Rake's Progress (Venice 4/1/86 Live)

The Rake's Progress, opera in 3 acts
Composed by Igor Stravinsky
with Richard Fredericks, Helen Walker, Ledo Freschi, Della Jones, Paul Nilon, Franco Farina, John Dobson, Laura Zannini, Franco Federici
Conducted by Jan Latham-Koenig

Rake's Progress (Venice 4/1/86 Live),Stravinsky,Federici,Koenig Teatro La Fenice,Mondo Musica,Classical,Classical Music,Opera / Operetta / Oratorio

Average customer rating:

A Fabulous Introduction to Igor Stravinsky!!

The Essential Igor Stravinsky

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008NGAW
Release Date: 2003-03-25

Tracks:

Fireworks, Op.4 - Columbia Symphony Orchestra
Danse Infernale De Tous Les Sujets De Kastchei - Columbia Symphony Orchestra
Berceuse (L'Oiseau De Feu) - Columbia Symphony Orchestra
Reveil De Kastchei - Columbia Symphony Orchestra
Mort De Kastchei - Profonds Tenebres - Columbia Symphony Orchestra
Disparition Du Palais Et Des Sortileges De Kastchei, Animation Des Chevaliers Petrifies Allegresse Generale - Columbia Symphony Orchestra
Opening - Philharmonia Orchestra
The Shrove-tide Fair - Philharmonia Orchestra
The Charlatan's Booth - Philharmonia Orchestra
Russian Dance - Philharmonia Orchestra
Petrushka's Room - Philharmonia Orchestra
Introduction - Columbia Symphony Orchestra
Les Augures Printanieres (Danse Des Adolescentes) - Columbia Symphony Orchestra
Jeu Du Rapt - Columbia Symphony Orchestra
Rondes Printanieres - Columbia Symphony Orchestra
Jeux Des Cites Rivales - Columbia Symphony Orchestra
Cortege Du Sage - Columbia Symphony Orchestra
Adoration De La Terre (Le Sage) - Columbia Symphony Orchestra
Danse De La Terre - Columbia Symphony Orchestra
I. Andante - Members Of The CBC Symphony Orchestra
II. Napolitana - Members Of The CBC Symphony Orchestra
III. Espanola - Members Of The CBC Symphony Orchestra
IV. Balalaika - Members Of The CBC Symphony Orchestra
Ragtime For 11 Instruments - Toni Koves
Marche Royale - Columbia Chamber Ensemble
Petit Concert - Columbia Chamber Ensemble
Piano Rag Music - Igor Stravinsky
Sinfonia (Ouverture) - Columbia Symphony Orchestra
Gavotta Con Due Variazioni - Columbia Symphony Orchestra
I. Sinfonia - London Sinfonietta
III. Allegro - Philippe Entremont

Tracks:

Part I. Exaudi Orationem Meam - London Symphony Chorus
IV. Capriccio - Cho-Liang Lin
Chant Sants Paroles - Israel Baker
Premiere Donne - Cleveland Orchestra
I. Tempo Giusto - Columbia Symphony Orchestra
III. Allegretto - London Symphony Orchestra
The Star-Spangled Banner - The Festival Singers Of Toronto
I. Intrada - Columbia Symphony Orchestra
Circus Polka (For A Young Elephant) - CBC Symphony Orchestra
Scherzo A La Russe - Philharmonia Orchestra
III. Con Moto - London Symphony Orchestra
I. Allegro Moderato - Benny Goodman
Good People, Just A Moment - Colin Tilney
Tango - Columbia Jazz Combo
Greeting Prelude (For The Eightieth Birthday Of Pierre Monteux) - Columbia Symphony Orchestra
II. Ma Tu, Cagion Di Quella - Columbia Symphony Orchestra
Elegy For J.F.K. - Charles Russo
Fanfare For A New Theatre - Robert Nagel
II. Exaudi - Donald Gramm
III. Dies Irae - Donald Gramm
IV. Tuba Mirum - Donald Gramm
The Owl And The Pussycat - Robert Craft
Stravinsky In His Own Words - John McClure

Customer Reviews:

A Fabulous Introduction to Igor Stravinsky!!.......2004-05-19

Sony Music's "The Essential Igor Stravinsky" truly lives up to its title. This double-CD set includes nearly every important piece of work (either in part or in whole) by the great Russian composer. The set also presents the pieces in chronological order beginning in 1908 with "Fireworks" and ending in 1966 with his final piece, the short but simple "Owl and The Pussycat". In between, there are excerpts from Stravinsky's most famous works including the first part of "The Rite Of Spring" and highlights from the "Firebird" and "Petrushka" ballets. There are also lesser-known works included as well as his harmonically rearranged version of "The Star-Spangled Banner" (a rendition which caused a stir in the early 1940's). The entire collection concludes with a rare recorded interview with Igor Stravinsky himself in which he remembers the infamous premere of "The Rite Of Spring".
The CD booklet includes detailed liner notes as well as a written tribute by Trey Anastasio of the band Phish. The sound quality of the recordings is amazing (even on the historic 1934 recording of "Piano Rag Music"). All in all, this an excellent collection of works by the great Igor Stravinsky. In a sense, this compilation gives the composer the 'rock musician' treatment. It's a 'greatest hits' album and a career-spanning retrospective that serves as an ideal introduction to Igor's music. Even if your not a fan of Classical music, it isn't difficult to listen to the works of Stravinsky and not be stirred.
Definitely The Essential Igor Stravinsky!!!

