Gounod: Faust

Faust, opera
Composed by Charles Gounod
Performed by BBC Symphony Orchestra
with Harold Williams, Robert Easton, Muriel Brunskill, Heddle Nash, Robert Carr, Miriam Licette, Doris Vane
Conducted by Sir Thomas Beecham, Clarence Raybould
Faust, opera Ballet Music (Act V): Dance of the Nubians
Composed by Charles Gounod
Performed by London Philharmonic Orchestra
Conducted by Sir Thomas Beecham
Faust, opera Ballet Music (Act V): Adagio
Composed by Charles Gounod
Performed by London Philharmonic Orchestra
Conducted by Sir Thomas Beecham

Gounod: Faust,Harold Williams,Robert Carr,Robert Easton,Charles Gounod,Clarence Raybould,Sir Thomas Beecham,Muriel Brunskill,BBC Symphony Orchestra,London Philharmonic Orchestra,Doris Vane,Miriam Licette,Heddle Nash,Dutton Laboratories,Classical,French Romantic Opera,Opera

Average customer rating:

The beautiful gift of opera...
Pretty darn good
The Opera #1 Opera Album
Excellent assortment
Great Selections

The #1 Opera Album
Giacomo Puccini , Giuseppe Verdi , Léo Delibes , Georges Bizet , Umberto Giordano , Wolfgang Amadeus Mozart , Richard Wagner , Gioachino Rossini , Alfredo Catalani , Jacques Offenbach , Ruggiero Leoncavallo , Charles Gounod , Gaetano Donizetti , Pietro Mascagni , Antonin Dvorak , Richard Bonynge , Herbert von Karajan , Alberto Erede , Lamberto Gardelli , Giuseppe Patane , John Mauceri , Zubin Mehta , Charles Dutoit , Gyorgy Fischer , Riccardo Chailly , Istvan Kertesz , Leone Magiera , Evelino Pido , Gianandrea Gavazzeni , Renée Fleming , Cecilia Bartoli , Luciano Pavarotti , Jussi Bjorling , and Renata Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Most Famous Opera Duets
The Most Famous Opera Arias
The Best of Italian Opera
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Best Opera Album in the World...Ever!

ASIN: B000059RXO
Release Date: 2001-02-27

Tracks:

Carmen: Act 1: Prld - LPO/Sir Georg Solti
La Traviata: Brindisi: Libiamo, Ne'lieti Calici - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
La Boheme: Che Gelida Manina - Luciano Pavarotti
Lakme: Flower Duet: Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
Fedora: Amor Ti Vieta - Jussi Bjorling
Carmen: Habanera: L'amour Est Un Oiseau Rebelle - Tatiana Troyanos/John Alldis Chor/John Alldis
Nabucco: Chor Of The Hebrew Slaves: Va Pensiero - Chicago Sym Chor/Margaret Hills
Le Nozze Di Figaro: Dove Sono - Kiri Te Kanawa
Rigoletto: La Donna E Mobile - Luciano Pavarotti
Lohengrin: Bridal Chor: Treulich Gefuhrt Ziehet Dahin - Konzertvereinigung Wiener Staatsopernchor/Walter Hagen-Groll
Gianni Schicchi: O Mio Babbino Caro - Renata Tebaldi
Il Barbiere Di Siviglia: Largo Al Factotum - Leo Nucci
La Wally: Ebben?... Ne Andro Lontana - Angela Gheorghiu
Madama Butterfly: Humming Chor - Wiener Staatsopernchor/Norbert Balatsch
Carmen: Flower Song: La Fleur Que Tu M'avais Jetee - Placido Domingo
Les Contes D'Hoffmann: Barcarolle: Belle Nuit, O Nuit D'Amour - Joan Sutherland/Huguette Tourangeau/Chor De La Radio Suisse Romande, Pro Arte De Lausanne Et Du...
Tosca: E Lucevan Le Stelle - Placido Domingo
Madama Butterfly: Un Bel Di - Mirella Freni
Les Pecheurs De Perles: C'est Toi... Au Fond Du Temple Saint - Gregory Cross/Gino Quilico

Tracks:

Die Walkure: The Ride Of The Valkyries - Wiener Phil/Solti
Le Nozze Di Figaro: Voi Che Sapete - Cecilia Bartoli
Pagliacci: Recitar!... Vesti La Giubba - Luciano Pavarotti
La Boheme: O Soave Fanciulla - Mirella Freni/Luciano Pavarotti/Roland Panerai
Il Trovatore: Anvil Chor: Vedi! Le Fosche - Chicago Sym Chor/Margaret Hillis
Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
Don Giovanni: La Ci Darem La Mano - Lucia Popp/Tom Krause
Mattinata - Andrea Bocelli
Faust: Soldiers' Chor - Ambrosian Opr Chor/John McCarthy
L'elisir D'amore: Una Furtiva Lagrima - Roberto Alagna
Turandot: Signore, Ascolta! - Montserrat Caballe
Don Giovanni: Champagne Aria: Finch'han Dal Vino - Bryn Terfel
Cosi Fan Tutte: Trio: Soave Sia Il Vento - Renee Fleming/Anne Sofie Von Otter/Michele Pertusi
Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
Tosca: Vissi D'arte - Kiri Te Kanawa
Carmen: Toreador Song - Jose Van Dam/Tatiana Troyanos/Norma Burrowes/Jane Berbie/Thomas Allen/Pierre Thau/John Alldis...
Madama Butterfly: Love Duet: Vogliatemi Bene - Mirella Freni/Luciano Pavarotti
Cavalleria Rusticana: Intermezzo - Nat PO/Gianandrea Gavazzeni
Rusalka: O Silver Moon - Renee Fleming
La Boheme: Si. Mi Chiamano Mimi - Angela Gheorghiu
Turandot: Nessun Dorma - Luciano Pavarotti/John Alldis Chor/John Alldis

Amazon.com

The labels that are now gathered under the Universal Classics umbrella have a pretty impressive scorecard in the area of classical compilations. We've seen The Greatest Opera Show on Earth, The Yellow Guide: Classical Music, Best of the Millennium, and now there's The No. 1 Opera Album. But that's no surprise, since Universal has some of the finest interpreters in its catalogue to draw from. This two-CD set (at the price of one), for example, brings together the likes of Cecilia Bartoli, Renée Fleming, Luciano Pavarotti, Kiri Te Kanawa, Sir Georg Solti, Herbert von Karajan, and many more. Yet the other key to a successful compilation is canny anthologizing, and here again, you have a nice selection to give you a smattering of opera's heavyweights from the Italian, German, and French repertory (there's even a step outside the standard framework with an aria from Dvorák's lovely Rusalka). Ranging from 1959 to 1997, the choices from back catalogue will doubtless be the entry ticket for many into this grandest of the arts. --Sarah Chin

Customer Reviews:

The beautiful gift of opera..........2007-07-17

This 2-CD set is absolutely wonderful! You can close your eyes and feel like you're actually at the opera, listening to those beautiful voices bringing tears to your eyes. Nessun Dorma still stirs up emotions in me, no matter how many times I hear it. Great examples of opera to give someone wanting to get interested in this style of music.

Pretty darn good.......2007-07-04

This CD set has a lot of familiar music on it, so if you're a newbie, you might want to try starting with this. There are some great pieces on the first CD. I usually don't even make it to the second.

The Opera #1 Opera Album.......2007-06-07

The music is wonderful. The production is terrible!! The sound fades in and out and is very scratchy in some places.

Excellent assortment.......2007-05-12

I'm not a big opera fan but I wanted to expose an assorted selection for my kids. This was perfect since it included several recognizable selections.

Great Selections.......2007-03-31

This Cd, has the very best of Opera
covering mainly from the classcal
to the to the romantic periods, a most
memorable selection here is Leo Nucci
in a lagendary performance of Rossini's
"Largo al Factotum" from "Il Barbiere di Seviglia"
also Andrea Bocelli in his performance of Leoncavallo's
memorable "Matinatta" here in an orchestrated version.
Indeed some of opera's most loved arias are in this recording
various conductors, orchestras, and soloists. All in their
very best. Indeed a five-star recording...

Pavarotti's Opera Made Easy-My Favourite Opera For Children

Average customer rating:

Opera for Children
Great Opera for Children
My six-year old liked it!
Fun, accessible opera for you and your child to enjoy

Pavarotti's Opera Made Easy-My Favourite Opera For Children

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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World's Very Best Opera for Kids... in English!
Classical Music for Children: A Toddler's Introduction to Classical Music
The Classical Child at the Opera
Children's Favorites
David Bowie Narrates Prokofiev's "Peter and the Wolf"

ASIN: B00000424Y
Release Date: 1994-08-23

Tracks:

Carmen: Children's March
Carmen: Toreador Song
Carmen: Toreador Chorus
The Barber Of Seville: Largo Al Factotum
Faust: Soldiers' Chorus
Il travatore: Anvil Chorus
Madame Butterfly: Humming Chorus
Die Walkure: The Ride Of The Valkyries
The Tales Of Hoffman: The Doll Song
Aida: Triumphal Choruses And March
The Magic Flute: Papageno's Song: A Birdcatcher Am I
The Magic Flute: Papagena! Papagena! Papagena!
The Magic Flute: Pa-Pa-Pa-Pa
Hansel And Gretel: Brother, Come Dance With Me
Hansel And Gretel: I Am The Little Sandman
Hansel And Gretel: Children's Prayer
Hansel And Gretel: Song Of The Gingerbread Children
Hansel And Gretel: Ral-la-la-la, Ral-la-la-la

Customer Reviews:

Opera for Children.......2005-10-14

This is an excellent CD to introduce children to some of the more familiar operas. I would highly recommend this CD for children and also for adults who want to become familiar with opera.

