Verdi: Don Carlos

1. Don Carlo, opera Act 2, Scene I: È lui! desso! I'Infante
   Composed by Giuseppe Verdi
   Performed by Hungarian State Opera Orchestra
   with Albert Miklos, Sandor Solyom-Nagy
   Conducted by Andras Korodi
   
   
2. Don Carlo, opera Act 2, Scene II: Sotto ai folti, immensi abeti
   Composed by Giuseppe Verdi
   Performed by Sofia Philharmonic Orchestra
   with Svetlana Ivanova, Roumyana Tsacheva
   Conducted by Georgi Robev
   
   
3. Don Carlo, opera Act 2, Scene e duetto: Restate! Al mio regal cospetto, O Signor, di Fiandra arrivo
   Composed by Giuseppe Verdi
   Performed by Hungarian State Opera Orchestra
   with Kolos Kovats, Sandor Solyom-Nagy
   Conducted by Andras Korodi
   
   
4. Don Carlo, opera Act 3, Scene II: Spuntato ecco il di d'esultanza
   Composed by Giuseppe Verdi
   Performed by Sofia Philharmonic Orchestra
   Conducted by Georgi Robev
   
   
5. Don Carlo, opera Act 4, Scene I: Ella giammai m'amo
   Composed by Giuseppe Verdi
   Performed by Bucharest State Opera Orchestra
   with Nicola Rossi-Lemeni
   Conducted by Mihai Brediceanu
   
   
6. Don Carlo, opera Act 4: Il Grand Inquisitor! Son io dinanzi al Re?
   Composed by Giuseppe Verdi
   Performed by Hungarian State Opera Orchestra
   with Kolos Kovats, Ferenc Beganyi
   Conducted by Andras Korodi
   
   
7. Don Carlo, opera Act 4: Sire! soggetta è a voi la metà della terra
   Composed by Giuseppe Verdi
   Performed by Berlin Radio Symphony Orchestra
   with Michele Pertusi, Gertrud von Ottenthal, Marco Chingari, Gisella Pasino
   Conducted by Roberto Paternostro
   
   
8. Don Carlo, opera Act 4: O don fatale, o don crucel
   Composed by Giuseppe Verdi
   Performed by Hungarian State Opera Orchestra
   with Margit Ercse
   Conducted by Andras Korodi
   
   
9. Don Carlo, opera Act 4: Scene II: Per me guinto è il di supremo
   Composed by Giuseppe Verdi
   Performed by Tokyo Philharmonic Orchestra
   with Renato Bruson
   Conducted by Roberto Paternostro
   
   

Verdi: Don Carlos,Marco Chingari,Renato Bruson,Sandor Solyom-Nagy,Ferenc Beganyi,Kolos Kovats,Michele Pertusi,Nicola Rossi-Lemeni,Giuseppe Verdi,Andras Korodi,Georgi Robev,Mihai Brediceanu,Roberto Paternostro,Gisella Pasino,Margit Ercse,Roumyana Tsacheva,Berliner Rundfunk-Sinfonie-Orchester,Bucharest State Opera Orchestra,Hungarian State Opera Orchestra,Sofia Philharmonic Orchestra,Tokyo Philharmonic Orchestra,Gertrud von Ottenthal,Svetlana Ivanova,Albert Miklos,Delta,Classical,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

---

Average customer rating: Wonderful i recommend it Landmark Soprano. An essential work for opera listeners. Terrific introduction to the art of Callas Callas was the greatest Great starter CD

Maria Callas - La Divina Giacomo Puccini , Vincenzo Bellini , Georges Bizet , Gioachino Rossini , Alfredo Catalani , Camille Saint-Saëns , Giuseppe Verdi , Charles Gounod , Wolfgang Amadeus Mozart , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Georges Prêtre , Nicola Rescigno , Franco Ghione , Antonino Votto , Maria Callas , Alfredo Kraus , Ebe Ticozzi , Giuseppe di Stefano , London Philharmonia Orchestra , Orchestra e Coro del Teatro alla Scala , Orchestre National de la R.D.F. , Conservatory Concert Society Orchestra , and Lisbon Orquesta Sinfonica del Teatro Nacional de San Carlos Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Similar Items: La Divina 2 Maria Callas: La Divina 3 The Very Best Of Maria Callas Maria Callas, the Voice of the Century Maria Callas: The Legend ASIN: B000002RT6 Release Date: 1993-09-14

Tracks:

1. Madama Butterfly: Un bel di, vedremo (Atto ll)
2. Carmen: L'amour est un oiseau rebelle (Habanera) (Acte l)
3. La Wally: Ebben? ne andro lontana (Atto l)
4. Il Barbiere di Siviglia: Una voce poco fa (Atto l)
5. Norma: Casta Diva (Atto l)
6. Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte ll)
7. Rigoletto: Caro nome (Atto l)
8. La Traviata: Sempre libera (Atto l)
9. Romeo et Juliette: Je veux vivre dans ce reve (Acte l)
10. La Boheme: Si, mi chiamano Mimi (Atto l)
11. Don Giovanni: Mi tradi quell'alma ingrata (Atto ll)
12. Cavalleria Rusticana: Voi lo sapete, o mamma
13. La Gioconda: Suicidio! (Atto lV)
14. Gianni Schicchi1: O mio babbino caro
15. Turandot: In questa reggia (Atto ll)
16. TOSCA: Vissi d'arte, vissi d'amore (Atto ll)

Amazon.com

If you want to know the reason behind all the fuss about Maria Callas, buy this CD. Callas's great gift was not purity of tone or emission, reliability, or sheer loveliness; it was, rather, her ability to change her vocal color and style to suit not only particular periods of opera but to get under the skin of the individual characters she portrayed. Here you will hear the 18-year-old Butterfly imagining the return of her beloved; the sultry, adult Carmen seducing all around her; the youthful Wally telling her cruel father that she will go off into the cold wilderness rather than give up her boyfriend; the sly Rosina planning to outfox her guardian; the priestess Norma performing a sacred rite; Dalila wrapping Samson around her little finger and more; Gioconda contemplating suicide when all hope is gone; Gilda recalling the name of the boy she's just fallen for; and the icy princess Turandot reliving the rape of her ancestor and swearing that no man will possess her. And you'll believe them all. At times Callas's vocalism is a bit wiry (Juliette sounds stressed, for instance); but, in all, this is like a visit with 16 women, all of them interesting, and all of them great singers! --Robert Levine

Customer Reviews:

Wonderful i recommend it.......2007-08-01

This cd is in my car changer and i play it daily. A wonderful introduction Madame Callas.

Landmark Soprano. An essential work for opera listeners........2007-05-26

Maria Callas may be the only female 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

Terrific introduction to the art of Callas.......2007-04-24

This album is entitled "Divina," not to be confused with "Divina 2," itself a very nice example of Callas at her best. This CD samples a variety of her roles, indicating the range of her art. A few examples. . . .

"Un bel di" from Puccini's "Madama Butterfly" is very well done. She displays a rich voice and a passionate rendering of this aria. At greater volume, her voice remains under control and attractive sounding (something that does not always occur as her career developed further).

The "Habanera" from Bizet's "Carmen" is normally a mezzo soprano work. However, Callas features a good lower tone, and it works pretty well here. She shows nice breath control, too. The orchestral backing is exceptional.

"Sempre libera," from Verdi's "La Traviata," is a soprano's dream. Here, though, Callas' voice is not as attractive as in other cuts. There is some harshness with higher notes. Alfredo Kraus' singing, by the way, is most attractive. There is some unpleasantness with Callas technique in this work, although there is a nice characterization as well (this is the price you pay for Callas). She shows off some nice runs, but zero in the way of trills (some other sopranos display nice trills in this piece).

Finally, a very well done version of "Si, mi chiamano Mimi" from Puccini's "La Boheme." Sweet sounds at the outset. She seems to capture the character well. Smooth singing, done well.

Thus, a good introduction to the art of Maria Callas. There are cuts here that feature some of the wondrous nature of her work. There are other cuts where one hears some unattractive aspects of her singing and one wonders about her technique. But, in the end, this is a good representation of the work of Callas.

Callas was the greatest.......2007-02-06

It's amazing how the anti-Callas claquers continue to thrive. I'll side with Leonard Bernstein, who labeled Callas "The Bible of Opera," and who described her 1952 performance of La Sonnambula under his baton as "pure electricity." Unfortunately, recordings don't do justice to any artist, given the lack of spontaneity and a full audience, as well as a host of other reasons. Even Callas withheld many recordings from release because she was her own worst critic and they did not meet her high standards. I've been listening to opera for over 30 years and although I can appreciate the artistry of Tebaldi, Sutherland, Sills, Freni, Carteri, Moffo, Price, etc., some of whom had better pure voices, there was none that could match Maria's intensity, passion, range, personality, acting ability and pure emotion. Callas could sing bel canto colaratura but drop down to a near-mezzo voice that included many dramatic roles.

The Callas bashers will always be with us, but thankfully they will always be in the tiny minority. True connossiers of opera know there never has been and never will be as great a singer as La Divina.

Great starter CD.......2005-11-24

As simplistic as this sounds, this is a perfect CD if you know you like opera, but don't know exactly what you want to hear. You'll definitely recognize some of the more popular arias, and will grow to love the others.