Average customer rating:

Excellent Material for Ms. Upshaw.
Keeps Getting Better
The Barber alone is worth five stars
Buy this disc...twice!
Dawn Upshaw, vocal actress extraordinaire

Knoxville Summer of 1915

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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Angels Hide Their Faces: Dawn Upshaw Sings Bach and Purcell

ASIN: B000005IZ3
Release Date: 1990-10-25

Tracks:

Knoxville: Summer Of 1915
The Old Maid And the Thief: Act I, Scene 6: What A Curse For A Woman Is A Timid Man
Mirabai Songs: I. It's True, I Went To The Market
Mirabai Songs: II. All I Was Doing Was Breathing
Mirabai Songs: III. Why Mira Can't Go Back To Her Old House
Mirabai Songs: IV. Where Did You Go?
Mirabai Songs: V. The Clouds
Mirabai Songs: VI. Don't Go, Don't Go
The Rake's Progress: Act I, Scene 3: No Word From Tom

Amazon.com essential recording

Barber's Knoxville, Summer of 1915 is a setting of a lovely chunk of prose text by James Agee describing an evening from his childhood. An accomplished singer himself, Barber's vocal writing is expert, and this work must rank as one of the finest examples of the art of word-setting in any language. Barber perfectly captures the conversational quality of the text, while at the same time clothing the words in an atmosphere of gentle nostalgia. It's a masterpiece that Dawn Upshaw sings with keen insight and lovely tone. The remainder of the program is creatively chosen as well, making this one of the finest vocal recitals available by an American singer. --David Hurwitz

Customer Reviews:

Excellent Material for Ms. Upshaw........2006-04-26

'Knoxville: Summer of 1915' is a performance of a selection of operatic pieces by Americans such as Samuel Barber or Europeans transplanted to the United States, such as Igor Stravinsky. Ms. Upshaw shines with material, which is good for her, since she is just slightly out of her league with the material covered by the likes of Renee Flemming on the operatic front and Ute Lemper and Lotte Lenya on the Euro/American popular musical stage.

Like any good sampler, this recording's strongest draw is the fact that it makes one interested in tracking down the complete works by Barber, Menotti, Harbison, and Stravinsky. And, while the package includes all lyrics, everything is in perfectly clear English. A perfect addition to other American classics such as 'Porgy and Bess'.

Keeps Getting Better.......2005-03-02

I have had this disc for years, and I'm more impressed with it as the years roll by. I bought it for Barber's "Knoxville, Summer of 1915" which is a glorious piece of music caught here in a luminous performance. I didn't initially warm up to the Harbison songs, but they have grown on me over the years to the point that I listen to them far more often than the Barber now. I think it just took me a while to absorb Harbison's style and understand how deftly and ingeniously he uses it to take the listener into Mirabai's world. Not to be missed!

The Barber alone is worth five stars.......2004-01-16

People are always saying that they find a particular piece of music is "haunting." For me Barber's "Knoxville: Summer of 1915" is such a work. Dawn Upshaw's reading of this great American masterwork is the best I have yet heard. She won her first Grammy Award for this recording - and deservedly so. If you're a fan of either Upshaw or Barber you'll want to add this beautiful CD to your collection.

Buy this disc...twice!.......2002-07-20

Extraordinary!! This has got to be the definitive Knoxville--rich, touching, elegant and as close to perfect as it can probably ever be. Upshaw has the perfect voice for this work, and she gives it all the loving attention that it requires. This is a performance of Knoxville that will make you weak in the knees. For the Knoxville alone, buy this disc....twice! There is, however, just a little bit of downside here. The other works on this disc just aren't very captivating.

Dawn Upshaw, vocal actress extraordinaire.......2002-01-01

This is the CD that made me fall in love with Dawn Upshaw's singing. I had heard her before and admired her work, but this disc made me a real fan. As it's one of her early recordings, her voice is somewhat "fuller" than on later work; she later started moving the voice "forward," simplifying the sound. Either way, her immense talent for communicating the essence of the text is the outstanding aspect of all her work. It's amazing how she can sound angry, desperate, hopeful, melancholic, all while producing a beautiful sound and tackling all the vocal challenges of the music she's singing. She inhabits the characters, the narrators, of each of the pieces on this disc, and makes it more than just a collection of songs or arias.