Great Opera for Children.......2005-05-01

This CD is an excellent compilation of opera for children and adults alike. The operas that are represented on this disc are: Carmen, Il Barbiere di Siviglia, Faust, Il Trovatore, Madama Butterfly, Die Walkure, Les Contes d'Hoffmann, Aida, Die Zauberflote, and Hansel und Gretel. People love the Children's March, as well as the Toreador Chorus, from the opera Carmen. The well known Toreador Song is performed on this CD by great bass- baritone Jose van Dam. Children who watch Bugs Bunny will recognize "Largo al factotum" from Il Barbiere di Siviglia. Sherrill Milnes performs the role of Figaro expertly, and his falsetto is evident in Figaro's famous patter aria. Great choruses, like the Soldier's Chorus from Faust, the Anvil Chorus from Il Trovatore, the Triumphal Chorus from Aida, and the Humming Chorus from Madama Butterfly make appearences on this CD. The Doll Song from Les Contes d'Hoffmann is performed by soprano Joan Sutherland. She uses her voice to rise up and down, like a mechanical doll. My favorite German baritone, Hermann prey, performs Papageno's entrance aria from Die Zauberflote, as well was the duet with Papagena. Choruses from Hansel und Gretel round the CD.

My six-year old liked it!.......2001-04-02

My six year-old son enjoyed hearing this CD. We like to sing together, so we found many of the pieces quite alot. But to be honest, when we discovered the more recently released CD, The Classical Child AT the Opera, he went wild because all the pieces have been translateded into English, so it's much more enjoyable for us to sing along. So I would recommend it, but check out the other one as well -- your kids will be glad you did. All the best, Steven

Fun, accessible opera for you and your child to enjoy.......1999-11-05

I bought this CD for my then 3 year old son. He loved it then because it was the "Bugs Bunny" music he was familiar with from the cartoons. He listened to it for awhile then we put it away. After he turned 4, he said to me one day -- let's listen to opera, and now we listen to this CD every day. This music gets his blood going; he struts around his room when he listens to this. And, he is in every respect a typical boy who likes Pokemon and the Back Street Boys. So, I consider this CD successful in introducing opera to a youngster.

Artists Of The Century - Jussi Bjorling, The Ultimate Collection

Average customer rating:

Excellent older music
A Golden Voice!
Heaven
The Ultimate Tenor Anthology
The biggest hype I've ever seen or heard

Artists Of The Century - Jussi Bjorling, The Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Jussi Björling Rediscovered
The "Pearl Fishers" Duet
The Very Best of Beniamino Gigli
Jussi Bjorling: Opera Arias
The Very Best of Franco Corelli

ASIN: B00000J911
Release Date: 1999-05-25

Tracks:

Aida: Se quel guerriero io fossi; Celete Aida
Manon Lescaut - Donna non vida mai
Rigoletto - La Donna ? mobile
Rigoletto - Ella mi fu rapita; Parmi veder le lagrime
Cavalleria Rusticana - Siciliana: O Lola - Frederick Schauwecker
Faust - Salut, demeure chaste et pure - Robert Merrill
Pagliacci - Vesti la guibba
La Boh?me - Che gelida manini - Licia Albanese
Prince Igor - Vladimir's Recitative and Cavatina
Andrea Cher - Come un bel di di maggio
Martha - M'apparutt'amor
L'elisir d'amore - Una furtiva lagrima
Eugene Onegin - F, f (Lensky's aria)
Turandot - Nessun Dorma
Tosca - Recondita armonia
Tosca - E lucevan le stelle
Tosca - O dolci mani
The Trout (Die Forelle)
An Silvia: Was ist Silvia?
Stchen D. 957/4

Tracks:

The Pearl Fishers - Au fond du temple saint
Tosca - Mario, Mario, Mario!
Don Carlo - lo l'ho perduta!; Dio, che nell'alma infondere
Manon Lescaut - Oh, sar pila!; Tu, tu, amore? Tu?
La Boh - In un coup Mimtu pitorni
La Forza Del Destina - Solenne in quest'ora
Aida - La fatal pietra; O terra addio
Turandot - Signore, escaolta!; Non piangere, Li
Otello - Oh! monstruosa colpa!; Si, pel ciel marmorea giuro!
A Dream
Turandot - Nessun Dorma
Zeignung, Op 10, No. 1/Dedica

Amazon.com

Surely Björling was one of the greatest tenors of his or any other time, not only for the clarion ring, the purity, and the melting lyricism of his voice, but for his effortless lightness, impeccable intonation, endless breath control, and natural phrasing and line, enhanced by old-fashioned but wonderfully expressive scoops and slides. On this generous two-disc set, he is heard in a huge selection of arias and some duets with distinguished colleagues; most of them were recorded separately, and a few are excerpted from complete opera recordings--unfortunately not very skillfully, stopping abruptly in mid-phrase if not mid-note. No matter; the miraculous thing is that Björling, whether singing an entire role or a single aria, can instantly create a character and bring him to vibrant life. He sings everything in the original keys--his high B-flats, B's, and C's are thrilling--and almost everything in the original language, including a few songs by Schubert, Strauss, and Grieg. Recorded live in recital, they are delightful--only one is too operatic. Among his partners, soprano Zinka Milanov and baritone Robert Merrill stand out. This recording presents an incomparable artist at his incomparable best. --Edith Eisler

Customer Reviews:

Excellent older music.......2007-04-05

He is obviously one of the best of his time and puts to shame some of the newer singers. You get alot for your money on this CD too. I highly recommend it for a Sunday morning to enjoy your coffee, newspaper, and scones :}

A Golden Voice!.......2006-07-31

In opera circles everyone knows about Jussi Bjorling. But, I am writing this for the many people who never heard of him. He died in 1960 at the age of 49 so he hasn't been around for 46 years. Thus, the younger generation have only heard of Pavarotti, Domingo, Correras and some newer fellows. Believe me, the sweet, honeyed, golden voice of Bjorling will impress you. His voice..his "instrument".....is...is....what can I say, it's "beautiful". If you haven't heard him before you have an enormous treat ahead of you! If you love the beautiful sound of a "trained" voice, you'll love this guy! Enjoy!
(Some guy below is comparing Bjorling to DeStefano and Corelli and some others and was critical of Bjorling. The guy who wrote that must be suffering from hearing loss! ALL the tenors he mentioned are/were great artists. DON'T BELIEVE HIM...BELIEVE ME! :o) Email:boland7214@aol.

Heaven.......2004-12-13

I used to buy two separate CDs for people I was introducing to Bjoerling - the Pearl Fishers one, and the one with the Nessun dorma on it... So I was delighted when this 2 CD set came out.

To me, NO other tenor I've ever heard matches Bjoerling. His voice is one of the few that reduce me to tears just trying to EXPLAIN it to people. I've loved classical music since childhood but was never able to get into opera until I heard Jussi ... all the tenors alive today - feh, sorry, but to me they just sound like guys taking deep breaths and singing loud, not like "the voice of God" ...

The Ultimate Tenor Anthology.......2003-10-26

For anyone who has for some reason fallen in love with some other tenor voice, the discovery of Jussi Bjoerlings voice may be heartbreaking. This is not a tenor who can only sing superbly in lyric opera or only in dramatic opera, or only in song and lieder. This singer can sing whatever he wants and more; he does it equally brilliant whatever to the vocal demands may be. That, more than anything makes him absolutely unique in the record history.
In the opening selection of this compilation; "Celeste Aida", this essentially lyric voice demonstrates for every heroic and dramatic tenor how to sing dramatic opera. It is a sheer singing lesson. In the strenuous recitative, he does not shout or use other non-musical effects, but shows that true dramatic expression is characterized by tonal intensiy and not by volume, although he had plenty enough of that. The beautiful and incredibly free flow of lyric tones in the Pearlfishers duet, the Faust cavatina and in the gorgeous "Che gelida manina" is absolutely exemplary. Yet, who could replicate the beauty of those effortless high C`s? I cannot think of anyone.
The only thing that could better this and give the set 5 stars in the book, is a compilation of the same selections, transferred from the original tapes and not excessively remastered as on this occasion. The sound is at times overly bright and the voice sounds thin and even sharp. But the singing is so far unmatched.