Average customer rating: An Essential Recording, if there ever was one Matilla and Meier Great Performance, But Not Paris "Original" Quite Excellent The Original Verdi Opera: The Best Recording

Verdi: Don Carlos (complete opera); Alagna, Hampson, van Dam Thomas Hampson , Eric Halfvarson , Csaba Airizer , Anat Efraty , Antonio Pappano , and Orchestre de Paris Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Rossini - Guillaume Tell / Bacquier, Caballé, Gedda, Mesplé, Kovacs, Howell, RPO, Gardelli Soprano Verdi: Macbeth Brahms: Ein Deutsches Requiem ASIN: B000002RWK Release Date: 1997-01-21

Tracks:

1. Don Carlos: Act I: Prelude & Introduction: Le cerf s'enfuit sous la ramure - Orchestre De Paris
2. Don Carlos: Act I: Recit & Romance: Fontainebleau! Foret immense et solitaire! (Don Carlos) - Orchestre De Paris
3. Don Carlos: Act I: Recit & Romance: Je l'ai vu, et dans son sourire (Don Carlos) - Orchestre De Paris
4. Don Carlos: Act I: Scene & Duo: Le bruit du cor s'eteint sous l'ombre epaisse (Don Carlos, Elisabeth) - Orchestre De Paris
5. Don Carlos: Act I: Scene & Duo: Que faites-vous donc? (Elisabeth, Don Carlos) - Orchestre De Paris
6. Don Carlos: Act I: Scene & Duo: De quels transport poignants (Elisabeth, Don Carlos) - Orchestre De Paris
7. Don Carlos: Act I: Scene & Finale: A celui qui nous vient, Madame (Elisabeth, Don Carlos) - Orchestre De Paris
8. Don Carlos: Act I: Scene & Finale: O chants de fete et d'allegresse (Elisabeth, Don Carlos) - Orchestre De Paris
9. Don Carlos: Act II: Scene 1: Scene & priere: Charles Quint, l'auguste empereur - Orchestre De Paris
10. Don Carlos: Act II: Scene 1: Scene & priere: Au couvent de Saint-Just (Don Carlos) - Orchestre De Paris
11. Don Carlos: Act II: Scene 1: Scene & Duo: Le voila! C'est l'infant! (Rodrigue, Don Carlos) - Orchestre De Paris
12. Don Carlos: Act II: Scene 1: Scene & Duo: Dieu, tu semas dans nos ames (Don Carlos, Rodrigue) - Orchestre De Paris
13. Don Carlos: Act II: Scene 2: Choeur & Scene: Sous ces bois au feuillage immense (Eboli) - Orchestre De Paris
14. Don Carlos: Act II: Scene 2: Chanson du voile: Au palais des fees... (Eboli) - Orchestre De Paris
15. Don Carlos: Act II: Scene 2: Scene, Terzetto Dialogue & Romance: La Reine! (Eboli, Elisabeth, Rodrigue) - Orchestre De Paris
16. Don Carlos: Act II: Scene 2: Scene, Terzetto Dialogue & Romance: L'infant Carlos, notre esperance (Rodrigue, Eboli, Elisabeth) - Orchestre De Paris
17. Don Carlos: Act II: Scene 2: Grande Scene & Duo: Je viens solliciter de la Reine (Don Carlos, Elisabeth) - Orchestre De Paris
18. Don Carlos: Act II: Scene 2: Grande Scene & Duo: O bien perdu... (Don Carlos, Elisabeth) - Orchestre De Paris

Tracks:

1. Don Carlos: Act II: Scene 2: Scene & Romance: Le Roi! (Philippe) - Guiseppe Verdi
2. Don Carlos: Act II: Scene 2: Scene & Romance: O ma chere compagne (Elisabeth, Rodrigue, Philippe) - Guiseppe Verdi
3. Don Carlos: Act II: Scene 2: Scene & Duo: Restez! (Philippe, Rodrigue) - Guiseppe Verdi
4. Don Carlos: Act II: Scene 2: Scene & Duo: O Roi! J'arrive de Flandres (Philippe, Rodrigue) - Guiseppe Verdi
5. Don Carlos: Act II: Scene 2: Scene & Duo: Votre regard hardi s'est leve sur mon trone (Philippe, Rodrigue) - Guiseppe Verdi
6. Don Carlos: Act III: Scene 1: Introduction & Choeur: Que des fleurs et que d'etoiles (Elisabeth, Eboli) - Guiseppe Verdi
7. Don Carlos: Act III: Scene 1: Scene, Duo & Trio: A minuit, aux jardins de la Reine (Don Carlos, Eboli) - Guiseppe Verdi
8. Don Carlos: Act III: Scene 1: Scene, Duo & Trio: Que dit-il? Il est en delire... (Rodrigue, Eboli, Don Carlos) - Guiseppe Verdi
9. Don Carlos: Act III: Scene 1: Scene, Duo & Trio: Et moi qui tremblais devant elle! (Eboli, Rodrigue, Don Carlos) - Guiseppe Verdi
10. Don Carlos: Act III: Scene 2: Grand Finale: Ce jour heureux est plein d'allegresse - Guiseppe Verdi
11. Don Carlos: Act III: Scene 2: Grand Finale: En placant sur mon front, peuple, cette couronne (Philippe, Elisabeth, Rodrigue, Don Carlos) - Guiseppe Verdi
12. Don Carlos: Act III: Scene 2: Grand Finale: Sire, il est temps! (Don Carlos, Philippe, Elisabeth, Rodrigue) - Guiseppe Verdi
13. Don Carlos: Act IV: Scene 1: Scene & cantabile: Elle ne m'aime pas (Philippe) - Guiseppe Verdi
14. Don Carlos: Act IV: Scene 1: Scene: Le grand inquisiteur! (L'Inquisiteur, Philippe) - Guiseppe Verdi
15. Don Carlos: Act IV: Scene 1: Scene: Dans ce beau pays (L'Inquisieur, Philippe) - Guiseppe Verdi

Tracks:

1. Don Carlos: Act IV: Scene 1: Scene & quatuor: Justice, Sire! (Elisabeth, Philippe, Eboli, Rodrigue) - G. Verdi
2. Don Carlos: Act IV: Scene 1: Scene & quatuor: Maudit soit le soupcon infame (Philippe, Rodrigue, Eboli, Elisabeth) - G. Verdi
3. Don Carlos: Act IV: Scene 1: Scene & Air: Pitie! Pardon pour la femme coupable! (Eboli, Elisabeth) - G. Verdi
4. Don Carlos: Act IV: Scene 1: Scene & Air: O don fatal et deteste (Eboli) - G. Verdi
5. Don Carlos: Act IV: Scene 2: Mort de Rodrigue: C'est moi, Carlos (Rodrigue, Don Carlos) - G. Verdi
6. Don Carlos: Act IV: Scene 2: Mort de Rodrigue: Oui, Carlos! C'est mon jour supreme (Rodrigue, Don Carlos) - G. Verdi
7. Don Carlos: Act IV: Scene 2: Mort de Rodrigue: Carlos, ecoute... (Rodrigue) - G. Verdi
8. Don Carlos: Act IV: Scene 2: Finale: Mon fils, reprenez votre epee (Philippe, Don Carlos) - G. Verdi
9. Don Carlos: Act IV: Scene 2: Finale: Ciel! Le tocsin! (Philippe, Eboli, Elisabeth, L'Inquisiteur) - G. Verdi
10. Don Carlos: Act V: Scene & Air: Toi qui sus le neant des grandeurs de ce monde (Elisabeth) - G. Verdi
11. Don Carlos: Act V: Duo: C'est elle! (Don Carlos, Elisabeth) - G. Verdi
12. Don Carlos: Act V: Duo: Au revoir dans un monde ou la vie est meilleure (Elisabeth, Don Carlos, Philippe, L'Inquisiteur) - G. Verdi

Amazon.com

Don Carlos exists in several versions, in French or Italian (Don Carlo, in five acts or four. This recording (five acts in French) uses the original version composed by Verdi for a premiere at the Paris Opera in 1867. It is longer than the 1883 revision (four acts in Italian), but longer means better when we talk about Verdi's music, and the French prologue gives a more concrete understanding of why Don Carlos loves his stepmother, Queen Elisabetta, with a more than filial affection. There are show-stopping arias and duets galore, a striking scene in which the Inquisition burns a group of Protestants, echoes of revolt in the Spanish Empire, and poignant reflections on lost love. It is an opera whose true greatness is not yet fully appreciated by many Verdi fans, but this eloquent recording should help remedy that. --Joe McLellan

Customer Reviews:

An Essential Recording, if there ever was one.......2007-06-30

It has been tradition to perform Verdi's Don Carlo in its four-act Italian form, and when Carlo Maria Giulini reintroduced the first act of the score in Italian to the London public in 1958, the Italian five act version became an international success. Nineteen years later, in La Scala, Claudio Abbado presented a version that was completer than complete, and that is the version being used by the Met today (e.g. including an orchestral "overture" to the hunter scene that usually begins the opera). This 1996 recording, taped at the Theatre du Chatelet, is then a pioneer in a very narrow field that showcases Verdi's greatest ensemble opera in its original form. A decade or two earlier, Abbado had conducted a French version for Deutsche Grammophon with Domingo and a slew of other non-Francophones who were probably better off singing the Italian version of the work. Moreover, that version was incomplete. Another recording of the French version exists, recently released by Opera Rara in conjunction with the BBC archives, but the cast and conductor do not impress us is an opera where the emotional and musical language coalesces seamlessly in one of Verdi's finest music dramas.

There are many things that make this recording work so wonderfully, one aspect of which is Antonio Pappano's conducting. If there is a finer opera conductor today, someone should let me know since Pappano has excelled in nearly every single operatic work that he has tackled to date, and that includes Puccini, Verdi, Massenet, Strauss, and Wagner. His conducting does not only have the poetry that Giulini so famously imbued the work with. It also has a drive and a forward propulsion that keeps Verdi's longest work running smoothly in both the musical and drama departments. I have never heard a more idiomatic conductor in this work other than Abbado and Giulini. Kudos as well to the magnificent playing from the Theatre du Chatelet orchestra.