I want to make special mention of the Harbison _Mirabai Songs_, as it seems to have been maligned somewhat in other reviews here. This was the work that most kept me coming back to this disc when I first bought it. I think it is a masterpiece, and one of Harbison's best and most important works. (Apparently I'm not alone in my admiration of the piece, because I've heard it on a number of live concerts in recent years, so it seems to be having a successful performance life.) Harbison's song cycle is by turns exciting, sensual, driving, longing, beautiful. The orchestration for the small ensemble is masterful (as Harbison's efforts at scoring always are), and Upshaw expresses all of Mirabai's complex emotions enchantingly.

The _Rake's Progress_ aria also deserves individual comment. In this engrossing example of Stravinsky's neoclassical style, Upshaw assumes Anne's air of fierce determination, and brings the disc to an absolutely thrilling climax on a concluding high C.

All of the music on this terrific CD is very accessible, and the performances are stellar. The recorded sound is very clear and immediate, as one would expect from Nonesuch. It's one of my favorite discs in my entire collection, and would probably be so for the Harbison and Stravinsky alone.

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner
Average customer rating:

Rises to the top of the heap

Exquisite!

An essential version

An example of great English opera!

What a fun performance!

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner
Igor Stravinsky , John Eliot Gardiner , Ian Bostridge , Bryn Terfel , London Symphony Orchestra , Monteverdi Choir , Anne Sofie von Otter , Anne Howells , Martin Robson , and Julian Clarkson Peter Bronder
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Stravinsky: Works for Piano

ASIN: B00000JSAL
Release Date: 1999-08-10

Tracks:

The Rake's Progress: Prelude
The Rake's Progress: Act I - Scene 1 - Duet And Trio
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Aria
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Recitative And Quartet
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Duettino
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Arioso And Terzettino
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Recitative And Scene
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Recitative
The Rake's Progress: Act I - Scene 2 - Cavatina
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 3 - Recitative
The Rake's Progress: Act I - Scene 3 - Aria
The Rake's Progress: Act I - Scene 3 - Recitative
The Rake's Progress: Act I - Scene 3 - Cabaletta
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Duet-Finale
The Rake's Progress: Act II - Scene 2 - [Introduction]
The Rake's Progress: Act II - Scene 2 - Recitative And Arioso
The Rake's Progress: Act II - Scene 2 - Duet
The Rake's Progress: Act II - Scene 2 - Recitative
The Rake's Progress: Act II - Scene 2 - Trio
The Rake's Progress: Act II - Scene 2 - Finale

Tracks:

The Rake's Progress: Act II - Scene 3 - Aria, Baba's Song, Aria
The Rake's Progress: Act II - Scene 3 - Recitative
The Rake's Progress: Act II - Scene 3 - Pantomime
The Rake's Progress: Act II - Scene 3 - Recitative - Arioso - Recitative
The Rake's Progress: Act II - Scene 3 - Duet
The Rake's Progress: Act II - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 1 - Ruin Disaster. Shame
The Rake's Progress: Act III - Scene 1 - Recitative
The Rake's Progress: Act III - Scene 1 - Aria
The Rake's Progress: Act III - Scene 1 - Aria, Recitative
The Rake's Progress: Act III - Scene 1 - Duet
The Rake's Progress: Act III - Scene 1 - Stretto-Finale
The Rake's Progress: Act III - Scene 2 - Prelude
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Recitative
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 3 - Arioso, Dialouge, Chorus
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Arioso
The Rake's Progress: Act III - Scene 3 - Duet
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Lullaby
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Duettino
The Rake's Progress: Act III - Scene 3 - Finale - Recitative
The Rake's Progress: Act III - Scene 3 - Finale - Mourning Chorus
The Rake's Progress: Epilogue

Amazon.com essential recording

This release makes one wonder if there is any music John Eliot Gardiner can't conduct well. Here, for what is probably the first time on CD, Gardiner goes for Stravinsky, and while a nitpicker might point out that Rake is Stravinsky's "Mozartean" opera, let's face it--it's real Stravinsky. Gardiner manages the composer's angles and strange rhythms superbly, and he concentrates on the lower instruments as well (the engineers assist nicely throughout), leading a fleet, ironic performance of this tough work while underlining the score's sweetnesses as well. It doesn't hurt that he has the finest cast available: Bryn Terfel's Nick Shadow is amazingly nuanced, and only once or twice does the great bass-baritone do his infamous "whispering act." He's positively chilling in the graveyard scene. And what can one say about Ian Bostridge as the titular rake? When he says, "I wish I had money!" in Act I, he's Everyman; he wins us over and we feel for him no matter how stupid he is. He's a bit stressed at the very top of his range in the one or two forte passages, but considering how clever this artist is, it wouldn't be a surprise if he's doing it on purpose. Deborah York is such a fine Anne--singing with clean, white, innocent tone--that she even outdoes Dawn Upshaw's splendid portrayal. Anne Sofie von Otter sings Baba's music impeccably (and in unaccented English), but, as usual, she seems more distinguished and artistic than moving. This set is now at the top of the pack; if you've been wondering about this opera and were wondering when and where to get your feet wet, go no further. --Robert Levine

Customer Reviews:

Rises to the top of the heap.......2005-09-18

I must confess that this is a revised review. I originally had a negative impression of this recording of The Rake's Progress because it seemed flimsy compared to the composer's own recording on Sony, with a callow Rake (Ian Bostridge) and a technically unperequipped Anne (Deborah York). But I overlooked some absolute positives: Terfel's definitive Nick Shadow, which really has no competition on disc, Gardiner's ultra-clear conducting of detail, which again has no equal and is greatly aided by DG's completely transparent recording. In the end thise virtues win out, and even though I like every ohter Anne on disc (Judith Rankin, Dawn Upshaw, and Sylvia McNair come to mind) better than York, she isn't enough of a reason to demote this performance. It's still rather cool and lightweight, but that's a perfeclty valid way too interpret Stravinsky's pastiche of 18th century style.

Exquisite!.......2004-07-08

THE RAKE'S PROGRESS is not only one of my favorite operas, but one of my favorite works of music. This may seem strange, as Stravinsky's neoclassical operatic morality fable is considered by many to be a cold, cerebral work. But quite on the contrary, THE RAKE is a jewel-like score full of lyricism (often of a Broadway-like accessibility), warmth, razor-sharp wit, and crystalline beauty - all of which John Eliot Gardiner and his forces bring out marvelously in this recording. Listen to the exquisite trio in Act II Scene 2 - perhaps the most beautiful number in the opera - and you'll see what I mean. Ian Bostridge's sensitively sung Tom Rakewell has just the right vocal personality - boyish, innocent, eager, and vulnerable. His and Deborah York's pure-toned voices are an extraordinary match: hear them blend seamlessly in their duets or the trio. Bryn Terfel's vivid, boisterous Nick Shadow and Anne-Sophie Von Otter's subtly witty Baba complete the cast. Conductor Gardiner uses his expertise in early music to emphasize THE RAKE's 18th-century roots and "chamber" texture. THE RAKE falls into the class of what I might call private favorites - works that are not universally "popular" but hold an extraordinary attraction for me personally. Both the Auden/Kallman libretto and Stravinsky's music are endlessly fascinating, and this CD has become the perfect means for me to enjoy them.

An essential version.......2004-05-27

The music of Stravinsky's wonderful opera THE RAKE'S PROGRESS is a surreal juxtaposition. While it is unmistakably 20th-century, it also hearkens back to 18th-century opera. But the 18th-century references and motifs are often presented in a distorted, ironic light, as if viewed through an acerbic modern lens. In this recording, John Eliot Gardiner conducts the score little differently than he would conduct Handel or Mozart. He draws crisp, clean playing from the orchestra, with livlier tempos, classical-style phrasing, and the lean, spare sound that we associate with "period" performance. The result is that the music sounds both classical and bitingly modern - the perfect combination for this quintessential work of Neoclassicism. I will not elaborate on the soloists, who are all excellent and stylistically match the orchestral playing. This is an essential version of this Stravinsky masterpiece to own.

An example of great English opera!.......2003-05-21

I have never been a fan of opera in English. However, I am a fan of Stravinsky and my favorite operas are those by Mozart. After hearing that Stravinsky used Don Giovanni, Cosi fan tutte, Le nozze di Figaro, and Die Zauberflote (four of my favorite operas) as inspiration, I couldn't resist.

The Rake's Progress is very "Mozartean", and the influences of Don Giovanni and Cosi fan tutte are plain as day. The score is light, fun, and beautifully played, sung and conducted. I have all the other available recordings of The Rake and this is hands down the best one. It's so vibrant and wonderful. The casting is exceptionally.

If you want a great recording of a great English language opera, snatch it up!

What a fun performance!.......2002-04-26

This recording receives an interesting criticism. One of the heresies of the early music / authentic performance practice crowd is that these guys take the score reading TOO LITERALLY. Now, with this recording Gardiner takes it on the chin because some of the notes are not exactly what Stravinsky wrote.

Well, I know the score, too. And I am a Stravinsky nut. But I also love to be convinced musically and this performance is full of energy, life, and singing that seems to delight in the music and the music making. The orchestra plays like they are having FUN. One example is Tom's early aria when he sings "The world is so wide" The orchestra plays a descending run purely and cleanly yet we can hear the neighing of horses. Then Tom sings, " Come,wishes be horses; This beggar shall ride!" Great stuff!

If you want to learn to love opera and are an english speaker you can really go a long way with this wonderful opera and this wonderful recording. Don't worry about those who take severe stances on this or that point. That is purity as a vice. The point is the music and the music has a lot to do with the notes, but not EVERYTHING to do with the notes. But, by the way, they hit nearly all of them and the times they make alternative choices they aren't making mistakes, they are making choices. And the funny thing is, we know Stravinsky wanted his music performed exactly the way he wrote it, but this piece is modelled on eighteenth century opera where they would expect to make choices and the music as "necessary". Well, what does that mean for this piece? But this is too arcane an argument.