The biggest hype I've ever seen or heard.......2003-07-27

This tenor is a tiny patch if compare to Corelli or Del Monaco, not to even mention Pavarotti. His high notes are strain to the max and he sounds like he's singing in half falsetto.
A total disappointment. I recommend Gigli and Del Monaco instead.

The Legendary Enrico Caruso: 21 Favorite Arias

Average customer rating:

Great to hear the Great Tenor
A childhood memory
Great collection.

The Legendary Enrico Caruso: 21 Favorite Arias

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Match Point
Italian Songs: The Digital Recordings
Great Caruso
The Very Best of Beniamino Gigli
Artists Of The Century - Caruso, The Greatest Tenor In The World

ASIN: B000003EOH
Release Date: 1990-10-25

Tracks:

Pagliacci: Vesti la giubba
TOSCA: E lucevan le stelle
Rigoletto: Questa o quella
Rigoletto: La donna e mobile
L'africana: O paradiso
La Juive: Rachel, quand du Seigneur
La Boheme: Che gelida manina
Aida: Se quel guerrier io fossi; Celeste Aida
Andrea Chenier: Come un bel di di maggio
La Favorita: Romanza: Spirto gentil, ne' sogni miei
La forza del destino: O tu che in seno agli angeli
Otello: Ora e per sempre addio
Les pecheurs de perles: Je crois entendre encore
La Gioconda: Cielo e mar!
Carmen: La fleur que tu m'avais jetee (Flower Song)
TOSCA: Recondita armonia
Faust: Salut, demeure chaste et pure
L'Elisir d'Amore: Una furtiva lagrima
Martha: M'appari tutt'amor
Serse: Ombra mai fu (Largo)
Il Trovatore: Di quella pira

Amazon.com

There's a plethora of single-disc Caruso collections, but this one's the preferred choice for opera fans who treasure this golden- voiced epitome of Golden Age singing. It's a Greatest Hits collection to beat all Greatest Hits collections. Selections span Caruso's career, from the lyric effusions of 1906-7 to the darker-voiced later recordings, including one of his last records, the 1920 La Juive aria, "Rachel, quand du Seigneur," which he invests with a heartbreaking poignancy that hasn't been bettered. Caruso shines brightest in the Italian repertory, capturing the pathos of Vesti la Giubba, the insouciance of the Duke's Rigoletto arias, and the hero's dilemma in Celeste Aida, among much else. But everything here is wonderful--great music, great singing. --Dan Davis

Customer Reviews:

Great to hear the Great Tenor.......2007-04-11

I am impressed how well these almost 100 year old recordings have been transfered to CD. Of course they aren't perfect but considering their age it is still a miracle. It is nice to hear Caruso in his prime and not on a scratchy vinyl. I would recommend this to any lover of Caruso's singing.

A childhood memory.......2006-05-28

I do not really know Opera. I am writing this review because I remember hearing Caruso's voice coming from a seventy- eight on an old Victor gramophone in my paternal grandparents house. The power and lyric quality of the voice struck me so strongly especially in 'Pagliacci'. The phrase has been with me, and comes back occasionally through all the years.
Caruso was then, and I believe still is considered at the very top of operatic singers. And it is a remarkable experience to hear so many years later , and in a stronger and clearer way sounds which one heard long ago in childhood, and have for years only lived in the mind.

Great collection........2000-11-04

This CD is an older RCA release, but still one of the best! A great introduction to Caruso.

Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss

Average customer rating:

Renee Fleming sings favorite works
The best of the best.
Beautiful and creamy voice
Renee Fleming;THE BEAUTIFUL VOICE
The most gorgeous soprano voice I've ever heard

Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
Gustave Charpentier , Charles Gounod , Jules Massenet , Antonin Dvorak , Friedrich von Flotow , Giacomo Puccini , Erich Wolfgang Korngold , Carl Orff , Richard Strauss , Sergey Rachmaninov , Johann II Strauss , Franz Lehar , Jose Maria Cano , Marie-Joseph Canteloube , Jeffrey Tate , Sir Charles Mackerras , Renée Fleming , English Chamber Orchestra , Osian Ellis , London Voices , and Clive Greensmith
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Renée Fleming
Renee Fleming: By Request
Renée Fleming - Signatures ~ Great Opera Scenes / Sir Georg Solti
Sacred Songs
Handel

ASIN: B0000042I6
Release Date: 1998-02-10

Tracks:

Louise (Acte 3): Depuis le jour ou je me suis donnee
Faust (Acte 3 - Air des bijoux): O Dieu! que de bijous!... Ah! Je ris de me voir si belle (Air des bijoux - Jewel Song)
Manon (Acte 3): Je marche sur tous les chemins... Obeissons... Profitons bien de la jeunesse (Gavotte)
Gypsy Melodies, Op. 55 B104 No. 4: Songs My Mother Taught Me
Martha (Act 2 - No. 8 The Last Rose): 'Tis The Last Rose Of Summer
La rondine (Act 1): Chi il bel sogno di Doretta
Die tote Stadt (Act 1 - Mariettas Lied): Gluck, das mir verblieb
Carmina Burana (No. 21): In trutina
Vier Lieder, Op. 27 No. 4: Morgen!
Vocalise, Op. 34 No. 14: Vocalise
Die Fiedermaus (Act 2 - Csardas): Klange der Heimat (Csardas)
Die lustige Witwe (Act 2 - Vilja-Lied): Es lebt' eine Vilja (Vilja-Lied)
LUNA: Epilogo
Chants d'Auvergne, Series 1: Bailero

Amazon.com essential recording

This vocal recital certainly lives up to its title, perhaps too well. It's a collection of arias and songs Fleming has sung for years that for some may be too much frosting and not enough cake. Surely, her performances are rich with interpretive nuances, wonder-filled portamentos and word colorings that reflect a long history with this repertoire, which ranges from Charpentier's "Depuis le jour" to Rachmaninoff's "Vocalise." Some may find Fleming a bit much, but agree with her or not, she's far more interesting than singers who keep a safe, discreet distance from the music. --David Patrick Stearns

Customer Reviews:

Renee Fleming sings favorite works.......2007-07-30

Renee Fleming has turned out a fine CD of arias with which not everyone is familiar. Outstanding are Depuis le Jour from Charpentier's Louise and Marietta's Lied, Glueck, das mir verblieb, from Korngold's Die Tote Stadt. The latter is one of the most haunting arias ever written. Many of us cannot get it out of our minds. She includes Chi il bel sogno di Doretta from Puccini's La Rondine and does it well. Hers is not really a Puccini voice. Perhaps Richard Strauss and Mozart are her strengths.

The best of the best........2007-04-11

I've given away at least a dozen copies of this CD. I'm running low, so I just refilled the stash. For people who haven't discovered Renee Fleming or who think they don't care for opera, this CD is the best possible way to blow down the walls. If you think there's nothing new to be heard in these old arias, you owe it to yourself to find out how wrong you can be.

Beautiful and creamy voice.......2006-02-28

I like so much Ren?e Fleming and this is special cd !

Renee Fleming;THE BEAUTIFUL VOICE.......2006-01-30

IT'S A FINE RECORDING THAT OFFERS A VARIETY OF SELECTIONS FROM OPERA, OPERETTAS AND FOLK SONGS, ALL WITH FLEMING AT HER BEST.

The most gorgeous soprano voice I've ever heard.......2006-01-02

I am a 19-year-old voice student at the University of Central Arkansas and I came across Renee by way of a soprano in my voice studio. She said it was her favorite soprano and that I should give her a listen. I was a little hesistant because I'm a baritone and my voice teacher told me that I should listen to men, but I just want to hear it all. So this past summer I first bought Renee's self-titled album with all of the lolipop arias on it and I was just amazed, not just because of how good she is but how easy she is to listen to. I loved her voice immediately. From the the moment the first tone passed through her throat on Puccini's "O Mio Babbino Caro." So I had to hear more. The Beautiful Voice is even better. It wasn't as easy to listen to at first because some of the songs on this album are not as famous as those on the other one, but these songs are all gems. The Korngold with the pianissimi B flats is my personal favorite. Even my mother who screams at me to turn down that "noise" when I listen to opera cds has grown to be quite fond of Renee Fleming. Sometimes her interpretations can be over the top, but the voice is beyond spectacular. It pours out like melted butter. It's vibrant, rich, expressive, free and always perfectly in tune. There is no hint of strain from any sound emitted from her body. She will undoubtedly be remembered like Callas & Sutherland and all the other great soprano voices before her. Not for the dramatic intensity of Callas or the coloratura & technical ease of Sutherland, but for the sheer unspeakable beauty of her voice. This is a must have for any vocalist seriously dedicated to classical training.

Average customer rating:

Beautiful Collection of Songs
A Legend in all.....La Callas.
Excellent compilation of La Divina's arias
Some people have no business reviewing this
BELLA BELLA BELLA!