The other reason to get this set is for the magnificent cast assembled around the opera. If Roberto Alagna does not have the beautiful lyricism of Carreras' voice or the robust virility of Domingo's, he has a command of perfect French, excellent phrasing, and a surprisingly complete understanding of the character that makes his interpretation very appealing. One could wish that his top were as easy as the rest of his voice, but that is a minor complaint when you assess his performance as a whole. Karita Mattila is an absolutely alluring Elisabeth. It is a noble, beautiful, lyric, grand, reflective, and tragic interpretation of a role that sopranos like to turn into a mourning vehicle. I have never heard a more powerful and beautiful voice in this role (yes, that includes Caballe and Freni), and one must simply hear Mattila's top notes to hear what wonders she creates with this character. If the basic colour of her voice is not one that listeners would associate with a Verdian sound, then I would say that her voice is more kaleidoscopic than that. Thomas Hampson sings the role of the Marquise de Posa, and although there are several detractors to him singing Verdi, I can say that his French his excellent, that he is a sensitive singer to the text, and that he shows the true spirit of Posa through his singing. I would say that this is probably his best operatic performance to date. Jose Van Dam is perhaps the most noble and tragic Philippe along with Rene Pape, and one must hear his fourth act monologue and the "Lacrymosa" section during Rodrigue's death to truly hear what wonders this great bass baritone can do with this voice. It has a grace and grandeur to it that few basses, including Nicolai Ghiaurov and Raimondi, were able to capture totally in the role. Waltraud Meier may not have been fluent in the coloratura as some great mezzos like Bumbry, Simionato, Cossotto, and Verrett in the role of Eboli, but what she lacks in Italianate fluency she succeeds in dramatic intensity. Her "O don fatal" must be heard, and her plea with Elisabeth is one of her best moments in the opera. Erich Halfvarson is not the most memorable Inquisitor, but that is not a huge concern in a recording where everything works wonders, especially Karita Mattila's Elisabeth, Van Dam's Philippe, and Alagna's Carlos.

This is an essential recording for everyone who loves Verdi and opera. Bravo to EMI for releasing this landmark performance!

Matilla and Meier.......2006-01-30

I bought this recording to hear Matilla and Meier. Neither disappoints. Matilla has a lyric and generously full sound that reminds me very much of Leontyne Price's voice on her recording of this aria. Meier is not Bumbry or any of the others, but she is still amazing in her own right and is worth it. To give respect where it is due, I'll say Alagna is very good, as is the rest of the cast. This is really a solid performance, but the two leading ladies have got it all.

Great Performance, But Not Paris "Original".......2004-04-08

There is no denying that this performance is well sung, with better French diction than the Abbado, and that it is effective as drama. But bear66 below is the only reviewer here that gets it right -- this is a composite, NOT the original 1867 version, and the fact that it has been promoted as such is frankly false advertising.

The Prelude and Introduction, cut prior to 1867 is not included. Fair enough. But then in Act II, Posa's account to Carlos of his visit to Flanders is included: Verdi also cut this before the 1867 premiere. The Posa-Philip duet jumps to the 1884 version at the 2/3 mark. The mask changing scene between Elizabeth and Eboli is included, but the ballet is not, strictly contrary to Verdi's expressed intentions. A fragment only of the Elizabeth/Eboli duet, another number cut prior to 1867, is included -- there is no authority that I know of for its inclusion in this form. The "Lacrymosa" ensemble was also cut prior to 1867. The "marziale" section from the final duet is cut, something that was not instituted until the 1872 Naples revision, never for Paris. The ending is also not the Paris version which included a chorus of Inquisitors who try and convict Carlos.

So what do we have? It is not 1867, nor is it the version Verdi completed in 1866 prior to the cuts. It starts as 1867, then reverts to 1866, then jumps ahead to 1884, then back to 1867, further back to 1866, then ahead to 1872 and finally 1884. There are significantly, no liner notes detailing this other than a vague references to "choices" having been made.

The performance is still worth having, particularly since it contains passages not available elsewhere. I simply object to the dishonest way in which this has been presented to the public, particularly those who are less familiar with the history of the opera and take the "Original French Version" claim at face value.

Quite Excellent.......2004-02-16

This recording is the only one that is recent at all of the French original of this work. Most reviewers have written extensively about this fact. The only thing we are lacking is the original ending (which I believe was cut even before the first performance, but was recorded in the Domingo recording of the French version of the opera; the Lacrimosa from the Reguiem is well served in its original setting). Since this is a live recording, there are some flaws. There are pitch problems, and the sound is rather distant, which in my view takes from the excitement that the audience most likely felt while watching the performance. I also feel that is one reason the conducting and the orchestral reading seem less involved, less alive, than it sounds in either of the Italian Studio versions, or in the full first French recording of the work with Domingo. This truly is an exciting score, and a great opera. It, however, is NOT Verdi's only French opera. His other famous failure in Paris was "Les Vepres Siciliennes." Unlike Don Carlos, "I Vespri Siciliani", as we have come to know the work, was never rewritten, nor did Verdi ever prepare an Italian version of the work. It was simply translated when brought to Italy. Though people think of it as an Italian opera, it too is every bit as French as Don Carlos was, even more so, for it was never officially rewritten to be an Italian opera.

Don Carlo, though, went through extensive changes, some were for the better tightening the action and the musical thoughts; others were not an improvement at all. The Five Act version recorded by Guilini is an Italian version created by Verdi where he replaced the first act, but retained his changes in the other acts that he had written when creating the four act version. In this recording, as with the French version sung by Domingo, we are witnessing the original thoughts on the matter. The differences, excepting the obvious number of acts, are subtle, but noticeable.

The singers do a wonderful job in this recording, and as with all live performances, there are warts. Sometimes the singers are not true to the center of the note, and sometimes they don't carry as well as they should (the grand inquisitor for one, his very low F below the cleff is not that well produced, but it is very audible; with our dirth of true basses these days, it is a wonder they found anyone who could sing the note at all). Yet, over all, it is a stunning representation of the work. If only, like one reviewer mentioned, this recording would be recorded in the studio so we could really experience the entire concept of the work. Singing is important to Verdi, but so is orchestra, and that is the area that most suffers in live recordings. The orchestra is seldom balanced as well as we would hope.

I rated the recording a five star because it is worth it. It is a wonderful recording, and a super exceptional representation of a great opera by a great compose. Too often Don Carlos, especially the original French version, has been dismissed as "a failure", "ineffective", and all those sorts of terms, when in reality, even though the ending of the opera is dramatically weak, it is nothing of the sort. It is a very vital, exciting work, and the orginal concept Verdi created is in many ways far superior to what he did with it later. I would recommend it to anyone, and everyone, who loves good opera.

The Original Verdi Opera: The Best Recording.......2003-12-30

Verdi's "Don Carlos" was his most ambitious and his longest opera, and this was pre- Aida. His Don Carlos was intended to be performed for the Paris Opera in France and to be specialized for the French taste of Grand Opera. In the mid 1860's, this genre was the most popular. The Paris Opera employed the best singers and paid the best wages. The world's greatest singers were drawn to the Paris Opera. A composer who created a grand opera, full of fiery drama, large cast, big orchestra and even a ballet sequence, was well-payed himself and well established as a leading composer (Giacomo Meyerbeer was the greatest in his day). Verdi wrote Don Carlos in French originally. Later, he wrote it in Italian, the version most perfomed today. But the Italian version is dramatically and musically incomplete and dissatisfying. This recording is by far the best. Robert Alagna is a leading tenor in recent times, dedicated artist and superb singer, Jose Van Dam is an excellent baritone and the rest of the cast, the soprano singing Princess Eboli and Queen Elisabetta are praiseworthy. The orchestration is excellent. Lost sections of music are restored and we get more of the passion that Verdi put into this costume drama.

Set in the 1500's, the king of Spain, Phillip must deal with political instability, the Inquisition and a revolutionary idealist son, Don Carlos, the prince. The opera, true to a lot of Verdi themes, is dark and even melancholy. The Inquisition casts a dark shadow over the opera, providing a chilling and depressive mood. Don Carlos himself, though a good man and the hero we root for, is flawed and even lusts and loves the beautiful and noble Queen Elisabetta- his own mother. Princess Eboli, which requires a dramatic soprano, is a scheming and seductive temptress with a vengeance. The characters sing about their discontent with life- religions are failing in dark times, they have not found real love or meaning in life and what's more political problems surround them. They all long for death and it is the only thing they have in common. The darkest scene in the opera is the auto de fe scene. The Grand Inquisitor, the opera villain, orders the public burning of Protestants. The ending is ambigous. Nothing seems to be resolved- unusual for Verdi opera which either end tragically or happily. Don Carlos is saved from death but the ideals he struggled so hard to make real were never established.
All in all a great opera. The best in fact.

Average customer rating: Feed the hunger of my mexican soul..... Great Excerpts Beautiful, the Master at his best!