Tracks:

Wuthering Heights: I Have Dreamt
The Ballad Of Baby Doe: The Letter Song
The Medium: Monica's Waltz
Porgy And Bess: Summertime
Porgy And Bess: My Man's Gone Now
Candide: Glitter And Be Gay
Susannah: Ain't It A Pretty Night
Susannah: The Trees on the Mountains
The Rake's Progress: No Word From Tom ... I Go, I Go To Him
VANESSA: He Has Come, He Has Come
A Streetcar Named Desire: I Want Magic!

Amazon.com

Like Dawn Upshaw's The World So Wide on Nonesuch, this program is such an inviting cross section of American opera of the last 50 years, you wonder why more of it hasn't been recorded. Composers include Carlisle Floyd, Douglas Moore, Samuel Barber, and Gian Carlo Menotti, whose childlike "Monica's Waltz" from the otherwise lurid opera The Medium is a highlight. Old favorites are here, such as Gershwin's "Summertime." And new favorites, too: Andre Previn's forthcoming "A Streetcar Named Desire" graciously offers Straussian lushness and bitonal wind-instrument details suggesting Blanche DuBois's mind departing from reality, all sounding remarkably true to Previn's pre-World War II upbringing in Berlin. This dramatically alert arioso isn't so melodically memorable but makes all necessary dramatic points eloquently. Though she performs vividly throughout, Fleming often lets her vocal tone overwhelm articulation of the words--a middling drawback. And comedy is not her thing: Bernstein's "Glitter and Be Gay" is way too hammy. --David Patrick Stearns

Customer Reviews:

All-American Fun.......2007-01-01

I love this CD. It's so incredibly American. It features American lyric soprano Renee Fleming singing American opera arias. Ms. Fleming is capably accompanied by the Met orchestra, America's best opera orchestra, conducted by another distinguished American, Maestro James Levine. The only way this CD could be more American is if it were released on July 4th, with two baseball tickets included. I'm grateful that Decca made this release.

This CD starts out very strong with a gorgeous aria "I have dreamt" from "Wuthering Heights". I've never seen this opera nor heard of this opera. If the opera is half as good as the aria, I would love to see it. Renee cruises through "The Letter Song" from "The Ballad of Baby Doe" with heartfelt interpretation. "Monica's Waltz" is not one of my favorite arias in the world, but Ms. Fleming sings it beautifully.

Here's where we depart, and the reason I gave this CD only 4 stars. First, Renee sings two arias from "Porgy and Bess": "Summertime" and "My Man's Gone Now". Renee's voice is way too rich and lush for these arias. Listen to Renee sing it, then listen to the gold standard, Leontyne Price. You'll see what I mean. Renee's rendition of "My Man's Gone Now" was just way too pretty. The score calls for some extended glissandos, which are supposed to be wails of grief. Renee sang the glissandos beautifully, but no grief was in sight. Her next choice "Glitter and Be Gay" from "Candide" is just not a good choice for her. I think even Renee would tell you that a voice like hers is just not right for Cunegonde. This aria (and role) calls for a smaller voice. [...].

Then Renee reminds me of why I love her in the first place, by returning to two arias from "Susannah", a signature role for her. Her performances of "Ain't it a pretty night!" and "The trees on the mountains" are too good for words. She completely understands this role, and communicates the mood in these arias right through your speakers. Just imagine how good it must be live!

Renee closes with "No word from Tom" (The Rake's Progress), "He has come, he has come!" (Vanessa), and "I want magic! (A Streetcar Named Desire). I wish more opera companies would produce "The Rake's Progress". This is a wonderful opera by an "adopted" American composer, Igor Stravinsky. The aria from "Streetcar" is kind of an odd choice to close this CD, but Renee did premiere the role of Blanche in this Previn piece with the SF Opera. So maybe it's not so strange after all.

Highly recommended for fans of Renee Fleming, and those who need to add some good old American opera to round out their Puccini collections. This is a nice performance record by a woman surely destined to be one of the greatest lyric sopranos in history.

A great listening pleasure. Better than some other selections.......2006-04-05

'I Want Magic' sung by superstar mezzo Renee Fleming, backed by James Levine and his Metropolitan Opera Orchestra follows the same pattern of severa of Fleming's other releases, in that there is one widely known and very familiar piece (Gershwin's 'Summertime' from 'Porgy and Bess') plus many less familiar pieces.

The theme of all the pieces is that they are arias from American operas, all in English. And, I get a lot more from this selection than I do from, for example, her recording of Shubert Lieder. One thing I learn is how totally typical is Leonard Bernstein's piece from 'Candide', which sounds like it stepped right out of a production of 'The Fantasticks'. Gershwin's two great songs, on the other hand, are icons of American music and even Herrmann's movie song from Wuthering Heights makes Bernstein's song sound ordinary.

But, the album is really all about Fleming's realization of these songs, which is simply nothing less than spectacular. While I tend to prefer hearing works 'in situ', Fleming's talent is so great that hearing her do eleven pieces out of context is worth it. The album is also more interesting than the average collection of Lieder in that it has the backing of a major American dramatic orchestra.