Maria Callas, the Voice of the Century

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | 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
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Puccini: Arias
The Most Famous Opera Duets

ASIN: B00000631B
Release Date: 1998-03-17

Tracks:

Norma: Casta Diva (Atto I): Norma
La Sonnambula: Compagne, teneri amici...Come per me sereno (Atto I): La Sonnambula
Il Barbieri Di Siviglia: Una Voce poco fa (Atto I): Il barbiere di Siviglia
Lucia di Lammermoor: Regnava nel silenzio...Quando, rapito in estasi (Atto I): Lucia di Siviglia
Rigoletto: Gualtier Mald...Caro Nome (Atto I): Rigoletto
La Traviata: E Strano!...Ah, Fors'e lui...Sempre libera (Atto I): La traviata
La Boheme: Si, Mi chiamo Mimi (Atto I): La boheme
La Boheme: Donde Lieta Usci (Atto III) (Mimi's Farewell): La boheme
Madama Butterfly: Un Bel di Vedremo (Atto II): Madama Butterfly
TOSCA: Vissi D'arte (Atto II): tosca
Turandot: In questa reggia (Atto II): Turandot
La Wally: Ebben? ne andro lontana (Atto I): La Wally
Andrea Chenier: La mamma morta (Atto III): Andrea Chenier

Tracks:

Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
Alceste: Divinites du Styx (Acte I)
Dinorah: Ombra leggiera (Atto II) (Shadow Song)
Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
Faust: Les grand seigneurs...Ah! je ris (Acte III)
Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
Samson et Dalila: Printemps qui commence (Acte I)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
Carmen: Les tringles des sistre tintaient (Acte II)
Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
Louise: Depuis le jour (Acte III)

Customer Reviews:

Beautiful Collection of Songs.......2006-07-15

I have listened samples of 5 Callas CDs before buying this one. This one has a very beautiful collection of songs on just 2 CDs. he sings with so much expression. Most the recordings are from the fifties and early sixties when her voice was very young and lovely. I'll try to get her on DVD so I can see her sing.

A Legend in all.....La Callas........2005-04-24

I would just like to refer to an article that was published by a German Newspaper in 1959, mentioned on the Callas Edition (CED:100342)
'...her voice is of unparalleled beauty, having an inimitable, completely own timbre of sopranos and altos...a performance of superior musical quality..a phenomenon amongst contemporary singers'
' ...One of the most spectacular Verdi arias, of Elizabeth from Don Carlo, and one, In Germany tottaly unknown, terrific scene from Bellini's opera Il Pirata were enough to enchant huge numers of television viewers, who can say at her next performance: 'we have seen La Callas''(Hamburg concert 1959)
'- from the contra-alt-f to the f - thats Callas' voice range, spanning over 37 half-tones. Callas herself has drawn the range of her voice. In her concert repertoire the contra-alt-f can be found in e.g. the aria from I Vespri Siciliani. In an aria from Rossini's opera Armida she reaches the 'F'. five half-tones above the high C. Normal voices couldnt possibly even whistle this high F. Though there are other singers, whose voices contain these three octaves - Erna Sack with her coloratura soprano, the lyrical singer Ema Berger and the dramatical singer Zinka Milanov from the New York Metropolitan Opera - simple fact is that the phenomenon Meneghini-Callas lies in her fabulous vocal versatility. She is a coloratura singer, drama-player and lyrist in one person - and an exceptionally talented ac-tress at that.'
Excuse from a journalist of the German Newspaper for the Diva :

Article Title : 'I am sorry!'

'I owe Maria Callas an apology. She is a unique vocal talent, a great artist. She is a primadonna. And she has her moods. Moods for which i ask her to forgive me. Because i misunderstood them - and many others too. That much i gathered from her latest television concert. Even in the flickering of the screen this woman's nervousness and enormous effort were visible.
La Callas is a fragile, rather shy person. Her moods are fear of failure. The moloch audience expects her to always go to any lenght, show the brilliance others just dont have. She is not allowed to get weak. Decent country singers are not decapitated for a false note. La Callas, on the other hand, is the identifying mark of the extraordinary. Even the slightest hint of a mistake would cost her her uniqueness, her stardom....a perverse triumph for all bathtube singers.
That explains her inhibitation to perform when she isnt well, her cancellations when she is not in the right mood. I understand them now. If she werent moody, she wouldnt be a primadonna, would not be La Callas.
Stars like her do not fit in our world of standards and programmed data. They pay dearly for their moods, have to put up fights and, undoubtedly, shed many a tear. So one more, my apologies, Maria Callas'
(Hans im Bild)
That's all folks!:D

Excellent compilation of La Divina's arias.......2005-03-21

This is one of the best compilations EMI has ever made for Maria Callas' arias. Each and every aria lets us listen to the best of her voice from each period of her career. An excellent collection!

Holly Mathews doesn't know how to appreciate art. Kathleen Battle and Renee Fleming themselves have admitted to the supremacy of Callas' singing over theirs, even if their voices seem more beautiful than La Divina. Why else would Callas be a legend and they wouldn't? They are equally good in their own right, but none of them would surpass the accuracy of La Divina's singing and phrasing. Holly Mathews' left side of the brain must be made of clay or foam, dead material that couldn't absorb any beauty.

Some people have no business reviewing this.......2005-01-25

My goodness, what is a non-musical person like Holly Mathews doing in this board? Do you know what other album she has reviewed? Hayley Westenra! And she's not even an opera singer! She obviously doesn't know her business! Disgraceful review! Ignore it! It obviously was not based on good judgement. I'm sure she is a pop fan who just likes tender music. Oh, her insulting language! What an ignorant Maria basher!

Anyway, this is an excellent compilation of SOME of Maria Callas' greatest arias. Although I do wish some arias like Pace Pace Mio Dio were included here, I do think it is a very good compilation all in all. Although she has many detractors, they still have to admit that Callas is the sheer embodiment of singing and drama. She was an actress...a panther on the stage. Listen to her La Mamma Morta and her Suicidio...those brought chills to my spine when I listened to them. Maria is the only singer in the history of opera besides the great Caruso-tenor Franco Corelli who touched me, moved me even. This is probably the reason why I love Maria Callas' music so much. If you want to hear Medea's anger and Norma's anguish and Butterfly's hopeful blindness, listen to Maria Callas. If you just want a golden voice, then go to Renata Tebaldi or Joan Sutherland. And don't even compare her with Charlotte Church or Hayley Westenra! The distaste of some people!

BELLA BELLA BELLA!.......2004-11-23

THIS WAS THE FIRST ALBUM I EVER BOUGHT FEATURING ANY OPERATIC SOPRANO. I WAS 15 AND WAS GIVEN MY VERY FIRST CLASSICAL PIECE "CARO MIO BEN" WHICH WAS NOT AN OPERA ARIA BUT DUE TOTHIS SONG I WAS SUDDENLY IN LOVE WITH OPERA. I HAD HEAR OF HER A FEW TIMES IN THE PAST BUT MY IDEA OF A GOOD SOPRANO AT THE TIME WAS SARAH BIRGHTMAN (YES I KNOW I KNOW!!!BUT I WAS YOUNG!)BUT IT DIDN'T TAKE LONG TO REALIZE HOW WRONG I WAS!! THIS CALLAS RECORDING HAD THE MOST PROFOUND EFFECT ON ME WHICH LED TO MY OBSESSION WITH MY OWN OPERATIC ASPIRATIONS. IT WAS STRANGE AS SHE DID NOT SOUND LIKE A FAT WOMAN SCREAMING HER HEAD OFF IN FULL BODY ARMOR. YES YES...I AND MANY MANY SAD AMERICANS HAVE THOUGH OF THIS WHEN GIVEN THE WORD OPERA. (NOW NOW, WE ALL FELT LIKE THAT AT SOME POINT) I NEVER REALIZED THAT THERE COULD BE SUCH PASSION. HER NORMA WAS IS SO BEAUTIFUL IN IT'S SIMPLICITY AND UNDERLINING STRENGTH. HER TAKE ON "COME OER ME SERENO" AND "UNA VOCE POCO FA" WERE SWEET AND APPROPRIATELY INNOCENT. HER BEL CANTO ROLES WHICH INCLUDED HER FANTASTIC LUCIA (ALTHOUGH LATER I WOULD PREFER SUTHERLAND) AND GILDA JUST THRILLED ME. I HAD NO IDEA SOMEONE COULD ACTUALLY SING THOSE PIECES! OF COURSE UP UNTIL THIS POINT I DIDN'T EVEN KNOW OPERA COULD SOUND LIKE THAT!! (SILLY ME!) I WAS SURPRISED TO REALIZED I KNEW THE ARIAS SHE SUNG FROM LA BOHEME, LA TRAVIATA, AND MADAME BUTTERFLY. THEY DIDN'T MAKE A HUGE IMPRESSION BECAUSE THEY DID NOT HAVE THE FIREWORKS I WAS LOOKING FOR BUT I STILL FOUND THEM TO BE BEAUTIFUL. AFTER ALL OF THIS I LANDED ON CALLAS' TAKE OF TOSCA'S "VISSI D'ARTE". IT WAS AND HAS BEEN THE ONLY TIME I'VE BEEN SO MOVED BY A PERFORMER THAT I CRIED. IT WAS SO PURE BUT THE PAIN WAS SO EVIDENT THAT IT JUST CHILLED ME. I MUST HAVE LISTENED TO IT THOUSANDS OF TIMES OVER THE YEARS AND STILL HAVE YET TO HEAR A MORE STIRRING RENDITION. DUE TO THE OVERWHELMING FIRST CD I MUST ADMIT I KIND OF IGNORED THE SECOND HALF. EVENTUALLY I DID GET TO IT AND FOUND WHAT I FELT WAS THE GREATEST SONG EVER WRITTEN. MY WHOLE BEING LIVED FOR LAKME'S BELL SONG. AFTER LISTENING TO HER I WAS CONVINCED THIS WOMAN WAS MAGICAL BECAUSE I COULDN'T FIGURE OUT HOW SHE OR ANY HUMAN COULD SING LIKE THAT! HER SECOND DISC WAS INTERESTING BECAUSE IT WENT FROM WHITE HOT COLORATURA TO MEZZO? AAHHH BUT YES SHE WENT THERE. INTO THE INTENSITY OF SAMSON ET DELILA. I THOUGHT THEY WERE BEAUTIFUL!!! OF COURSE I KNOW PREFER MARILYN HORNE TO CALLAS ON THOSE SONGS....BUT IT SHOWED ME THAT NOT EVERY SONG HAS TO BE HIGH TO BE BEAUTIFUL. I LOVED AND STILL DUE LOVE THIS COLLECTION....IN FACT I HAVE BOUGHT IT THREE TIMES AS MINE DETERIORATED QUICKLY 'CAS I PLAYED THEM SO MUCH! AND I'VE GIVEN THIS COLLECTION TO COUNTLESS FRIENDS AND FAMILY. THIS IS THE BEST COLLECTION OF CALLAS' WORK AND I WOULD RECOMMEND IT TO EVERYONE AND ANYONE! VIVA LA DIVA!