Bravo Domingo Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weber | Weber, Carl Maria von | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Domingo, Placido | ( D ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Curtis, Ernesto de | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Mascagni, Pietro | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Meyerbeer, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Offenbach, Jacques | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Rossini, Gioacchino | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Weber, Carl Maria von | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Anonymous | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Brodszky, Nicholas | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Halevy, Fromental | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Lara, Agustin | H to L | Featured Composers, A-Z | 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 Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Very Best of The Young Domingo Essential Placido Domingo José Carreras: The Golden Years Por Amor ASIN: B00000AFRF Release Date: 1998-09-15

Tracks:

1. Nessun Dorma
2. Largo Al Factotum
3. Je Crois Entendre Encore
4. Pays Merveilleux... O Paradis
5. Rachel, Quand Du Seigneur
6. Il etait Une Fois A La Cour D'Eisenach
7. Vesti La Giubba
8. Niun Mi Tema
9. O Figli, O Figli Miei!...Ah, La Paterna Mano
10. Morgenlich Leuchtend Im Rosigen Schein
11. Hor An, Wolfram!...Inbrunst Im Herzen
12. Una Furtiva Lagrima
13. Forse La Soglia Attinse...Ma Se M'e Forza Perderti
14. Quando Le Sere Al Placido
15. E Lucevan Le Stelle

Tracks:

1. Granada
2. Non Ti Scondar Di Me
3. Munequita Linda
4. Be My Love
5. Nostalgias
6. El Dia Que Me Quieras
7. Ella Mi Fu Rapita!
8. Parmi Veder Le Lagrime
9. La Donna E Mobile
10. Von Jugend Auf Im Kampfgefild
11. La Fleur Que Tu M'avais Jetee
12. Fontainebleau! Foret Immense Et Solitaire!...Je L'ai Vue
13. Donna Non Vidi Mai
14. Se Quel Guerrier Io Fossi!...Celeste Aida
15. Ch'ella Mi Creda Libero
16. O Lola Ch'hai Di Latti La Cammisa
17. Lunge Da Lei...De Miei Bollenti Spiriti
18. Tombe Degl' Avi Miei...Fra Poco A Me Ricovero
19. Di Quella Pira

Customer Reviews:

Feed the hunger of my mexican soul............2003-10-13

This man brings up the wonderful tones of my youth, the songs of generations before me, and sends them forth into the atmosphere of my soul in such a way that brings pride, tears, and love for all I grew up with. A most definite recommend for anyone who loves both Mexican music and a glorious vocalist.

Great Excerpts.......2002-01-20

Incredible 2 CD set at a very affordable price. The arias and ensemble chosen show Domingo at his very best in almost all the roles of the repertoire.
The set also features Granada and few other songs including two tangos sung in a baryton voice....again greatly...

GREAT Domingo.

Beautiful, the Master at his best!.......1998-11-18

The clarity of his voice, the range, and the power is unsurpassed! The selections are fantasic. Granada sung by Domingo is stirringly beautiful and deeply moving, you can feel his love for Spain and mastery of his art.

Average customer rating:

Verdi: Don Carlos Manufacturer: Opera Rara UK ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Verdi: La Forza del Destino Verdi: Les Vêpres Siciliennes Verdi: Simon Boccanegra (1857 Version) Verdi: Macbeth Matilde Di Shabran - Juan Diego Florez ASIN: B000ENWHWW Release Date: 2006-06-13

Average customer rating: Domingo and Price Are a Winning Ticket Well, why not?

Verdi: Don Carlos Manufacturer: Bella Voce Records ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Verdi: Rigoletto Bellini: Beatrice Di Tenda Verdi: Ernani (Complete) [Germany] Lucia Di Lammermoor Bellini - I Puritani / Sutherland ASIN: B00005TNCL Release Date: 2001-11-27

Tracks:

1. Act I: Su, Cacciator! - Chor Del Teatro Alla Scala
2. Act I: Fontainebleau! Foresta Immensa E Solitaria! - Placido Domingo
3. Act I: Io La Vidi E Al Suo Sorriso - Placido Domingo
4. Act I: Oh! Vision Gentile Ver me S'avanza! - Placido Domingo
5. Act I: Di Qual Amor, Di Quant' Ardor - Placido Domingo
6. Act I: Al Fedel Ch'ora Viene, O Signora - Placido Domingo
7. Act I: L'ora Fatale E Suonata! - Placido Domingo
8. Act I: Inni Di Festa Lieti Echeggiate - Coro Del Teatro Alla Scala
9. Act I: Il Gloriose Re Di Francia, Il Grande Enrico - Placido Domingo
10. Act 2, Scene 1: Carlo Il Sommo Imperatore - Giovanni Foiani
11. Act 2, Scene 1: Al Chiostro Di San Giusto Ove Fini La Vita - Placido Domingo
12. Act 2, Scene 1: E Lui! Desso! L'Infante! - Renato Bruson
13. Act 2, Scene 1: Dio, Che Nell'alma Infondere - Renato Bruson
14. Act 2, Scene 2: Sotto Ai Folti, Immensi Abeti - Maria Fausta Gallamini
15. Act 2, Scene 2: Nei Giardin Del Bello - Maria Fausta Gallamini
16. Act 2, Scene 2: La Regina! - Renato Bruson
17. Act 2, Scene 2: Io Vengo A Domandar Grazia Alla Mia Regina - Placido Domingo

Tracks:

1. Act 2, Scene 2: Il Re! - Coro Del Teatro Alla Scala
2. Act 2, Scene 2: Non Piangar, Mia Compagna - Renato Bruson
3. Act 2, Scene 2: Restate! - Renato Bruson
4. Act 2, Scene 2: Signor, Di Fiandra Arrivo - Renato Bruson
5. Act 2, Scene 2: Oso Lo Sguardo Tuo Penetrar Il Mio Soglio - Renato Bruson
6. Act 3: Quanti Fior E Quante Stelle - Margaret Price
7. Act 3, Scene 1: A Mezzanotte, Ai Giardin Della Regina - Renato Bruson
8. Act 3, Scene 1: Al Mio Furor Sfuggite Invano - Renato Bruson
9. Act 3, Scene 2: Spuntato Ecco Il Di D'esultanza - Renato Bruson
10. Act 3, Scene 2: Sire, No L'ora Estrema - Renato Bruson
11. Act 3, Scene 2: Sire! Egli E Tempo Ch'io Viva! - Renato Bruson
12. Act 4, Scene 1: Ella Giammai M'amo! - Jevgeny Nesterenko
13. Act 4, Scene 1: Il Grande Inquisitor! - Luigi Roni
14. Act 4, Scene 1: Nell'ispano Suol Mai L'eresia Domino - Luigi Roni

Tracks:

1. Act 4, Scene 1: Giustizia! - Renato Bruson
2. Act 4, Scene 1: Ah! Sii Maledetto, Sospetto Fatale - Renato Bruson
3. Act 4, Scene 1: Pieta! Perdon! Per La Rea Che Si Pente - Margaret Price
4. Act 4, Scene 1: O Don Fatale - Jelena Obraztsowa
5. Act 4, Scene 2: Son Io, Mio Carlo - Renato Bruson
6. Act 4, Scene 2: Per Me Giunto E Il Di Supremo - Renato Bruson
7. Act 4, Scene 2: O Carlo, Ascolta - Renato Bruson
8. Act 4, Scene 2: Carlo, Il Brando Ormai Riprendi - Placido Domingo
9. Act 5: Tu Che La Vanita - Margaret Price
10. Act 5: Francia, Nobile Suol, Si Caro Ai Miei Verd'anni! - Margaret Price
11. Act 5: E Dessa! - Placido Domingo
12. Act 5: Ma Lassu Ci Vedremo In Un Mondo Migliore - Placido Domingo
13. Act 5: Si, Per Sempre! - Placido Domingo

Customer Reviews:

Domingo and Price Are a Winning Ticket.......2004-06-05

Domingo sounds glorious on this live recording, which has excellent sound by the way--no irritating audience coughs or distracting cast member stage tromps and clomps--,and Price is even more luscious. Margaret Price was a Mozartian soprano who grew into the Verdi, Strauss, and Wagner reps. and is saddly underrated these days, yet the voice here is ravishingly beautiful, even throughout the range, top notes unfurling like bright banners against a summertime sky. She has the voice of a queen as is fitting for her role as Elisabetta. Listen to the love duet between Don Carlos and his future step-mother in Act I (this is the 5 act Italian language version) and remain unmoved if you can. While the set comes with no libretto, for the price, this truly is a best buy. And if you already own the Giulini recording of Domingo and Caballe, you need no other libretto anyway. The Eboli of Obraztsova is a little wild vocally, the runs aren't as clean as they should be, intonation is approximate in places, but she has the necessary b-flats and the crowd goes mad after her first aria (one would do well to listen to either Olga Borodina's Veil Aria on Haitink's Philips set or Baltsa's on Karajan's EMI for better examples of Verdian line and style). If you love Don Carlo as much as I, don't hesitate to add this to your library, and if you've always wanted a copy but found the 3-cd studio sets too expensive, this is the one to get.

Well, why not?.......2002-03-29

This is very good recording of Don Carlo, not the best one, but still an interesting one. First of all, it is "live", so it may be interesting only to the fans of the opera. During the 1977-78 season there were two live "Carlo" recordings from Scala and both are conducted by Abbado. So far nice. They both feature Yelena Obraztsova as Eboli. Even nicer. Yevgeniy Nestrenko and Luigi Roni sing in both. On the first - the Inquisitor and the Monk, on the second (this one) they move up to the King and Inquisitor respectively. In the other recording, also available here at a much higher price the King is sung by Ghiaurov. One recording of his Philip should be in every music lover's collection, but he had many, so that may disqualify the other above mentioned recording - the most expensive one.

And so, the cast.
Don Carlo - Placido Domingo.
On this recording he sounds better than on his studio version with Abbado made several years later. The reason is of course the text. Even if the Spanish tenor is fluent in French, Italian is still more comfortable for him. The voice is powerfull and his unique ability to sing as a lyric tenor at one moment as a dramatic one in the next works very well in the role of Carlo. But, of course he is nasal and sometimes does not show enough commitment in the dramatic moments.

Elisabetta - Margaret Price
A fine Mozartian soprano, singing fine, but not making a very big impression.

