Verdi: Arias, Vol. 1

Macbeth, opera Act I: Nel dì della vittoria...Vieni! t'affretta
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Macbeth, opera Act II: la luce langue
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Macbeth, opera Act IV: Una macchia è qui tuttora!
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Nabucco, opera (Nabucodonosor) Act II: Ben io t'invenni...Anch'io dischiuso un giorno
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Ernani, opera Act I: Surta à la notte...Cavatina-Ernani, Ernani, involami
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Don Carlo, opera Act IV: Tu che le vanità
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
I Vespri siciliani, opera (Les vêpres siciliennes) Act IV: Arrigo! ah parli a un core
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
I Lombardi alla prima Crociata, opera Act II: O Madre dal cielo soccorri
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Un ballo in maschera, opera Act II: Ecco l'orrido campo...Ma dall'arido stelo divulsa
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno
Aida, opera Act I: Rotorna vincitor
Composed by Giuseppe Verdi
with Maria Callas
Conducted by Nicola Rescigno

Verdi: Arias, Vol. 1,Giuseppe Verdi,Nicola Rescigno,Maria Callas,Capitol,Classical,Classical Music,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

Bravissimo, Domingo! Vol. 2: Operatic Arias

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Bravissimo, Domingo! Vol. 2: Operatic Arias

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000E6BC
Release Date: 1993-11-09

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The one and only Callas

Verdi: Arias, Vol. 1

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000002ROU
Release Date: 1990-10-25

Customer Reviews:

The one and only Callas.......2007-01-09

For and against - Callas has always had the opera world talking, even though she is dead! This CD was one of the reasons why I became a Callas fan. Sensational!

Jussi Björling Collection: Opera Arias & Duets, 1936-1944, Vol. 3

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Beware
The Thrilling Young Björling in his First Non-Swedish Arias

Jussi Björling Collection: Opera Arias & Duets, 1936-1944, Vol. 3

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
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Jussi Björling Collection, Vol. 2: Songs in Swedish, 1929-1937
Jussi Björling Collection, Vol. 1
Jussi Björling: Opera Arias

ASIN: B0000W3XMA
Release Date: 2004-02-17

Tracks:

Che Gelida Manina
Se Quel Guerrier... Celeste Aida
La Donna E Mobile
Recondita Armonia
Cielo E Mar
Ch'ella Mi Creda Libero
Mi batte Il Cor...O Paradiso
E Lucevan Le Stelle
Instant Charmant...En Fermant Les Yeux
La Fleur Que Tu M'avais Jetee
M'appari Tutt'amor
Salut! Demeure Chaste Et Pure
Ah Si, Ben Mio
Di Quella Pira
O Soave Fanciulla
E Il Sol Dell'anima
Come Un Bel Di Di Maggio
Amor Ti Vieta
Nessun Dorma
Recitar!... Vesti La Giubba
Questa O Quella
Mamma, Quel Vino
Di' Tu Se Fedele

Customer Reviews:

Beware.......2004-10-18

I'd give most any Bjorling recording 5 stars, and I do here for the singing. But a big question arises: are these the exact same performances released by EMI on their Bjorling series? I haven't checked every listing, but they sure sound the same.

The Thrilling Young Björling in his First Non-Swedish Arias.......2004-02-25

This disc contains the first arias and duets Jussi Björling recorded in any language other than Swedish. Recorded in Stockholm between 1936 and 1944 (and with a three year gap during the War), the first of them were made when he was only 25. He had already become an international star by that time, having made his official major opera début at the Royal Opera in Stockholm at 19. Of course he had been singing all of his life, having even toured the US with his father and two singing brothers as the Björling Quartet when he was only eight. He had recorded some of these arias in Swedish before, but in addition to singing in the original languages here, the improvement in his technique is notable. For instance, his early Swedish recording of 'Di quella pira' (Il Trovatore) was sung down a whole tone from the original, but in the current version he sings it in the original key and the climactic high C's ring out thrillingly.

I'm writing this review before Amazon has listed the precise contents of the disc. I won't take the space to list them, but will try to mention a number of what I think are the highlights. The arias (and two duets) are either in Italian or French; the only German aria here is 'Ach, so fromm' (Martha) but it is sung in Italian as 'M'appari.' There are a few moments where his diction is a bit faulty, especially in the French arias, but this is never a distraction. More important, he seems to know exactly what emotional moment is being expressed and conveys this with his tone color and phrasing. For instance, in the very first selection, 'Che gelida manina' (La Bohème) he captures the doubts and raptures of young love tenderly and ardently.