Gounod: Faust (Complete Opera); Domingo, Freni, Ghiaurov, Allen, Pretre

Average customer rating:

Comparing "Faust" recordings
Great musicians--mediocre recording
Great stars, but the performance doesn't click
DESERT ISLAND RECORDING
The "French" Faust : Unsurpassed

Gounod: Faust (Complete Opera); Domingo, Freni, Ghiaurov, Allen, Pretre
Placido Domingo , Georges Pretre , Mirella Freni , Charles Gounod , Orchestre de l'Opera de Paris , and Nicolai Ghiaurov
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

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ASIN: B000002ROH
Release Date: 1990-10-25

Tracks:

Faust: Introduction
Faust: Act I, Scene 1: 'Rien! En vain j'interroge...' (Faust)
Faust: Act I, Scene 1: 'Ah! Paresseuse fille...' (Faust)
Faust: Act I, Scene 1: 'Mais, ce Dieu que peut-il pour moi?' (Faust)
Faust: Act I, Scene 2: 'Me voici!' & 'A moi les plaisirs...' (Faust - Mephistopheles)
Faust: Act I, Scene 2: 'Vin ou biere' (Wagner)
Faust: Act I, Scene 2: 'O sainte medaille' (Valentin - Wagner - Siebel)
Faust: Act I, Scene 2: 'Avant de quitter ces lieux' (Valentin - Wagner)
Faust: Act II, Scene 3: 'Pardon!'...'Hein?' & 'Le veau d'or' (Mephistopheles - Wagner)
Faust: Act II, Scene 3: 'Merci de ta chanson!' (Valentin - Wagner - Mephistopheles - Siebel)
Faust: Act II, Scene 3: 'De l'enfer qui vient emousser nos armes' (Valentin)
Faust: Act II, Scene IV: 'Nous nous retrouverons, mes amis!' (Mephistopheles - Faust)
Faust: Act II, Scene 5: 'Ainsi que la brise legere...' (Mephistopheles - Faust - Siebel)
Faust: Act II, Scene 5: 'Ne permettrez-vous pas ma belle demoiselle' (Faust - Marguerite - Siebel - Mephistopheles)

Tracks:

Faust: Act III, Scene 1: Introduction
Faust: Act III, Scene 1: 'Faites-lui mes aveux' (Siebel)
Faust: Act III, Scene 2: 'C'est ici?' (Faust - Mephistopheles - Siebel)
Faust: Act III, Scene 3: 'Attendez-moi la, cher docteur!' (Mephistopheles - Faust)
Faust: Act III, Scene 4: 'Quel trouble inconnu me penetre!... Salut! demeure chaste et pure...' (Faust)
Faust: Act III, Scene 5: 'Alerte! la voila!' (Mephistopheles - Faust)
Faust: Act III, Scene 6: 'Je voudrais bien savoir...Il etait un roi de Thule' (Marguerite)
Faust: Act III, Scene 6: 'Un bouquet!...O Dieu! que de bijoux!' (Marguerite)
Faust: Act III, Scene 7: 'Seigneur Dieu, que vois-je!' (Marthe - Marguerite)
Faust: Act III, Scene 8: 'Dame Marthe Schwerlein, s'il vous plait?' & 'Prenez mon bras un moment!' (Faust - Marguerite - Mephistopheles - Marthe)
Faust: Act III, Scene 8: 'Il etait temps!' (Mephistopheles)
Faust: Act III, Scene 8: 'Il se fait tard!' (Marguerite - Faust)
Faust: Act III, Scene 8: 'Tenez! Elle ouvre sa fenetre!'...'Il m'aime!' (Mephistopheles - Marguerite - Faust)
Faust: Act IV, Scene 1: Introduction
Faust: Act IV, Scene 1: 'Elles ne sont plus la!' (Marguerite)
Faust: Act IV, Scene 1: 'Marguerite'...'Siebel!' (Siebel - Marguerite)
Faust: Act IV, Scene 1: 'Si le bonheur...' (Siebel - Marguerite)
Faust: Act IV, Scene 2: 'Seigneur, daignez permettre...' (Marguerite - Mephistopheles)
Faust: Act IV, Scene 2: 'Souviens-toi du passe' (Mephistopheles - Marguerite)
Faust: Act IV, Scene 2: 'Quand du Seigneur...' (Marguerite - Mephistopheles)

Tracks:

Faust: Act IV, Scene 3: 'Deposons les armes!' (Valentin - Siebel)
Faust: Act IV, Scene 3: 'Gloire immortelle'
Faust: Act IV, Scene 4: 'Allons, Siebel!' (Valentin - Siebel)
Faust: Act IV, Scene 5: 'Vous qui faites l'endormie' (Mephistopheles)
Faust: Act IV, Scene 6: 'Que voulez-vous, messieurs?' (Valentin - Mephistopheles - Faust)
Faust: Act IV, Scene 7: 'Par ici, par ici, mes armis!' (Marthe - Valentin - Marguerite - Siebel)
Faust: Act IV, Scene 7: 'Ecoute-moi bien, Marguerite' (Valentin, Siebel, Marthe)
Faust: Act V, Scene 1: 'Dans les bruyeres' (Faust - Mephistopheles)
Faust: Act V, Scene 1: 'Jusqu'aux premiers feux du matin' (Mephistopheles, Faust)
Faust: Act V, Scene 1: 'Que ton ivresse, o volupte' (Mephistopheles, Faust)
Faust: Act V, Scene 1: Intermezzo
Faust: Act V, Scene 2: 'Va-t'en!' (Faust, Mephistopheles)
Faust: Act V, Scene 2: 'Mon coeur est penetre...' (Faust)
Faust: Act V, Scene 2: 'Ah! C'est la voix du bien-aime!'... 'Oui, c'est, moi, je t'aime!' (Marguerite, Faust)
Faust: Act V, Scene 2: 'Alerte, alerte'...'Anges purs'...'Christ est ressuscite' (Mephistopheles, Marguerite, Faust)
Faust: Ballet Music: Les Nubiennes (Allegretto: mouvement de valse)
Faust: Ballet Music: Adagio
Faust: Ballet Music: Danse antique (Allegretto)
Faust: Ballet Music: Variations de Cleopatre (Moderato maestoso)
Faust: Ballet Music: Les Troyens (Moderato con moto)
Faust: Ballet Music: Variations du Miroir (Allegretto)
Faust: Ballet Music: Danse de Phryne (Allegro Vivo)

Customer Reviews:

Comparing "Faust" recordings.......2007-05-12

This performance demands comparison, of course, with the performance of deLosAngeles, Gedda, and Christoff, recorded in the fifties. The sound quality of this recording is, of course, superior. Another plus is the omission of several (minor) cuts in the earlier performance. The comparison of the singers is less clear. I prefer the Marguerite of deLosAngeles to that of Freni. Freni, at this stage of her career, sounds somewhat too matronly for this girlish role, although she is in excellent voice. Christoff and Ghiaurov were both the pre-eminent bassos of their day. Ghiaurov has perhaps the silkier sound, Christoff the more compelling vocal personality. I rate them a toss-up. I confess to having a preference for Gedda in the title role. At this youthful stage of his career, his voice was thrilling. Domingo's Faust, while excellent, provides another look at Placido's technique, with which we are all familiar. Overall, the listener cannot do wrong with either set.