Philipp II - Yevgeniy Nesterenko
As said above, the role of the king suits him better than the part of the Inquisitor. He has a powerfull bass-baritone, with good high notes and audible low ones. His half-declamatory style is not loved by some listeners, but it works very well in the great monologue and in the following confrontation with the Inquisitor. He has sung Philipp in the Bolshoi for some years, but never recorded it commercially.

Di Posa - Renato Bruson
What more can you ask for? The best baritone-brilliante since Taddei, a sencetive artist with high notes and a big "meaty" voice. Perfect.

Eboli - Yelena Obraztsova
If anything is more perfect than Bruson - it's the great Soviet mezzo. She was often partnered with Nesterenko in many operas (including this one) in the Bolshoi and their combination was uniqe. Especially in such works as "Aida" or "Khovanschina". Her Eboli is sung tenderly and with many nice nuances, but "Don fatale" is sung in an almost baritonal way - unbelievable.

Inquisitor - Luigi Roni
He is a bass. He sings loudly. That's what matters.

I may also add, that Giovani Foiani is a very good Monk.

It is a crime, that the Bolshoi recorded Carlo only once (in the 1960ies) since if the did it around the time of this recording with these two singers they could have made the best Carlo ever, especially, knowing that there were such singers as Vladimir Atlantov, Yuriy Mazurok, Tamara Milashkina and Alexander Vedernikov for the other roles.

Average customer rating: On the whole, a great recording One very simple reason... The "other" French recording Original French Don Carlos: The Best Studio Recording Better than the sum of its parts

Verdi - Don Carlos / Domingo, Ricciarelli, Valentini-Terrani, Raimondi, Teatro alla Scala, Abbado Giuseppe Verdi , Claudio Abbado , Plácido Domingo , Katia Ricciarelli , Lucia Valentini-Terrani , Ruggero Raimondi , Leo Nucci , Nicolai Ghiaurov , Ann Murray , Arleen Auger , and Orchestra del Teatro alla Scala Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Puccini: La fanciulla del West Verdi: Don Carlos Puccini: Tosca Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis ASIN: B000001G68 Release Date: 1990-10-25

Tracks:

1. Act I: Intro: Le cerf s'enfuit sous la ramure - Coro del Teatro alla Scala/Romano Gandolfi/Giulio Bertola
2. Act I: Recit et Romance: Fontainebleau! Foret immense et solitaire... - Placido Domingo
3. Act I: Recit et Romance: Je l'ai vue - Placido Domingo
4. Act I: Scene et Duo: Le bruit du cor s'eteint sous l'ombre epaisse... - Placido Domingo/Katia Ricciarelli/Ann Murray
5. Act I: Scene et Duo: Que faites-vous donc?... - Placido Domingo/Katia Ricciarelli/Ann Murray
6. Act I: Scene et Final: A celui qui vous vient... - Katia Ricciarelli/Placido Domingo/Ann Murray/Tibere Raffalli
7. Act I: Scene et Final: L'heure fatale est sonnee... - Katia Ricciarelli/Placido Domingo/Ann Murray/Tibere Raffalli
8. Act II, Scene 1: Scene et Priere: Charles-Quint, l'auguste Empereur... - Coro del Teatro alla Scala/Nikita Storojev/Placido Domingo
9. Act II, Scene 1: Scene et Priere: Au couvent de Saint-Just - Coro del Teatro alla Scala/Nikita Storojev/Placido Domingo
10. Act II, Scene 1: Scene et Duo: Le voila! C'est l'Infant...Dieu, tu semas dans nos ames - Leo Nucci/Placido Domingo
11. Act II, Scene 2: Choeur et Scene: Sous ces bois au feuillage immense - Coro del Teatro alla Scala/Ann Murray/Lucia Valentini Terrani
12. Act II, Scene 2: Chanson du Voile: Au palais des fees - Lucia Valentini Terrani/Ann Murray/Coro del Teatro alla Scala
13. Act II, Scene 2: Scene, Terzettino Dialogue et Romance: La Reine!...L'Infant Carlos... - Leo Nucci/Lucia Valentini Terrani/Katia Ricciarelli/Ann Murray/Coro del Teatro alla Scala

Tracks:

1. Act II, Scene 2: Grande Scene et Duo: Je viens solliciter de la Reine une grace...O bien perdu... - Placido Domingo/Katia Ricciarelli
2. Act II, Scene 2: Scene et Romance: Le Roi!... - Katia Ricciarelli/Ruggero Raimondi/Ann Murray/Leo Nucci/Coro del Teatro alla Scalla
3. Act II, Scene 2: Scene et Romance: O ma chere compagne - Katia Ricciarelli/Ruggero Raimondi/Ann Murray/Leo Nucci/Coro del Teatro alla Scalla
4. Act II, Scene 2: Scene et Duo: Restez!...O Roi! J'arrive de Flandre - Ruggero Raimondi/Leo Nucci
5. Act III: Prelude - Orch Del Teatro Alla Scala/Claudio Abbado
6. Act III, Scene 1: Scene, Duo et Trio: A minuit, aux jardins de la Reine... - Placido Domingo/Lucia Valentini Terrani/Leo Nucci
7. Act III, Scene 1: Scene, Duo et Trio: C'est vous!... - Placido Domingo/Lucia Valentini Terrani/Leo Nucci
8. Act III, Scene 1: Scene, Duo et Trio: Que dit-il? - Placido Domingo/Lucia Valentini Terrani/Leo Nucci
9. Act III, Scene 2: Grand Final: Ce jour heureux est plein d'allegresse... - Coro del Teatro alla Scala/Antonio Savastano
10. Act III, Scene 2: Grand Final: ...En placant sur mon front, peuple, cette couronne... - Ruggero Raimondi/Katia Ricciarelli/Placido Domingo/Leo Nucci/Ann Murray/Aldo Bramante...

Tracks:

1. Act IV, Scene 1: Scene et Cantabile: Elle ne m'aime pas! - Ruggero Raimondi
2. Act IV, Scene 1: Scene: Le Grand Inquisiteur!...Dans ce beau pays - Nicolai Ghiaurov/Ruggero Raimondi/Tibere Raffalli
3. Act IV, Scene 1: Scene et Quatuor: Justice! Sire!...Maudit soit le soupcon infame - Katia Ricciarelli/Ruggero Raimondi/Lucia Valentini Terrani/Leo Nucci
4. Act IV, Scene 1: Scene et Air: Pitie! Pardon pour la femme coupable! - Katia Ricciarelli/Lucia Valentini Terrani
5. Act IV, Scene 1: Scene et Air: Ah! Je ne verrai plus la Reine...O don fatal et deteste - Lucia Valentini Terrani
6. Act IV, Scene 2: Mort de Rodrigue: C'est moi, Carlos... - Leo Nucci/Placido Domingo
7. Act IV, Scene 2: Mort de Rodrigue: C'est mon jour supreme... - Leo Nucci/Placido Domingo
8. Act IV, Scene 2: Mort de Rodrigue: Que parles-tu de mort... - Leo Nucci/Placido Domingo
9. Act IV, Scene 2: Mort de Rodrigue: Carlos, ecoute...Ah! Je meurs l'ame joyeuse - Leo Nucci/Placido Domingo
10. Act IV, Scene 2: Emeute: Mon fils, reprenez votre epee...Ciel! Le tocsin! - Ruggero Raimondi/Placido Domingo/Nicolai Ghiaurov/Lucia Valentini Terrani/Tibere Raffalli...

Tracks:

1. Act V: Scene et Air: Toi qui sus le neant des grandeurs de ce monde - Katia Ricciarelli
2. Act V: Scene et Duo D'adieu-Scene Finale: C'est elle!...J'avais fait un beau reve!... - Placido Domingo/Katia Ricciarelli/ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojet...
3. Act V: Scene et Duo D'adieu-Scene Finale: Oui, pour toujours! - Placido Domingo/Katia Ricciarelli/ruggero Raimondi/Nicolai Ghiaurov/Nikita Storojet...
4. Appendix: 1. Prelude et Introduction (Act 1): L'hiver est long - Coro del Teatro alla Scala/Katia Ricciarelli
5. Appendix: 2. Introduction et Choeur (Act III, Scene 1): Que de fleurs...Pour une nuit me voila Reine - Katia Ricciarelli/Lucia Valentini Terrani/Coro del Teatro alla Scala
6. Appendix: 3. Le Ballet de la Reine (Act III, Scene 1) - Orch Del Teatro Alla Scala/Claudio Abbado
7. Appendix: 4. Scene (Act IV, Scene 1) - Katia Ricciarelli/Lucia Valentini Terrani
8. Appendix: 5. Final (Act IV, Scene 2): Mon fils, reprenez votre epee...Qui me rendra ce mort? - Ruggero Raimondi/Placido Domingo/Coro del Teatro alla Scala
9. Appendix: 6. Final (Act V): Oui, pour toujours...Ah! Sois maudit! Artisan d'une oeuvre detestee - Ruggero Raimondi/Nicolai Ghiaurov/Placido Domingo/Katia Ricciarelli/Nikita Storojev...

Customer Reviews:

On the whole, a great recording.......2007-02-08

At the time of its release and continuing to the present, critics have carpted at this, the first big-label recording of Don Carlos, as the French version of Verdi's masterpiece is known. I find it hard to see why. Almost every0one who needs to be in top form is. Domingo gives a thrilling display, full of conviciton and nuance, exceeding even his own famed account of the title role for Giulini. As Eliisabetta, Katia Ricciarelli is in beaaautiful voice and almsot totally free of wobble. She doesn't have the raw vocal power for her big Tu che le vanita aria in the fifth act, but elsewhere she's wonderful, and thankfully she avoids the languishing melancholy that mars Caballe's portrayal for Giulini. As foor being over-parted, the same could be said of Freni on the Karajan set.