He manages the penultimate rising phrase at 'Et j'étais une chose à toi!,' from 'The Flower Song' (Carmen) with an exquisite soft tone (the score is marked pp) that is nonetheless passionate. 'En fermant les yeux' (Manon) is shiveringly beautiful, if marred slightly by some decidedly non-French vowel sounds; it also seems to have been recorded almost a half-tone sharp making his high C almost a C sharp! This is the young Björling making some of the most beautiful tenor sounds ever recorded.

'E lucevan le stelle' (Tosca) expresses the utter sadness of Cavaradossi's coming death without the sobbing and gulping so typical of many Italians tenors of the time. And it is ultimately the more effective for that. The purity and elegance of his singing here is of a standard that has rarely been matched.

There are two duets here, both with Swedish soprano Hjördis Schymberg: 'O soave fanciulla' (La Bohème) and 'E il sol dell'anima' (Rigoletto). In the former one hears an even fresher version of the duet he later sang with Victoria de los Angeles in one of the great complete opera recordings of all time, the 1956 'Bohème' conducted by Beecham. The pair's rapturous harmony at their exit will put a lump in your throat. The elegance of the Rigoletto duet is wonderful, and is helped by the nuanced orchestral accompaniment led by the conductor on all these selections, Nils Grevillius.

There are a number of arias here that Björling never sang on stage: the Carmen 'Flower Song' and the Manon aria. He also never sang the two Giordano rôles from 'Andrea Chenier' and 'Fedora'; their two arias ('Come un bel dì di maggio' and 'Amor ti vieta') were recorded in 1944 after his three-year hiatus, and are notable for their fervor and clean line. Radamès was a rôle he sang only very few times. Yet his 'Celeste Aida'is beautifully sung with dramatic heft.

His performance of 'Nessun dorma' (Turandot) is marked by his refusal to croon it as some tenors do. It is a stentorian rebuttal of the cruel queen's order that no one sleep. Finally, two arias by Verdi must be lauded: 'Questa, o quella' (Rigoletto) and 'Di' tu se fedele' (Ballo in maschera). They are virile, cleanly sung, expressive without being histrionic. The same is true of that most maudlin of all Italian arias, 'Vesti la giubba' (Pagliacci); there is no hysterical sobbing or laughing and yet one feels Canio's heart breaking.

This is the young Björling at the beginning of his career. The voice is fresh, thrilling, flexible, utterly solid from top to bottom, and it is operated by a keen intelligence.

This release is not to be missed by those who do not already own a previous incarnation of these performances. It must be said that the transfer from 78s done by Swedish transfer engineer, Stefan Lindström, is expemplary. Thank you, Naxos, for bringing us this wonderful series.

TT=65:34

Tracks:

Rigoletto: 'Questa o quella'
Rigoletto: 'E Il Sol Dell'anima'
Rigoletto: 'La Donna E Mobile'
II Trovatore: 'Di Quella Pira'
Les Pecheurs De Perles 'Je Crois Entendre Encore'
La Belle Helene 'Au Mont Ida Trois Deesses'
Romeo Et Juliette 'Ah! Leve-Toi, Soleil'
Carmen 'La Fleur Que Tu M'avais Jetee'
Manon 'Instant Charmant...En Fermant Les yeux'
Requiem 'Ingemisco'
La Gioconda 'Cielo E Mar'
Cavalleria Rusticana 'O Lola ' (Sicilliana)
Cavalleria Rusticana 'Mamma...Quel Vino'
Prince Igor: 'Vladimir's Cavatina'
Manon Lescaut: 'Donna Non Vidi Mai'
La Boheme: 'O Soave Fanciulla'
Andrea Chenier 'Come Un Bel Di Di Maggio'
In The Silence Of The Night, Op.4 No.3
Lilacs,Op.21 No.5
Mattinata
Ideale
Adelaide, Op.46
Morgen,Op.27 n 4

Amazon.com

Perhaps the greatest tenor of the 20th century, Jussi Bjorling possessed a voice of indescribably delicious beauty, with the dramatic depth of Domingo and the lyricism of Pavarotti. It has a unique luster and an edge that enters the body like an erotic electric shock. This recording earns its magnificence by presenting a vast range of arias and songs, including excerpts from Gounod's Pearl Fishers (breathtaking), Offenbach's La Belle Helene (fun and endearing), and Beethoven's Adelaide (scrumptious), as well as standard hits from Rigoletto, Carmen, and Romeo and Juliet. Each delicate gem of music is more magnificent than the previous one. A must have. --Barbara Eisner Bayer

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CALLAS AND SHAKESPEARE
A desert Island CD
Her Best Verdi Recital
Verdi interpretation at its best!
One of Callas' greatest late recitals