Great musicians--mediocre recording.......2007-05-02

I'm sorry...I just had to chime in here. I would just like to say that, for the record, Placido Domingo and Mirella Freni do NOT have perfect French diction nor anything close to it. Placido is better than Mirella, but still not perfect...at least he's not as bad as Franco Corelli! Freni says "'che' de bijoux" like it's in Italian and "ou si je 'vaiyah'"...not sure where she got that from. The thing that confuses me is that Pretre is French so why didn't he correct these things...you'd think that would sound awful to his ears! His tempi tend to be sluggish and lack the energy that I'm accustomed to in this opera...I recommend Cluytens over Pretre here. If you want to hear good French diction, listen to Nicolai Gedda and Victoria de los Angeles...the latter tends to sing French as if it were spoken which sounds a bit strange but the pronunciation is correct. Boris Christoff's rough-around-the-edges bass lends itself perfectly to the role of Mephistopheles. Although I'm not a huge De los Angeles fan, I think Gedda is superb in French repertoire and Christoff is just about as menacing as you could ever want!

Great stars, but the performance doesn't click.......2007-02-19

EMI had a best-selling Faust from 1958 with de los Angeles, Gedda, and Christoff (actually, they had two with the same cast, the earlier being in mono), and they must have hoped for a repeat in 1979 when they assembled this dream cast. A dream, that is, given the sad state of French opera singing; there were no international stars who actually came from France to cast, even in time-worn 'Faust.' Amazon reviewers love this set, but I find it seriously lacking in vital ways (as do most critics I've read).

To start at the top, Domingo has often been good in French opera, despite his faulty accent (even by opera standards), but here he seems to be going through the motions, applying a generalized passion that has little to do with the text. His Marguerite, Mirella Freni, would seem ideally cast, and she certainly makes Gounod's saqccharine victim-heroine emotionally credible, a feat in itself. But she sounds too mature, rather tired, and not up to the colorature the role demands. Marguerite needs to sparkle vocally--the character itself being flat--and Freni doesn't. Her husband, Nicolai Ghiaurov, is of course a charismatic bass, but he too is somewhat past his prime. In addition, he takes the Slavic approach to Mephistopheles, which is thick-voiced and ham-handed, lacking in wit and suavity. The supporting roles are well cast, including Thomas Allen as a fine Valentin..

It would be possible to voerlook these vocal flaws except that the conductor, Georges Pretre, does one of his worst jobs on record. Always a variable but at times exciting conductor, here Pretre swings between brash coarseness and rhythmic laxity. It's obvious this warhorse means nothing to him; Pretre doesn't even make a show of trying to revitalize the score, and his orchestra plays sloppily and inattentively as a result.
As you can see, my criticisms are at sharp odds with every other reviewer here, but I can't help hearing what I hear.

Faust hasn't been lucky on CD, but preferable to this set are three others: the Beecham pre-LP recording in good sound and something like the now-extinct French style, the stereo Cluytens on EMI with de los Angeles and Gedda (I prefer the stereo remake even though the singers are a bit less fresh than in the earlier mono production), and an altogether fine 80s version under Colin Davis on Philips, which is unfortunatley marred by a lax performance from Kiri Te Kanawa, sounding too mature and a bit frayed as Marguerite. I would seek out any of these before settling on the Pretre.

DESERT ISLAND RECORDING.......2006-07-18

This is my "Desert Island" recording of Gounod's Faust. Although it is not musically "cool" to love this opera (if one does indeed love Faust, one might be susceptible to ridicule in music circles), I DO love it and own many recordings of same. However, this recording, hands down, is my very favorite and has been since it was first released on vinyl in the 1970s. The main reasons for my adoration is its principal singers--all are in their sublime primes!

I have never heard the role of Marguerite sung any better than Mirella Freni sings it in this recording. (This recording turned me into an ardent fan of Mirella Freni). More than 30 years later her singing in the prison scene still sends chills up and down my spine--her lyric/spinto soprano just soars over orchestra, chorus and the other singers; her high Cs are GLORIOUS! Domingo was in his prime singing like a god. His voice is dark, rich and full; he sings with golden lyrical tones. Nicolai Ghiurov makes for a wonderfully sinister and dark sounding devil. A very young Thomas Allen is wonderful too singing with a rich baritone voice--gorgeous! All is held together masterfully by George Pretre and the Orchestra of the Paris Opera.

If you want to hear that marvelous wore horse of an opera Gounod's "Faust" sung as it, I am sure, will never be sung again (certainly not in my life) buy this recording. (Now if the powers that be would release on DVD the "Faust" that was televised from the Chicago Lyric in the 1970s with the same conductor and almost the same singers, I could die very happy!)

EMI has done a great job transferring this recording to the CD format. Having played and heard the vinyl recording, I feel that the sound on CD is far richer and fuller!

The "French" Faust : Unsurpassed.......2005-11-19

What I mean by stating this is the most French of Faust recordings is that this recording is blessed by the strengths of 1) a French conductor, George Pretre and the Orchestra of the Paris Opera, 2) Placido Domingo and Mirella Freni are opera singers who are unbeatable in their French diction/phrasing, singing their parts with both lyric grandeur and compelling drama. The only other recording even worth hearing is the old classic from the 50's LP Era starring Victoria De Los Angeles and Nicolai Gedda. While that recording has its own merits for an old recording, this is perhaps the greatest modern recording of Faust, with supreme digital sound transfer and excellent sound quality. Placido Domingo LIVES the role. In the opening scene, employing a voice wrought with anguish and frustration, the aging alchemist makes a deal with the devil (Russian bass Nicolai Ghiurov in a stunning performance) and regains his lost youth in order to attract the beautiful Marguerite. Domingo is allowed enough time to sing lyrically and beautifully, expressing every Gaelic note with bravura, but since the conducting is dramatically potent, much of it is fast. Still, Domingo sings like no other, even eclipsing Franco Corelli, who try as he would, could not master the French repertoire, making it too "Italian". Domingo's love arias are exquisite and they change to dramatic despair in the final scene "Ange Pure, Ange Radieux". His Faust is dramatically gratifying and beautifully sung, with handsomely dark, rich textures. The same applies to Mirella Freni, whose Marguerite is a different animal from Victoria De Los Angeles or Joan Sutherland. Both De Los Angeles and Sutherland sing French without a problem and both lavish the arias/cadenzas with decorative coloratura and lyric pianissimi and other such vocal embellishments, but neither soprano sing it with enough LIFE and with enough dramatic force. Mirella Freni's lyric-spinto voice is wholly suited for the role of Marguerite. Marguerite makes a darker portrayal than the others. She is a woman who is in love and suffers for it, and is haunted by demonic forces which were at play in her falling in love with Faust. In the Church Scene, especially, Freni shines. Her high, but ungrating voice is supremely dramatic, especially when she lets out that scream and faints. She sings the Jewel Song without any of the usual fireworks that most sopranos give it but she is aware that even this song has its dramatic appeal. She sings it as if it were the song of a girl who is just being seduced, so there is a nearly sexual element to her singing. Mirella Freni's voice is sooooo womanly. Her middle voice was the strongest and this is her most feminine voice. She sings the final with a combination of despair and exaltation as she is whisked away to Heaven but can do nothing to save her beloved Faust. As for the Devil, Russian bass Nicolai Ghiurov (who later became Freni's husband and coached her to sing Russian repertoire) his is a powerful performance. He does not sing just to sound beautiful in the bass voice as Samuel Ramey does, who gives the role a bel canto character. Ghiurov sings the role with real fire, with dark edginess and danger. When we hear him sing L'veau d'or, the Calf Song, we are not treated to merely a showpiece but a powerful song of sin. His invocation of other demons is frightening. His voice, though low, is huge. If only George London had sung the Devil ( or did he ?) and recorded it! Ghiurov is quite possibly the worthiest successor to George London's legacy. So without further ado, get this recording and see for yourself why this is the best recording you are likely to find.