Better than average Fleming choice.

I wish I could give more than 5 stars.......2005-09-30

This recording is truly wonderful! I really feel that American composers have written some incredible things. I think that American opera is much better than British opera, with the exception of Benjamin Britten. My favorites on this track are actually all of them, but if I had to choose, I would pick: "No word from Tom" (The Rakes Progress, Stravinsky), "Ain't it a pretty night" (Sussanah, Floyd), "Glitter and be Gay" (Candide, Bernstein), and my absolute favorite "Monica's Waltz" (The Medium, Menotti). This is such a great album. Some of Renee's diction isn't completely clear, but that's opera. In order to acheive a beautiful sound, especially in English, certain vowels need to be altered. ESPECIALLY for the soprano voice. When singing so high, certain vowels and consonants need to be altered a bit. Anyway, it's an incredible album!!

This music needs a lot less diva.......2005-09-18

Renee Fleming has a glorious voice, and there's not a note here that isn't ravishing. Decca's engineers have caught the voice very well, and Levine's conducting is all it could be. The problem? Well, having her sing Summertime and My Man's Gone NOw was a bad idea, not only because both are cliches. Felming has a hard time sounding emotionally natural. She tends to apply her incredible voice with diva-like self-consciousness and play-acted emotion far too often.

Which means that her CD recitals are hit-and-miss. Glitter and Be Gay is a disaster here because she tries to be funny and winds up being self-conscious and embarrassing. But the big aria form Susannah, a role Fleming sings at the Met, is perfect. I expected a lot more adventurousness from this American collection, since Felming is, after all, an American singer. But it's mostly overplayed, like Puccini in English, sobs and all. I enjoyed the voice, but after a while the mannerisms became tiresome.

Bringing American opera to the forefront.......2005-01-20

American opera is not as well-known to many people because it can be complex, both musically and dramatically, and requires amazing vocal technique to sing things that sound simple. Fleming's recording highlights some familiar arias (the Susannah arias, for example) as well as some that are almost unknown. If you are an opera fan, and especially if you want to learn more about American opera, this CD is a great place to start. My favorite: Glitter and Be Gay, from Bernstein's Candide. Wow.

Average customer rating:

"Simply a Stunner"
Good choice for opera lovers.

Simply the Best Night at the Opera
Giacomo Puccini , Jacques Offenbach , Gaetano Donizetti , Georges Bizet , Gioachino Rossini , Wolfgang Amadeus Mozart , George Frideric Handel , Igor Stravinsky , Jules Massenet , Antonin Dvorak , Camille Saint-Saëns , Benjamin Britten , Claudio Monteverdi , Giuseppe Verdi , Hector Berlioz , Charles Gounod , Henry Purcell , Pyotr Il'yich Tchaikovsky , Richard Wagner , English Chamber Orchestra , Munich Bavarian State Orchestra , Strasbourg Philharmonic Orchestra , Lyon National Opera Orchestra & Chorus , Prague Symphony Orchestra , Orchestre National de France , Berlin Philharmonic Orchestra , and Halle Orchestra
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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The #1 Opera Album
The Most Famous Opera Duets
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The Best of Italian Opera
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...

ASIN: B00000J9HR
Release Date: 1999-07-06

Tracks:

Turnadot: Nessun Dorma
Gianni Schicchi: O mio babbino caro
Les Conte d'Hoffmann: Messiers, Silence!
L'Elisir diAmore: Una fortiva lagrima
Carmen: Je Dis que rien ne m'epouvant
Les pecheurs de perles: Au fond du temple saint
L'Inganno felice: Al piu dolce
Cosi fan tutte: Soave sia il vento
Xerxes: Ombra mai fu
The Rake's Progress: Quietly, night
L'Italiana: Gia d'insolito ardore nel petto
Les Contes d'Hoffmann: Les oiseaux dans la charmille
Werther: Pourquoi me revieller
Rusalka: Song To The Moon

Tracks:

La Boheme: O soave faciulla
Samson et Dalila: Mon coeur s'ouvre a ta voix
La nozze di Figaro: Voi, che sapete che cosa e amor
Billy Budd: Look! ... Through The Port Come The Moonshine Astray!
L'Incoronazione di Poppea: Lameto di Ottavia: 'Diprezzata Regina'
Rigoletto: Gaultier Malde ... caro nome
Manon Lescant: Donna on vidi mia
Madama Butterfly: Un bel di vedreno
La Damnation de Faust: D'amour l'ardente flamme
Faust: Vous qui faites l'endormie
Dido's Lament: Thy Hand, Belinda - When I Am Laid In Earth
Yolanta: Scene & Monologue By Ibn Hakia
Carmen: Votre toast, je peaux le rendre
TOSCA: E lucevan le stelle
Tannhauser: Wie Todesahnung Damn'rung deckt die Lande ...