Don Carlos is full of choice roles requiring major singers, and Abbado has supplied them quite successfully: Raimondi as an authoritative Philip II, Ghiaurov as the Grand Inquisitor, and the excellent if not starry Valentini-Terrani in the coloratura mezzo role of Eboli. As is often said, this opera is structured on a Shakespearean scale (Schiller's great drama was deeply influenced by Shakespeare's history plays), and Abbado often rises to that level. This is one of his best Verdi recordings, perhaps his very best, and he raises the La Scala orchestra and chorus far above what I usually expect. In the end, only the prosaic Leo Nucci as Rodrigo is disappointing, and even he is in very good voice.

I've used the Italian names becasue Don Carlo has made its way through the world as an Italian opera, and in any event, none of the singers gives us very good French (Domingo's is the best--his voice thrives in that language, oddly enough). As a supplment, six additional or alternative numbers are given as a suplement on CD 4, a welcome addition even though it stretches the opera to an extra disc, making it the most expensive Verdi set I've ever encountered.

One very simple reason..........2006-07-12

why this is best Don Carlos version on the market....Claudio Abbado

The "other" French recording.......2005-12-19

Personally I prefer this set to the more famous one with Alagna and Mattila. The reasons are Placido Domingo who sings the most complex and endearing Don Carlos since the young Carreras in 1977, the mesmerizing Valentini-Terrani who proves that both the florid aria and the dramatic solo can be sung by one and the same voice (Meier never gave me that security), the full lyric and youthful sounding Elisabeth of Ricciarelli and the brilliant Raimondi repeating his role as Philippe (He was on the Italian recording with Domingo as well). It's brilliantly conducted, there are only tiny cuts and the bonus-material on the last CD is worth the money alone. This is a keeper, Verdi would be proud!

Original French Don Carlos: The Best Studio Recording.......2005-11-06

This 1980's Deutsche Grammophone recording has had favorable reviews here on Amazon.com and I don't think there's much more to add but I find that every time I listen to it, it gets better and better. The strength lies in the musicianship of the La Scala forces under Claudio Abbado's baton and the talented principal singers who have no difficulty singing in the original French and French grand opera style that Verdi originally composed for the Paris Opera. The most famous Don Carlo recording is, of course, the EMI 1970 recording under conductor Carlo Maria Giulini starring Placido Domingo, Montserrat Caballe, Sherill Milnes, Shirley Verrett and Ruggero Raimondi. That was the revised Italian version which is far more popular. Only Placido Domingo and Ruggero Raimondi are included in this later recording, though Montserrat Caballe was still capable of some dramatic singing in the 80's and could have also sung the role of Elisabeth in French. Katia Ricciarelli is however a marvelously gifted singer, despite detractors criticizing her for her lack of sturdy high notes and finding fault with what they believe is a voice that is only good from the middle register and downward. Ricciarelli delivers a beautiful, elegant and imperious Queen, and I love her voice. This is probably her finest achievement on recording. On the EMI 1970 Giulini recording, it was interesting to note how for an Italian opera the majority of the singers were non-Italians. On this recording, it is the other way around. The French-singing cast are Italian- Katia Ricciarelli, Luisa Valentini-Terrani and Ruggero Raimondi- and they are conducted by an Italian conductor Claudio Abbado and the La Scala orchestra. For a bunch of Italians, they master the art of French grand opera with aplomb.

Placido Domingo proves his versatility yet again by singing a heck of a Don Carlos in French when we know he is just as capable of singing the role in Italian. His French is sexy, seductive, elegant and exuding with the soulful passion of his Spanish persona. Domingo is my favorite tenor not only for the beauty and dramatic richness of his voice, but for the fact he is the only modern tenor to sing a variety of diverse roles. The ladies are singing superbly. Ricciarelli is simply splendid as the Queen, and she does justice to the part as great as Mirella Freni and Montserrat Caballe did. Alas, if only Leontyne Price had sung Queen Elisabeth Di Valois in its entirety! I think that would have been her best role, perhaps even surpassing her Leonora from Trovatore. Ruggero Raimondi returns to sing the role of King Phillip, though he had sung the Inquisitor in the 1970 Giulini recording. He has the right stuff for the role however. Russian bass Nicolai Ghiuruv is a devilishly frightening Inquisitor and handles the Verdi music with ease. Without a doubt this is the finest recording of Don Carlos you'll ever find in its original French.

Better than the sum of its parts.......2005-10-04

The stars of this studio performance are Abbado and the Scala in stunning form, and Domingo in good voice as an involved Carlos. It's easy to nitpick on details: the late Valentini-Terrani a size too small, Nucci too straightforward, Ricciarelli past her prime...but it all doesn't matter. All principals contribute to the energy of this recording, and the performance as a whole is great. The one significant flaw is the too-reverberant recording. Still, this is a better place to start than the beautiful but relatively uninvolved Giulini.

This recording follows the (superior?) 5-act revised version in French, and so presents the French original of the Italian translation recorded by, e.g., Giulini, Solti, Haitink and Levine. The major changes since the orginal version have been recorded as appendices at the end of disc 4.

For an interesting modern alternative of the Italian translation in good sound, I recommend Haitink - beautifully conducted and recorded, good voices, and Hvorostovski as Posa has to be heard to be believed.

Average customer rating: Oh my gawd.... Bo Knows Opera ANOTHER WONDERFUL BARITONE Bo Skovhus at his best Light years beyond Hampson

Bo Skovhus Sings Opera Arias Erich Wolfgang Korngold , Ambroise Thomas , Charles Gounod , Jules Massenet , Giuseppe Verdi , Benjamin Britten , Richard Wagner , Pyotr Il'yich Tchaikovsky , English National Opera Orchestra , James Conlon , and Bo Skovhus Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Korngold, Erich Wolfgang | ( K ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Thomas | Thomas, Ambroise | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Korngold, Erich Wolfgang | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | 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 Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Bo Skovhus - Schwanengesang & Schubert's Last Songs Bo Skovhus - The Heart of the Poet (Das Herz des Dichters) ~ Songs by Robert & Clara Schumann Bo Skovhus - Schubert: Die schöne Müllerin The Very Best of Thomas Hampson Lehar - Merry Widow / Kenny, Skovhus, Kirchschlager, Turay, Kunzel, San Francisco Opera ASIN: B00000AG7L Release Date: 1998-09-15

Tracks:

1. Die tote Stadt: 'Da Ihr befehlet, Konigin...Mein Schnen, mein Wahnen'
2. Hamlet: 'Spectre infernal!'
3. Hamlet: 'C'est en croyant revoir...O vin, dissipe la tristesse!'
4. Hamlet: 'J'ai pu frapper le miserable...Etre ou ne pas etre'
5. Hamlet: 'La fatigue alourdit mes pas...Comme une pale fleur'
6. Faust: 'Avant de quitter ces lieux'
7. Werther: 'Pourquoi me reveiller, o souffle du printemps?'
8. Don Carlos: 'C'est moi Carlos...Oui, Carlos! Oui, c'est mon jour supreme...Carlos, ecoute'
9. Billy Budd: Look! Through The Port... And Farewell To Ye, Old Rights O' Man!'
10. Tannhauser: 'Blick' ich umher in diesem edlen Kreise'
11. Tannhauser: 'Wie Todesahnung Dammrung deckt die Lande...O du, mein holder Abendstern'
12. Eugene Onegin: 'Vy mne pisali'
13. Eugene Onegin: 'Uzel ta samaja Tat'jana'
14. Pique Dame: 'Vy tak pecal'ny, dorogaja...Ja vas ljublju'

Customer Reviews:

Oh my gawd...........2004-06-24

What a wondrous singer...I absolutely agree with all the other reviews here but add:

1) he sounds as though he's singing in his First Language, whether it be French, English, German or Russian.

2) he lets his soul come out (simce Mme Callas this remains a rare event).

3) Sidebar: the San Francisco Merry Widow, whilst a delight and a wonder, is NOT fair to this man's voice.

A magnificent recital album. Every prominent opera singer out there should be jealous.

Bo Knows Opera.......2002-08-28

In the forward to this cd, John Bell Young, makes the argument that the darker, mellow baritone is an often underated part of the opera repetoire. I don't fully agree with him - there are fantastic, exciting lead roles for these men: Hamlet, Nabucco, Rigoletto, and The Barber of Seville - all glittering showcases of virtuoso. And even the supporting roles they often play, are thrilling - Scarpia can easily steal the show away from Tosca and her hero with his magnicent, albeit short, scenes; and Escamillo often wins not only the affection of Carmen, but that of an entire opera house... Still, all said and done, this is an interesting introduction to a man who is every bit as dashing, musical, and talented as any tenor to grace the stage.
Bo Skovhus showcases such extreme range in vocal talents and emotion. His tone is beautiful. His breath control and phrasing are astounding. Diction is clear and defined - especially the German arias. This is an extremely talented man.
The Korngold aria is mesmerizing in it's romantic beauty. But my favorite selections on this album are the pieces from "Hamlet"; this is french lyricism at its most marvelous, glorious, heart-sweeping grandeur. I can not imagine a better man to play this most famous anti-hero.
I cannot recommend this cd highly enough. While some Italian arias would have been a nice addition, I won't hold it against my recommendation. Skovhus's interpretation of the tenor's aria from "Werther" makes up for this.
Next time you are out purchasing yet another famous tenor's album, to hear the one hundreth version of "Celeste Aida", buy this cd instead. Give this baritone a chance, and soon you'll be humming songs a minor third lower.