Average customer rating:

Solid Basic March Collection
Bold and brassy mixes well with the rest
40 Famous Marches - a great collection!!
Classics on Parade
Too, too much Philip Jones Ensemble

40 Famous Marches

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Stars & Stripes Forever and the Greatest Marches
Sousa's Greatest Hits
Regimental Marches of British Army, Vol. 1
German Military Marches
Fiedler's Favorite Marches

ASIN: B000040OX5
Release Date: 2000-02-08

Tracks:

Pomp And Circumstance March No. 1 In D Major - London PO; Solti, G.
Karelia Suite: Alla marcia - Philharmonia Orchestra
Jubel March - Vienna PO; Boskovsky, W.
Funeral March Of A Marionette - Orchestra Of The Royal Opera House, Covent Garden
Tannhauser: Grand March - Philip Jones Brass Ensemble; Howarth, E.
Rinaldo: March - English Chamber Orchestra
Saul: Dead March - English CO; Bonynge, R.
Aida: Grand March - Philip Jones Brass Ensemble
Radetzky March - Vienna PO; Boskovsky, W.
Marche militaire - Wiener Philharmoniker
Athalia: War March Of The Priests - Vienna PO; Dohnanyi, C.v.
The Nutcracker: March - National Philharmonic Orchestra
The Love For Three Oranges: March - London PO; Weller, W.
Le Prophete: Coronation March - London Philharmonic Orchestra
La Damnation de Faust: Hungarian March - Chicago SO; Solti, G.
Persian March - Wiener Philharmoniker
Aladdin Suite: Oriental Festive March - San Francisco SO; Blomstedt, H.
The Ruins Of Athens: Turkish March - Carlo Curley
The Occasional Oratorio: March - San Francisco SO; Blomstedt, H.
Pomp And Circumstance March No. 4 In G Major - London Philharmonic Orchestra

Tracks:

Crown Imperial (Coronation March) - London PO; Norrington, R.
Music For The Funeral Of Queen Mary: Funeral March - Baroque Brass Of London
Prince of Denmark's March (Trumpet Voluntary) - London PO; Norrington, R.
March - Philip Jones Brass Ensemble
Marche triomphale - London PO; Norrington, R.
Egyptian March - Wiener Philharmoniker
Joyeuse March - Swiss Romande Orch; Ansermet, E.
Napoleon March - Wiener Philharmoniker
A Midsummer Night's Dream: Wedding March - Montreal SO; Dutoit, C.
Russian March - Wiener Philharmoniker
Carmen, Suite No.2: Marche des contrebandiers - Montreal SO; Dutoit, C.
The Tale Of Tsar Saltan: March - London Symphony Orchestra
Mlada: Procession Of The Nobles - Kingsway Orch; Camarata, S.
Spanish March - Wiener Philharmoniker
Things To Come: March - National PO; Herrmann, B.
Washington Post - Philip Jones Brass Ensemble
Entry Of The Gladiators - National PO; Herrmann, B.
Colonel Bogey - Philip Jones Brass Ensemble
The Dam Busters - National PO; Herrmann, B.
The Stars And Stripes Forever - Philip Jones Brass Ensemble

Customer Reviews:

Solid Basic March Collection.......2006-08-07

Great solid basic collection, a real bargain with mostly outstanding performances. Having played several in bands and orchestras and sung one (the Rimsky Mlada), I have a good idea how they should go. As other other commentators say, there are better individual recordings, such as anything by Fennell and the Eastman band. The organ pieces just don't do this music justice, although a real cathedral organ can come close, but that's beyond these discs. The Nielsen Aladdin March is the new one for me. Berlioz by Solti is great! Buy it!

Bold and brassy mixes well with the rest.......2004-08-14

I am impressed most by the variety in 40 Famous Marches on 2 CDs, a Double Decca release. The performers include Philharmonic Orchestras, a Brass Ensemble, Chamber Orchestra, organ, Symphony, and for nine selections, the Wiener Philharmoniker. I am not sure if the word schmaltzy ought to be applied to any of this, but the Wiener Philharmoniker often exhibits a unique sound which is not quite the same as any of the other selections. The final five selections are all performed by the Philip Jones Brass Ensemble under Elgar Howarth in ADD/DDD format in 1983 and 1985. Two of those five are rousing marches by John Philip Sousa, another called `Entry of the Gladiators' is typical of songs played by live bands at circuses, and the remaining two are from movie soundtracks. `Colonel Bogey' is famous from the movie about British prisoners of war building a railroad bridge for the Japanese in World War Two, the Bridge over the River Kwai.

The major source of variety in these 40 selections is that many of them are taken from operas and even a ballet, Tchaikovsky's famous `The Nutcracker--March.' I originally found this collection when I was searching for `Funeral March of a Marionette' by Charles Gounod (1818-1893) which has a theme that is famous from its use by a television series hosted by Alfred Hitchcock. If you can't remember how that goes, you ought to buy this collection and listen for it early: it is selection 4 on the first CD. The main theme was fun to play and easy to learn in a book of piano lessons, but the rest is quite whimsical and worth listening to, and people who play organ with pedal notes might still be able to find music for playing the entire arrangement, difficult though it is for someone like me, who becomes confused when too many things are going on at the same time.

There was something on this CD that sounded weird, and I had to check to see what it was, and it was just someone playing the organ, but he was trying to play `The Ruins of Athens -- Turkish March' by Ludwig van Beethoven (1770-1827).

Something by Handel sounds so much like the beginning of a movie that I expect someone to start singing, `The hills are alive with The Sound Of Music,' but this CD is something else. The first CD starts and ends with marches from `Pomp and Circumstance' by Edward Elgar, so people who have been to a lot of graduation ceremonies will be expecting plenty of familiar music. The 6:32 time is slightly longer than the Wagner's `Tannhauser -- Grand March' on the first CD, but long graduation ceremonies may play it even longer, until all the diplomas are handed out.

Verdi, Strauss, Schubert, Prokofiev, Berlioz, these famous composers might be recognized by people who know music, but the `Wedding March' by Felix Mendelssohn is famous with everybody for what it is used for. If you haven't heard it lately, maybe you should hear it a few times so you won't be so nervous the next time it comes around.

40 Famous Marches - a great collection!!.......2003-11-21

This is a wonderful collection. What a wide collection of exciting pieces, all in one affordable package!! It encompasses so many composers and styles, from the majesty of Elgar and Walton, to upbeat Sousa to schmaltzy Strauss. It also includes such classic marches as Meyerbeer's Coronation, a pinnacle of the French opera style, the timeless Wedding March of Mendelssohn, and the brilliant organ piece, Marche Triomphale of Sigfrid Karg-Elert. There are also some interesting oddball selections like the mysterious Things to Come of Bliss (composed for the H.G. Wells film), the jaunty Chabrier marche, and oriental flair of Nielsen's Aladdin.
In reading some of the other criticisms, it is true that the Philip Jones Brass Ensemble perhaps is not the best or most noted ensemble. However, overall, the pieces they play are either Sousa or patriotic-sounding tunes. Their only forays into the true classical realm are the Grand Marches from Tannhauser and Aida, and they are not half bad. So don't let those pieces keep you from buying the CD - 1) because most of the songs they do play are great and 2) they only play in 1/4 of the music....

Classics on Parade.......2003-05-01

If you're looking for a collection of marches from classical music, this would be a fine one to get.
It contains recordings made from 1958 to 1996 by some of the world's great orchestras, plus several numbers by the Philip Jones Brass Ensemble, and four arranged for organ.
The first 35 marches include many of the best-known classical marches, plus three "coronation" marches, written as far back as the end of the seventeenth century (The Prince of Denmark's March) up to 1954 (The Dam Busters). The last five pieces are "popular" marches played by the Jones Ensemble.
The liner notes give a nice history of marches, including where most of the ones in this collection fit into that scenario.
A great collection of marches by classical and popular music "masters".

Too, too much Philip Jones Ensemble.......2003-04-17

A mixed bag of music, 40 FAMOUS MARCHES compiles a good many marches - some not too common.

The CD has it's high points:
1. Chicago Symphony (under Solti!) playing Berlioz's Hungarian March (love that trombone excerpt - BAM!)
2. London Philharmonic playing Prokofiev's "The Love for Three Oranges" March
3. Elgar's Pomp and Circumstance No. 1 (also London Philharmonic)

BUT... There's some real stuff on here, too. I must concur with a prior reviewer: FAR TOO MUCH Philip Jones Brass Ensemble. Case in point - Sousa's Stars and Stripes Forever, as played by PJBE is completely devoid of the energy and fire it needs. The trombone countermelody at the end is just NOT THERE (you'll strain to hear it). There's just no way this is right. PBJE is great in their setting, but this is just not it.