Verdi: Arias, Vol. 1

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music

Puccini: Arias
Verdi: Arias, Vol. 2
Verdi: Arias, Vol. 3
Callas à Paris: Arias, Vol. 1
Lyric & Coloratura Arias by Maria Callas (EMI's Great Recordings of the Century)

ASIN: B000002S9Z
Release Date: 1998-01-20

Tracks:

Macbeth: Nel di della vittoria...Vieni! t'affretta
Macbeth: La luce langue
Macbeth: Una macchia e qui tuttora
Nabucco: Ben io t'invenni... Anch'io dischiuso un giorno
Ernani: Surta e la notte... Ernani, Ernani, involami
Don Carlo: Tu che le vanita

Amazon.com essential recording

Of all Maria Callas's recital discs, these 1958 discs best capture the full range of her interpretive genius. She tosses off "Ernani, involami" with tremendous elan, and brings similar intensity to "Anch'io dischiuso" from Nabucco. The heart of this collection, though, is found in the Macbeth excerpts. Every note, every word of the Sleepwalking Scene is charged with specificity and emotional purpose, while honoring Verdi's careful phrasing and dynamic markings to a proverbial "T". The mood couldn't be darker and more despairing, yet the clarity and truth of Callas's singing shines like the sun. A disc that will never get old. --Jed Distler

Customer Reviews:

CALLAS AND SHAKESPEARE.......2006-10-02

Over the years i've come to feel that Maria Callas had been a great Shakespearean actress in a previous lifetime (i obviously believe in
reincarnation, not joking), who came back with a desire to fuse the singing voice, the acting voice, and music into ONE. As farout as
that personal theory may sound, this recording of Verdi's Macbeth proves
to me that if Callas hadn't been a Shakespearen actress, she certainly
could have been if she hadn't been a singer.

Verdi's opera i think really captures the spirit of Shakespeare's play,
and Callas' Lady Macbeth is chilling. Every phrase sung with subtlety
and evil . . . i can never forget the one phrase after the first act
aria "Vieni t'affretta" when it is announced that Duncan has arrived
at the Macbeth castle! She sings Duncano a qui, twice. And the feeling
of sheer murder in her voice when she sings the second "qui" has never
left my mind. Unbelievable! Chilling!

The other Macbeth selections are equally representative of what her
brief time with this role must have been like, mesmerizing.

Anthony Plumer

A desert Island CD.......2006-07-20

I bought this CD from Amazon a few weeks ago and have been listening to it almost incessantly, mostly in my car when I have the time!
Admittedly, the voice isn't at its peak (and so on...) but this is the Callas I like best. I am at a loss to describe in words how powerful and moving I find these perfomances. It is through her that I fully understand the intricacy and perfection of these Verdi arias.

Her Best Verdi Recital.......2005-05-31

If it wasn't Bellini, I would say that Callas' imagination was best captured by Giuseppe Verdi. Despite her successes in Puccini, Donizetti, Rossini, Ponchielli, Leoncavallo, and Mascagni, no other composer except Bellini and Verdi captured her dramatic canvas so vividly...so beautifully. This can be seen in her explorations of great Verdian roles such as Violetta, the two Leonoras, Gilda, Amelia, Elisabetta, Lady Macbeth, Abigaille, Aida, Elena, and what few arias she sang from Otello, Ernani, Aroldo, I Lombardi, Il Corsaro, and Attila. Verdi's music obviously allowed her imagination to soar, and such an imagination we can witness in this recital of arias of Verdian roles she had sung in her earlier career. The bulk of this disc concentrates of Macbeth, a role which she sang in La Scala only once on stage, but one which she is going to be associated with forever. The first selection, "Nel di della vittoria...Vieni t'affretta" is an example of what an excellent musical painter she is. The letter scene, a short yet crucial moment in the fabric of Verdi's opera is read by Callas in what is known to be the greatest exponent of this excerpt ever recorded. The aria and cabaletta that follows is sung to perfection by Callas, every phrase well inflected, especially the portion where Callas sings "Nuovo diletto..nuovo diletto...e necessario!" Callas' knowledge of stressing the right words lends an environment of sinister proportions here, and in her next aria, that aura of evil is felt with an even greater immediacy as well. The Sleepwalking scene, that of which I believe is her best achievement in this recital, is undoubtedly a masterpiece of Verdian singing. Not even de Sabata, who conducted her definitive Tosca, approached Rescigno's reading of the role. While there was a nuance of confusion and delirium in La Scala (1952), Rescigno's conducting in this recital presents even an even greater set of paints for Callas to play with, and play with it she does rather well. I think this is the greatest Sleepwalking Scene ever recorded, and no other soprano was able to approach the degree of artistry and drama that Callas achieved in this great recording. The next selection comes from another early Callas role--the voice-wrecking role of Abigaille. How fortunate we are indeed to have a snippet of a clear-sounding "Ben io t'invenni" from Callas, as we can hear better the kind of Abigaille she could have been were this role recorded in the studio. Her great Abigaille was fortunately recorded, as she only sang this role three times (and fortunate we are that she did, otherwise we would have no Norma, Lucia, Violetta, Tosca, etc.). Her aria from Ernani is beautifully done, with the colors of a woman who is obviously in love. The pace that Rescigno takes in the cabaletta is rather quick, but then suits the vocal colors Callas puts into the role. The final aria from this selection "Tu che la vanita", was fortunately recorded by Callas on studio, as it shows us what a great Elisabetta she was. Unfortunately, none of her performances of Elisabetta di Valois ever emerged, and so we must be happy of what little we have of her Don Carlo arias (also in another disc we can hear her Non pianger and O Don Fatale). Listen to how she stresses the drama on the word "Francia", and you will find that no other soprano can achieve such an amazing painting of Elisabetta's final aria. Indeed a magnificent recital, and a must have for anyone who want to hear good music.

