Rimini
    2. Franz Lehár: The Merry Widow
    3. Gaetano Donizetti: Lucia de Lammermoor
    4. Georg Friedrich Handel: Xerxes
    5. Gershwin: Porgy and Bess [Soundtrack]
    6. Gilbert & Sullivan: The Yeomen of The Guard / Marriner
    7. Gioacchino Rossini: Barber of Seville
    8. Giordano: Fedora [Import]
    9. Giovanni Battista Pergolesi: La Serva Padrona
    10. Giuseppe Verdi: La Traviata

    Meditation Music

    meditation music

    Meditation Music

    Singalongawaryears V.1

    Eckhardt-Gramatte: Caprices No7; Caprices No6

    Donizetti: Sinfonie Da Opere

    Music: In Between

    Constant Elevation [Explicit Lyrics]

    Don't Cha [CD-single] [Import]

    E D Plus [Import]

    Chicago Transit Authority [Box set] [Original recording remastered]

    Dekkagar

    Face Dances (+5 Bonus Tracks) (Remastere

    Confirmation [Live]

    Canto Bebo E Choro [Import]

    East Side's Most Wanted, Vol. 3 [Explicit Lyrics]

    Kiss & Tell

    Serbia