ANOTHER WONDERFUL BARITONE.......2002-08-23

I first heard Bo Skovhus on a Laser Disc recording of the War Requem. I was very impressed. However until this opera recital I had not heard him again. This is truly an impressive recording. I place him up there with my other favorite baritones! He's still young so, hopefully, he has many more good years left in him!

Bo Skovhus at his best.......2002-05-17

Bo Skovhus' lovers undoubtedly awaited this comprehensive choice of arias, which almost concludes his (still young) operaic work. Well known alongside less known operas constitutes a perfect choice. From Verdi through Thomas, from Korngold to Britten and the Russian arias, mastering the variety of languages, and dealing with every single role in a very sensitive way. This unique choice and the qualities of his full, beautiful and warm voice makes one regret, that the entire opera was not recorded with him in the relevant roles, like Thomas's Hamlet for example, or Britten's Billy Budd. It leaves a taste of wanting to hear more of this young and talented Baritone, whose repertoire is much larger than could be presented in one - indeed excellent - CD.

Light years beyond Hampson.......2001-12-09

I just can't heap enough praise on Skovhus. I saw him for the first time at the Houston Grand Opera in a production of Billy Budd and was sold. This CD demonstrates very well what an immensely expressive and flexible voice Skovhus possesses. He has incredible core to his voice which allows him to attack bravado sections with zeal, but also has the musical expressivity to pull back and caress piano lines with ease and artistry while still maintaining his core sound. Hampson, who is notorious for becoming breathy and pop-like in pianissimo passages, can't touch Skovhus with a 10, 100, or 1000 foot pole.

Skovhus is undoubtedly one of the most talented lyric baritones of our time. He ranks right up there in terms of vocal talent with Brynn Terfel, and far beyond Terfel in terms of total artistry. In fact, I wouldn't be going to far to claim that Skovhus is one of the best baritones EVER (my apologies to James Maddalena). Trust me when I say that you would do yourself a disservice to NOT buy this CD.

Average customer rating:

Life & Works of Verdi Verdi Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music General | Instructional | Miscellaneous | Styles | Music Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music General | Classical | Styles | Music Hungarian National Philharmonic Orchestra | ( H ) | Featured Performers, A-Z | Classical | Styles | Music Similar Items: The Life and Works of Franz Schubert The Life and Works of Pyotr Il'yich Tchaikovsky Brahms: Life & Works The Life and Works of Franz Liszt The Life and Works of Antonín Dvorák, Narration with Musical Excerpts ASIN: B00007FPFM Release Date: 2003-04-15

Tracks:

1. Aida: Grand March And Triumphal Chorus / Background, Childhood And Youth
2. La Traviata: Brindisi 'Libiam Ne' Lieti Calici'
3. Early Manhood, Civil Strife And The Start Of A Career
4. Overture To 'Oberto, Conte Di San Bonifacio'
5. Tragedy, Creation, And The Birth Of A True Professional
6. Overture To 'Un Giorno Di Regno'
7. Failure, Despair, And Rescue: The Genesis Of Nabucco
8. Nabucco: Chorus Of The Hebrew Slaves 'Va, Pensiero, Sull' Ali Dorate'
9. A Sensation Reported And Recalled
10. Overture To 'Nabucco'
11. In The Galleys: Fame, Frustration, And A Major Surprise
12. Macbeth: Chorus Of The Scottish Exiles 'Patria Oppressa!'
13. The Revolution Of Macbeth And A Return To Safer Ground
14. Overture To 'I Masnadieri'
15. Paris And A Love Affair
16. The Revolutions Of 1848
17. Overture To 'La Battaglia Di Legnano'

Tracks:

1. Composition And Censorship: The Strife-Torn Birth Of Rigoletto
2. Rigoletto: 'La Donna E Mobile'
3. Verdi The Unsurpassed Psychologist
4. Rigoletto: 'Bella Figlia Dell' Amore'
5. Strepponi, Busseto, And The Rift With Barezzi
6. Escape: Verdi And Strepponi At Sant' Agata
7. Il Trovatore: Soldiers' Chorus 'Or Co' Dadi, Ma Fra Poco'
8. 'The Bear Of Busseto' Emerges: The Darker Side Of Verdi
9. Il Trovatore: 'Di Tale Amor Che Dirsi'
10. Verdi's 'Divorce' From His Parents; His Mother's Death, And A Theatrical Fiasco
11. La Traviata: 'Dite Alla Giovine'
12. Verdi And Women: Strepponi And The 'Dark Lady'
13. 'La Travailata': Verdi's Trials At The Paris Opera
14. I Vespri Siciliani: 'Quando Al Mio Sen Per Te Parlava'
15. Verdi In Rehearsal - And A Review From Berloiz
16. Overture To 'I Vespri Siciliani'

Tracks:

1. Yet More Trouble With The Censors
2. Un Ballo In Maschera: 'Ma Se M'e Forza Perderti'
3. A Passionate Patriot, A Reluctant Politician
4. A Semi-Official Retirement, Nursed By Disenchantment
5. Verdi Welcomes War
6. He Travels To Paris For Don Carlos
7. Don Carlos: 'Tu Che La Vanita'
8. 'Stupendous Triumph'
9. Verdi Shaken By Deaths Of His Father, Barezzi And Rossini
10. He Meets Manzoni
11. An Unusual Opera
12. La Forza Del Destino: 'Solenne In Quest' Ora'
13. Enter Teresa Stolz, Exit Mariani
14. La Forza Del Destino: 'Pace, Pace'
15. Strepponi Struggles With Jealousy As Verdi Writes Aida
16. Aida: Act III, Nile Scene

Tracks:

1. Verdi Bemoans The Corruption
2. Manzoni's Death Begets A Masterpiece
3. Requiem: 'Rex Tremendae'
4. The Return To Shakespeare
5. Otello: 'Canzone Del Salce - Ave Maria'
6. Verdi The Wagner Of Italy
7. Otello: 'Desdemona Rea, Si, Per Ciel'
8. A Shakespearian Swansong
9. Falstaff: Finale 'Ogni Sorta Di Gente; Facciamo Il Parentado'
10. Old Age And Death Of Strepponi
11. Verdi The Widower
12. Stolz And The Aged Verdi; A Visit From Toscanini
13. Te Deum
14. The Old Man Dies And The World Pays Homage
15. Requeim, Part VII: Dies Irae; Requiem Aeternam; Libera Me

Average customer rating: Engrossing and wonderful Good night at the opera, Liszt style

Liszt at the Opera, Vol 4 Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Howard, Leslie | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Similar Items: Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54) Liszt at the Opera II Liszt at the Opera III Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. I (Complete Music for Solo Piano, Vol. 6) Liszt: Complete Piano Music, Vol. 50 ASIN: B00000300Q Release Date: 1996-12-17

Tracks:

1. Rniscences des Puritains (Bellini), S390
2. Salve Maria! de l'opera Jsalem (Verdi), S431i
3. Don Carlos - Coro di festa e marcia funebre (Verdi), S435
4. Chor der ?lteren Pilger aus der Oper Tannh?user (Wagner), S443ii: Chor der Alteren Pilger aus der Oper Tannh?user (Wagner), S443ii
5. Am stillen Herd - Lied aus Die Meistersinger von Ng (Wagner), S448
6. Rniscences de Lucrezia Borgia - Grande fantaisie I (Donizetti) S400-1
7. Rniscences de Lucrezia Borgia - Grande fantaisie II (Donizetti) S400-2

Tracks:

1. Rniscences des Huguenots (Meyerbeer), S412ii
2. Andante finale aus K Alfred (Raff), S421-1
3. Marsch aus K Alfred (Raff), S421-2
4. Song Of The Two Armed Men (Mozart's Die Zauberfl, S634a
5. Tyrolean Melody (Auber's La Fianc, S385a
6. Tarentelle di bravura (Auber's Masaniello), S386ii
7. Salve Maria de l'op de Verdi Jsalem, S431ii
8. I Puritani - Introduction et Polonaise (Bellini), S391
9. Grosse Concert-Fantasie aus der Oper Sonnambula (Bellini), S393iii

Customer Reviews:

Engrossing and wonderful.......2006-08-22

Up to now, Hyperion and Leslie Howard have created some milestones in Liszt recordings. Starting with the Liszt at the Opera series Vol. 1 and continuing to Vol. 4, neglected but outstanding Liszt pieces have made their way to the light. Howard continues his quest and gives us a fascinating repertoire with music that overwhelms with virtuosity, conjures heavenly images, and entices with catchy themes and strains of music. The composers and operas here which Liszt promoted with his ingenius transcriptions and fantasies are numerous and even unusual: The typical guys worthy of paraphrases, Bellini, Verdi, Donizetti, and Meyerbeer all make a return. But some others are featured here and prove to have exceptional music as augmented by Liszt: Raff, Auber, and even Mozart.

First up is the titanic Reminiscences des Puritains of Bellini. This epic work closes at roughly 20 minutes and is the first and only recording you'll find anywhere. The reason? Who knows. Ask all the pop pianists out there why they can't at least give these works a try. They are musically attractive and potent, and I don't see why they laid dormant until Howard's unearthing. The Reminiscences des Puritains, admittedly, is not one of Liszt's most striking fantasies. At times it breathes melodious music or storms through exciting Bellini tunes. In between, it drags a bit. Obviously it takes multiple hearings to really appreciate it.