Verdi interpretation at its best!.......2004-11-30

Callas' renditions of Lady Macbeth's are truly dark, whilst the unsurpassable sleepwaking scene finds her at her vocal best, the final note sung to chilling effect. The Ernani and Nabucco arias are well done too, though perhaps the closing note of the latter doesn't fall as kindly in the ears as one would like. Finally, I have to concur with other reviews in that the jewel of this disc is her hauntingly beautiful interpretation of "Tu che la vanità". I believe that what truly sets Callas apart in these repertoire is her lower register, it's resonance giving just the right touch to the Macbeth selections and great elegance to the Don Carlo.

One of Callas' greatest late recitals.......2004-10-28

Each Callas recital offers some exquisite beauties and fascinating insights. Yet her early Verdi-Recital in 1958 fulfils the promise her complete live recording of Macbeth brought to life. Callas sings the Lady's arias with fierce ardour while being a regal and moving Elisabetta. There are several great Verdi-Recitals, among them the sublime Verdi-Recitals by Montserrat Caballe but this one will always be special.

Heinrich Schlusnus, Arias Vol. 1 Giuseppe Giuseppe Verdi, Historical Recordings from 1927-43

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Heinrich Schlusnus, Arias Vol. 1 Giuseppe Giuseppe Verdi, Historical Recordings from 1927-43

Manufacturer: HAFG
ProductGroup: Music
Binding: Audio CD

General | Arias | Opera & Vocal | Styles | Music
ASIN: B000TRMQRO
Release Date: 2007-07-16

Tracks:

Verdi : La Traviata : Hat dein heimatliches Land
Verdi : La Traviata :Gott schenkte eine Tochter mir
Verdi : Der Troubadour (Il Trovatore) : Ihres Auges himmlisch Strahlen
Verdi : Der Troubadour (Il Trovatore) : O duerfte ich es glauben
Verdi : Ein Maskenball (Ballo in maschera) : Ja, du warst:s, der das Herz mir entwendet
Verdi : Ein Maskenball (Ballo in maschera) : Fuer dein Glueck
Verdi : Die Macht des Schicksals (La forza del destino) : Nennt mich nur den schwarzen Studenten
Verdi : Die Macht des Schicksals (La forza del destino) : Solenne in quest:ora
Verdi : Die Macht des Schicksals (La forza del destino) : O Tod, du Wort des Grauens
Verdi : Die Macht des Schicksals (La forza del destino) : Eine Stunde der Ruhe
Verdi : Die sizilianische Vesper : In Glanz und Pracht
Verdi : Die sizilianische Vesper : Als ich dein Herz dir zugewandt
Verdi : Die sizilianische Vesper : All: meine Liebe kann dich nicht ruehren
Verdi : Rigoletto : Pari siamo
Verdi : Rigoletto : Cortigiani, vil razza
Verdi : Rigoletto : Don Carlos : Per me giunto
Verdi : Simon Boccanegra : Adel, Plebejer, Genuas Volk

amazon.com

The Hamburger Archive for Song Art (HAFG) presents the world's most renowned artists performing timeless classics. This collection includes Heinrich Schlusnus, Arias Vol. 1 Giuseppe Giuseppe Verdi, Historical Recordings from 1927-43. Heinrich Schlusnus had a baritone voice of resonance and rich colour