Tracks:

Gaite Parisienne: Ouverture - Herbert von Karajan_
Gaite Parisienne: 1. Allegro brillante - Herbert von Karajan_
Gaite Parisienne: 2. Polka - Herbert von Karajan_
Gaite Parisienne: 6. Allegro - Herbert von Karajan_
Gaite Parisienne: 8. Valse: Lento - Herbert von Karajan_
Gaite Parisienne: 9. Marche (Without Tempo Indication) - Herbert von Karajan_
Gaite Parisienne: 10. Valse: Moderato - Herbert von Karajan_
Gaite Parisienne: 11. Allegro vivo - Herbert von Karajan_
Gaite Parisienne: 12. Valse - Herbert von Karajan_
Gaite Parisienne: 13. Allegro vivace - Misterioso - Lento - Herbert von Karajan_
Gaite Parisienne: 14. Valse: Moderato - Herbert von Karajan_
Gaite Parisienne: 15. Allegro vivo - Herbert von Karajan_
Gaite Parisienne: 16. Cancan: Allegro - Herbert von Karajan_
Gaite Parisienne: 17. Polka - Herbert von Karajan_
Gaite Parisienne: 18. (Without Tempo Indication) - Herbert von Karajan_
Gaite Parisienne: 22. Vivo - Herbert von Karajan_
Gaite Parisienne: 23. Barcarolle: Allegro moderato - Herbert von Karajan_
Faust: 1. Allegretto: Tempo de valse - Herbert von Karajan_
Faust: 2. Adagio (Helene et les jeune Troyennes - Cleopatre et les jeunes Nubiennes) - Herbert von Karajan_
Faust: 3. Allegretto (Entree des jeunes Nubiennes) - Herbert von Karajan_
Faust: 4. Moderato maestoso (Variation de Cleopatre) - Herbert von Karajan_
Faust: 5. Moderato con moto (Entree des jeunes Troyennes) - Herbert von Karajan_
Faust: 6. Allegretto (Variation d'Helene) - Herbert von Karajan_
Faust: 7. Allegro vivo (Final - Entree de Phryne) - Herbert von Karajan_
Faust: Valse - Waltz: Tempo di valse - Herbert von Karajan_
The Sleeping Beauty: Suite From The Ballet Op. 66 - I. Introduction. La Fee des lilas - Allegro vivo - Andantino - Andante sostenuto - Herbert von Karajan_
The Sleeping Beauty: II. Adagio. Pas d'action - Andante - Adagio maestoso - Tempo I - Molto sostenuto, quasi piu andante - Tempo I - Herbert von Karajan_
The Sleeping Beauty: III. Pas de caractere. Le Chat Botte et La Chatte Blanche - Allegro moderato - Herbert von Karajan_
The Sleeping Beauty: IV. Panorama - Andantino - Herbert von Karajan_
The Sleeping Beauty: V. Valse - Allegro (Tempo di Valse) - Herbert von Karajan_

Tracks:

Coppelia: Ballet Suite: 1. Prelude et Mazurka - Various Artists
Coppelia: Ballet Suite: 2. Scene et Valse de Swanhilde - Various Artists
Coppelia: Ballet Suite: 3. Csardas - Various Artists
Coppelia: Ballet Suite: 4. Scene et Valse de la Poupee - Various Artists
Coppelia: Ballet Suite: 5. Ballade - Various Artists
Coppelia: Ballet Suite: 6. Variation sur un theme slave - Various Artists
Les Sylphides: 1. Prelude - Various Artists
Les Sylphides: 2. Nocturne - Various Artists
Les Sylphides: 3. Valse - Various Artists
Les Sylphides: 4. Mazurka - Various Artists
Les Sylphides: 5. Mazurka - Various Artists
Les Sylphides: 6. Prelude - Various Artists
Les Sylphides: 7. Valse - Various Artists
Les Sylphides: 8. Valse - Various Artists
La Gioconda: Dance Of The Hours - Various Artists

Customer Reviews:

Ballet .......2007-07-01

I was away for a long time. I feel very better now. I love this music and I am grateful to it.

Masterful recording of masterful compositions.......2007-01-19

This recording has become rare to find (in Europe), which surprises me, for I find both the compositions and the performance excellent. Especially the Sylphides, which are orchestral arrangements of some of Chopin's finest piano pieces - are heavenly. Highly recommended.

Ballet bon bons German style.......2004-06-26

Herbert von Karajan was the most recorded conductor in history. For that reason, he made a lot of records (that turned into CDs) like this one -- collections of well-known music that the public wants to hear over and over again. This group of ballet music is good, done in Karajan's typical highly chiseled style with a minimum of sentimentality. I once read a critic who called the style Karajan and Szell popularized the "school of industrial perfection", meaning every note in its place every time. That's true here, too. My favorite among these bon bons is the Tchaikovsky music from "Sleeping Beauty". Karajan is still hailed today for his later stereo version of the final Tchaikovsky troika of symphonies. Many critics put him up there with the best Tchaikovksy recordings ever. You can tell why critics were so persuaded by listening to his bleeding chuncks from "Sleeping Beauty". Not only does it contain the essential Berlin Philharmonic perfection and polish, it goes a little further than everything else on this set in terms of emotional attachment. The first two sections of the music, "Introduction. La Fee da Lilas" and "Adagio. Pas d'action" pack an enormous wallop. The final section is monumentally done by Karajan and the Berliners, surging forward in waves of sound and emotion until the listener is swept away during the crescendo in almost unconscious grandeur. I urge you to listen to this magnificent music-making and try not to develop goose flesh at the peak. This connection between perfection, music and emotion is what set Karajan apart from every other conductor in the 20th Century, and the reason he is as vivid and a larger than life figure today, 15 years after his death.

First-Rate Ballet Music.......2003-11-14

This collection of "Famous Ballet Music" from DG's mid-priced "2CD" series is truly first-rate. A lot of the credit for that goes to the man in charge of this set, Herbert von Karajan. The great conductor leads the Berlin Philharmonic through glowing highlights and suites from Offenbach's "Gaite Parisienne," Gounod's "Faust," Tchaikovsky's "Sleeping Beauty" and Delibes' "Coppelia," and the complete Chopin's "Les Sylphides" and "Dance of the Hours" from Ponchielli's "La Gioconda." Of course, the pieces featured here are the types of orchestral nuggets that someone like Karajan and the Berliners could eat for breakfast while reading the paper. But Karajan really prided himself in being one of the stereo-age's best Tchaikovsky conductors, and he made several recordings of each of the three ballet suites in addition to his many Symphonic Cycles. Also, his early 1960s accounts of the Chopin and Delibes in particular (the remainder of the works were recorded in the early 1970s), are as good, if not better, than any performance I have heard. In all, this is a collection that will appeal to the casual fan and serious collector alike.

Average customer rating:

Heaven!

Kiri Te Kanawa Classics
Wolfgang Amadeus Mozart , George Frideric Handel , Charles Gounod , Franz Schubert , Johann II Strauss , London Symphony Orchestra , Bavarian Radio Chorus , Vienna Philharmonic Orchestra , Jeffrey Tate , Sir Colin Davis , Barry Rose , André Previn , Kiri Te Kanawa , Neil Black , English Chamber Orchestra , Jose-Luis Garcia , William Bennett , Charles Tunnell , London St. Paul's Cathedral Choir , and Thelma Owen
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

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Te Kanawa, Kiri | Divas | Opera & Vocal | Styles | Music

Kiri
Kiri Te Kanawa - Ave Maria
Kiri Te Kanawa - Greatest Hits ~ 14 Favorites of Opera, Popular & Traditional Song
A Portrait of Kiri Te Kanawa
Kiri! Her Greatest Hits Live

ASIN: B000004150
Release Date: 1993-04-13

Tracks:

Die Entfuhrung aus dem Serail, KV 384: Martern Aller Arten
Samson: Let The Bright Seraphim
Messe Solennelle De Sainte Cecile: Sanctus
Idomeneo, KV 366: Se Il Padre Perdei
Don Giovanni, KV 527: Don Ottavio, Son Morta! - Or Sai Chi L'onore
Ave Maria, Op. 52 No. 6
Vesperae Solennes De Confessore, KV 339: Laudate Dominum
Die Zauberflote, KV 620: Ach, Ich Fuhl's
Faust: Il Ne Revient Pas
Exsultate, Jubilate, KV 165
Faust: Ah! Je Ris De Me Voir Se Belle
Die Fledermaus: Klange Der Heimat

Customer Reviews:

Heaven!.......1999-11-21

Wow. I just purchased this album yesterday and have listened to it over and over already! Kiri is perfect, every note, every vowel..every song, it's just absolute heaven. The first track, 'Martern aller Arten' is beautifully sung, Kiri flings her voice around and achieves a glorious, full sound. But the best track of all is Sei il Padre perdei -it will make you cry, smile, be blown away and be just plain amazed. Kiri has the richest voice I've ever heard, and is one in a million - the greatest soprano of this century, and if you looking for a good compilation by this artist, you've found it.

Meditation Music:

Meditation Music

meditation music

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Strange Generation (Dig) [Enhanced]

Gentle Classics

L'Amore Dei Tre Re

Music: Stand!

Hey Mrs Pt.1 [CD-single] [Import]

Hungry For Your Love [CD-single]

Legendary Trios of Cuba [Original recording remastered]

Fragile [Original recording remastered]

Great Liverpool Acoustic [Import]

Kink Kontroversy

Heroes of British Jazz [Import]

De Volta Aos Festivals [Import]

Infamy [Clean]

Came So Far

Jazz Brakes, Vol. 4