The second piece is piano music from heaven. Liszt does a paraphrase on the "Salve Maria!" aria of Verdi's opera, "I Lombardi" and sweeps the aural sense with its angelic music, truly transcending piano sounds that resonate with a radiance and unique beauty I've not heard anywhere else. Following this is a thrilling transcription of Verdi's "Don Carlos" opera. The opening bars and underlying music is as jovial and uplifting as can be, with a pastorale quality of mellow music thrown in the mix. The surprise comes in the middle of the piece when the "marcia funebre" interrupts; such darkness and foreboding suddenly emits itself in the lower registers of the piano. It's truly a diabolical moment capped with an eerie march, gliding into a nocturne-like melody and then ending with a more positive recapitulation of the "festive chorus" music. It's a fine transcription.

Two Wagner transcriptions are included here, but one has already been issued on a previous Liszt at the Opera recording: the Pilgrim's Chorus from the Tannhauser. Those familiar with that won't really find any new music material. The last notable piece on this first CD is a Donizetti fantasy: Reminiscences de Lucrezia Borgia. Liszt divided this into two parts and so Howard plays them as separate pieces. The first one is the real winner with its operatic drama and intense virtuosity. After you listen to the music, accentuated by Liszt's transcribing abilities, you begin to understand how these opera composers were so popular. Bellini, Donizetti, Verdi, Meyerbeer: they all have great melodies and themes. Liszt knew this and so he had an infinite source of music to pull from.

The second CD features the best music of this two-disc set. The Reminiscences des Huguenots is a masterful composition; one of Liszt's best fantasies for sure. However, it's not given a great interpretation as I would like. Maybe it's my own preference since I've heard two other pianists play it. I prefer Arnaldo Cohen's fire and violent execution on the Volume 1 of Naxos' Complete Piano Music of Liszt. Regardless, the music is what matters, and it shimmers. A shockingly fine piece follows from a composer I never heard music from: Joachim Raff. Liszt's two transcriptions of his King Alfred opera seem to suit Liszt's romantic tendencies just fine. The Andante, for instance, is as evocative as a Liebestraume, even like his Harmonies du Soir of the Transcendental Etudes. The subsequent march is a little tame for Liszt, but still sparkles and hums its way through delightful music. Following this is a very interesting sidestep into Mozart. Why Liszt chose the "Song of the Two Armed Men" from the Magic Flute is beyond me. Nonetheless, it proves to be an exquisite piece. Its fugue-like tempo combined with somewhat darker sounds from Mozart is sure to please. It's a rarity and a rewarding short piece.

The Auber fantasie or "Tarantelle di bravura" is a blazing and rhythmic joy. Lisztians will love it. It has all the signature aspects of Liszt's virtuosic, extravagant and ultimately arresting piano music. The last two pieces on this second CD are also worth mentioning. The first being the "Introduction and Polonaise" to Bellini's I Puritani opera. Considered a warhorse for pianists of old, it proves to be invigorating and flashy like his Rigoletto paraphrase; it's somewhat satisfying but after overdosing on extensive paraphrases and transcriptions, you may find its 5 minutes just too short.

The last piece is one of the best on here but only because of the middle segment of music that repeats that lovely theme from both Norma and La Sonnambula. Thalberg composed a long fantasy on La Sonnambula, as well. He differed from Liszt because he treated this theme with thunder and overpowering chords; it was still impressive and effective. But Liszt turns the theme into a Chopin-like nocturne of such a sublime quality. Tragedy, pain, love, despair: these are the instant emotions I feel as Liszt soars softly through this slow middle music of unequalled grace. It's hard not to wish it would go on, but Liszt seems like he doesn't want us to lament for too long. So he jumps back into the frollicking main rhythm of music that introduced the piece, making sure we always remember that mournful and haunting interval.

Bottom line: I can't say it enough how fortunate we are, classical music fans, piano lovers, and Lisztians alike, that Howard has revealed these diamonds of music. Simply said, this recording is superb and powerful; the fantasies here the best of the form and possess exactly the kind of grandeur and excellence we can expect from Liszt. Passionately recommended.

Good night at the opera, Liszt style.......2003-01-16

Some long, grand pieces, some shorter ones, some second thoughts, all making for another great set of operatic transcriptions by the great Franz Liszt.

Average customer rating: The best is wonderful, but there are a few duds Beautiful Voice, Bad Choices A Great Showcase of Hampson's Voice and Artistry Comprehensive coverage of Hampson's range in song

Thomas Hampson - A Portrait Manufacturer: EMI ProductGroup: Music Binding: Audio CD Foster, Stephen | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Korngold, Erich Wolfgang | ( K ) | Featured Composers, A-Z | Classical | Styles | Music General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Liszt | Liszt, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Porter | Porter, Cole | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Korngold, Erich Wolfgang | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Hampson, Thomas | ( H ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Paris Symphony Orchestra | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Soundtracks | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 Soundtracks | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music 4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music Similar Items: Leading Man The Very Best of Thomas Hampson Song of America Verdi - Rigoletto / Domingo, MacNeil, Cotrubas, Diaz, Levine, Metropolitan Opera ASIN: B000024D1I Release Date: 1997-01-01

Customer Reviews:

The best is wonderful, but there are a few duds.......2006-07-17

No portrait of a singer can satisfy all cmers, so EMI has shrugged its shoulders and tossed a bit of everything into the pot. (Without including any bonus tracks, one should note.) Hampson is without a doubt the successor to Fischer-Dieskau as the world's most famous operatic baritone. His strengths, like F-D's, are in song, especially American song. Seven of the 19 cuts here are American songs, which isn't enough. We don't really need Hampson's rather plodding and earnest Viennese operetta aria, nor his duet, "Anything You Can Do, I Can Do Better" with the shrill Kim Criswell (to tell the truth, neither does very well). Two small slivers from Schumann's Dichterlieve cycle seems rather silly, too.

But that leaves a lot that's wonderful--all the American selections, the Rossini and Liszt songs, the aria form Korngold's Die Tote Stadt, and above all Hampson's rollicking, let-'er-rip rendition of Figaro's aria form the Barber of Seville. If this omnium gatherum entices listeners to bu the complete recordings, it will serve a very good purpose.

Beautiful Voice, Bad Choices.......2003-11-25

Short and Sweet.

I love listening to this beautiful baritone's voice, but I really don't like his choice of songs on this album. Beautiful Dreamer is so hackneyed and I can't stand to listen to it (also why I didn't buy the Stephen Foster album). I did like is choice of two classic lieder by Schumann. I would have chosen more lieder for a different album, he does great things with it. The Live recording of Largo al factotum from Barber is distracting with audience claps and poor mics for the recording. You can hear him walking away from the mics (fading in and out). The absolute worst choice is "Anything You Can Do" from Annie Get Your Gun. It sounds nice but I hate this song. The rest of the songs swing from Sappy awful to beautifully sung.

Bottom Line: Inconsistent and Not worth your money. He can do much better

A Great Showcase of Hampson's Voice and Artistry.......2002-02-23

Thomas Hampson is definitely one of the greatest artists on today's musical scene. This CD displays the beauty of Hampson's voice and the intelligence and artistry that he brings to a great variety of musical styles (German, French and Italian Opera; Italian, French and German art song, and American music). Among the highlights are the first selection, the beautiful "Mein Sehnen, mein Wähnen" from DIE TOTE STADT by Korngold, sung with great control and melting pianissimos. The same can be said of the aria from TANNHAUSER. His live "Largo al Factotum" from IL BARBIERE DI SIVIGLIA is just virtuosistic, with effortless high notes (even a cadenza up to high C) and energetic vocal acting. In the art songs he is no less impressive, with total involvement in the style and mood of the songs, being particularly impressive "Oh, quand je dors" by Lizt. The American repertoire is also a delight. Hampson displays all kind of nuances for this repertoire, from the estatic quality of "Beautiful Dreamer" to the humor and bawdiness of "Where Is The Life that Late I Led". In summary, this is a delightful and eclectic souvenir from one of the most charismatic and intelligent singers of our time.

Comprehensive coverage of Hampson's range in song.......2001-11-01

This EMI disc, "Thomas Hampson, Portrait" is an excellent example of the wide range of this melliflous baritone. From the first German aria, Korngold's "Mein Sehnen, mein Wahnen" one of my personal favourites, to Jerome Kern's "The Last Time I saw Paris" you have great variety of opera, lieder and popular song offering you examples of Hampson's great talent. Buy and enjoy! Jill Whitburn

Meditation Music:

1. Verdi: La Traviata
2. Verdi: La Traviata
3. Verdi - La Traviata / Cotrubas, Gedda, MacNeil, Krips [highlights]
4. Verdi - La Traviata / Maria Callas · di Stefano · Bastianini · Giulini
5. Verdi: Macbeth
6. Verdi: Otello
7. Verdi: Rigoletto
8. Verdi: Rigoletto
9. Verdi - Simon Boccanegra / Nicolesco · Sabbatini · Bruson · Rinaldi-Miliani · Roberto Scandiuzzi · Natale de Angelis · Tokyo SO · Nikikai Chorus · Peternostro
10. Verdi: Un Ballo in Maschera

Meditation Music

meditation music

Meditation Music

Start with a Strong and Persistent Desire [Explicit Lyrics] [Import]

Angels - A Miracle Play

100 Classical Highlights: Beethoven/Mozart [Box set]

Music: Dry Your Eyes [CD-single] [Enhanced] [Explicit Lyrics

1+3+1

12 Inch Mixes

99% [CD-single] [Import]

14 Shades of Grey (with Limited Edition Bonus DVD) [Enhanced] [Explicit Lyrics]

XX [Import]

Yer Album

you st. [Import]

Vanessa Da Mata [Import]

Whores Pimps Niggaz, Vol. 2 [Explicit Lyrics]

Thomas Morris (1925-1926) & Clarence Williams (1924-1929)

Brussels and Paris