Customer Reviews:

"Simply a Stunner".......2006-07-21

Ideal for an opera lover, or for anyone who loves gorgeous singing. I am an opera nut and was introduced to this one by accident; "Au gond du temple saint" from Pearl Fishers (selection #6, disc one) was playing on the stereo in the Metropolitan Opera giftshop when I walked in at intermission one night. I thought it was so stunning I bought my first copy of the CD then and there; and have bought 2 other "back-up copies" since then, as well as having it on my iPod.

Good choice for opera lovers........2001-08-16

If you are in search of a cd containing various popular pieces from the greatest operas in the world, then search no more. This cd contains classic operatic pieces, sung by some of the most talented tenors and sopranos out there, including Placido Domingo. Madame Butterfly's Un Bel Di and Turandot's Nessun Dorma are, without a doubt, two of the most emotional and dramatic songs ever composed. Fortunately, this inexpensive two cd set includes those songs and many more. This cd is a delight to own, whether or not you've ever attended an opera.

Average customer rating:

Klassizische Moderne, Vol. 2

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

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Klassizische Moderne, Vol. 3
Christopher Hogwood Conducts Martinu, Stravinsky, Honegger
Martinu: Works for Violins and Orchestra
Piano Concertos of the 1920s
Music For The Theatre, Vol. 1

ASIN: B00096S2RS
Release Date: 2005-05-10

Tracks:

I. Andante
II. Napolitana
III. Espanola
IV. Balalaika
I. Allegro
II. A Lament: Andante Espressivo
III. Presto
IV. Adagio
V. Allegro Assai
Pastorale
Lied Ohne Name
I. Musick To Heare
II. Full Fadom Five
III. When Dasies Pied
Fanfare For A New Theatre
Recitative & Aria: No Word From Tom/Quietly, Night
Recitative & Cabaletta: My Father! Can I Desert Hin?/I Go To Him
I. Poco Presto Ed Agitato
II. Andante Lento
III. Tarantella: Presto Vivace
I. Marche
II. Valse
III. Polka
IV. Galop

Album Description

"It is always refreshing to encounter a disc in which consideration has been given to providing a balanced and thought-provoking programme. This is the second installment in Christopher Hogwood's `Modern Classicists' series, and is built upon an eclectic group of Stravinsky's smaller-scale works, with substantial historically influenced interjections by Tippett and Britten. The result is in marked contrast to the Orpheus Chamber Orchestra's foray into the world of Stravinsky's miniatures (DG), in which the scattergun whole somehow falls short of the sum of the delightful parts. By separating the two Suites for small orchestra to form a frame, Hogwood heightens awareness of their individual features, throwing into relief the intervening works, with the vocal and small-scale items on the disc providing an intimate heart at its core...Emma Kirkby is predictably delectable, floating through the Pastorale and an ideally innocent Anne Truelove in the excerpt from The ! Rake's Progress, while the Basel Chamber Orchestra is heart-rending in the `Lament' from Tippett's Divertimento...by far the most satisfying disc as a self-contained programme." (**** rating!) BBC MUSIC MAGAZINE

Igor Stravinsky (The Composer, Vol. VI): The Rake's Progress

Average customer rating:

Igor Stravinsky (The Composer, Vol. VI): The Rake's Progress

Manufacturer: Music Masters Jazz
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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ASIN: B000000FS1
Release Date: 1994-08-16

Tracks:

Prelude - Craft/St. Luke's Orch
Act 1: Scene 1: Duet & Trio: The Woods are Green - Jayne West/Jon Garrison/Arthur Woodley
Act 1: Scene 1: Recitative: Anne, my dear... - Arthur Woodley/Jayne West
Act 1: Scene 1: Recitative: Here I Stand - Jon Garrison
Act 1: Scene 1: Aria: Since it is not by merit - Jon Garrison
Act 1: Scene 1: Recitative: Tom Rackwell...? - Jon Garrison/John Cheek
Act 1: Scene 1: Recitative: Fair lady... - John Cheek
Act 1: Scene 1: Quartet: I wished but once - Jayne West/Jon Garrison/John Cheek/Arthur Woodley
Act 1: Scene 1: Recitative: I'll call the coachman, sir... - Arthur Woodley/John Cheek
Act 1: Scene 1: Duettino: Farewell, farewell - Jayne West/Jon Garrison
Act 1: Scene 1: Recitative: All is ready, sir... - Jon Garrison/John Cheek
Act 1: Scene 1: AriosoL Dear Father Trulove - Jon Garrison
Act 1: Scene 1: Terzettino: :aughter & Light - Jayne West/Jon Garrison/John Cheek/Arthur Woodley
Act 1: Scene 2: Chorus: With air commanding - Chor
Act 1: Scene 2: Recitative & Scene: Come, Tom, I would fain have our hostess... - John Cheek/Jon Garrison/Shirley Love
Act 1: Scene 2: Chorus: Soon dawn will glitter - Chor
Act 1: Scene 2: Recitative: Brothers of Mars... - John Cheek
Act 1: Scene 2: Canatina: Love, too frequetly betrayed - Jon Garrison
Act 1: Scene 2: Chorus: How sad a song - Chor/Shirley Love
Act 1: Scene 2: Chorus The sun is bright - Chor/John Cheek
Scene 3 - Craft/St. Luke's Orch
Act 1: Scene 3: Recitative: No word from Tom... - Jayne West
Act 1: Scene 3: Aria: Quietly, night - Jayne West
Act 1: Scene 3: Recitative: My father! - Jayne West
Act 1: Scene 3: Cabaletta: I go, I go to him - Jayne West
Act 2 - Craft/St. Luke's Orch
Act 2: Scene 1: Aria: Vary the song - Jon Garrison
Act 2: Scene 1: Recitative: O Nature, green, unatural mother - Jon Garrison
Act 2: Scene 1: Aria (Reprise): Always the quarry - Jon Garrison
Act 2: Scene 1: Recitative: Master, are you alone? - Jon Garrison/John Cheek
Act 2: Scene 1: Aria: In youth the panting slave - John Cheek
Act 2: Scene 1: Duet-Finale: My tale shall be told - Jon Garrison/John Cheek
Act 2: Scene 2 - Craft/St. Luke's Orch
Act 2: Scene 2: Recitative & arioso: How strange... - Jayne West
Act 2: Scene 2: Duet: Anne! Here! - Jayne West
Act 2: Scene 2: Recitative: My love, am I to remain in here forever? - Wendy White
Act 2: Scene 2: Trio: Could it then - Jayne West/Jon Garrison/Wendy White
Act 2: Scene 2: Finale: I have not run away - Wendy White
Act 2: Scene 3: Aria: As I was saying - Wendy White
Act 2: Scene 3: Baba's Song - Wendy White
Act 2: Scene 3: Aria: Scorned! Abused! Neglected! - Wendy White
Act 2: Scene 3: Recitative: My heart is cold - Jon Garrison
Act 2: Scene 3: Pantomime - John Cheek
Act 2: Scene 3: Recitative: Awake...? - John Cheek
Act 2: Scene 3: Duet: Thanks to this excellent device - Jon Garrison/John Cheek
Act 2: Scene 3: Recitative: Forgive me, master... - Jon Garrison

Tracks:

Act 3: Scene 1 - Chor/Jayne West
Act 3: Scene 1: Recitative: Ladies, both fair & gracious - Melvin Lowery
Act 3: Scene 1: Aria & Bidding Scene: Who hears me, knows me - Melvin Lowery/Chor
Act 3: Scene 1: Aria: Sold! Annoyed! - Jon Garrison/John Cheek
Act 3: Scene 1: Recitative: Now what was taht? - Chor/Wendy White/Jayne West/Melvin Lowery
Act 3: Scene 1: Duet: You love him, seek to set him right - Chor/Wendy White/Jayne West/Melvin Lowery
Act 3: Scene 1: Ballad Tune: if boys had wings - Jon Garrison/John Cheek
Act 3: Scene 1: Stretto-Finale: I go to him - Chor/Wendy White/Jayne West/Melvin Lowery
Act 3: Scene 1: Ballad Tune (Reprise): Who cares a fig - Jon Garrison/John Cheek
Act 3: Scene 2: Prelude - Solo String Quartet
Act 3: Scene 2: Duet: How dark, how dark & dreadful is this place - Jon Garrison/John Cheek
Act 3: Scene 2: Recitative: Very well... - John Cheek
Act 3: Scene 2: Duet: Well, then... - Jon Garrison/John Cheek
Act 3: Scene 3 - Craft/St. Luke's Orch
Act 3: Scene 3: Arioso: Prepare yourselves - Jon Garrison
Act 3: Scene 3: Dialougue: Madmen's words are all untrue - Chor/Jon Garrison
Act 3: Scene 3: Chorus-Minuet: Leave all love & hope behind - Chor
Act 3: Scene 3: Recitative: there he is... - Jeffrey Johnson
Act 3: Scene 3: Arioso: I have waited - Jon Garrison
Act 3: Scene 3: Duet: In a foolish dream - Jon Garrison
Act 3: Scene 3: Recitative, quasi arioso: I am exceeding weary - Jon Garrison/Jayne West
Act 3: Scene 3: Lullaby: Gently, little boat - Jayne West/Chor
Act 3: Scene 3: Recitative: Anne, my dear... - Arthur Woodley/Jayne West
Act 3: Scene 3: Duettino: Every wearied body... - Arthur Woodley/Jayne West
Act 3: Scene 3: Finale (Recitative & Chorus): Where art thou, Venus? - Jon Garrison
Act 3: Scene 3: Mourning Chorus: Mourn for Adonis - Chor
Act 3: Scene 3: Epilogue: Good people, just a moment - Jayne West/Jon Garrison/Arthur Woodley/John Cheek

Average customer rating:

Late in the 20th Century, Vol. 2

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Fugues | Forms & Genres | Classical | Styles | Music

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General | Jazz | Styles | Music

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Movie Scores | Soundtracks | Styles | Music

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General | Soundtracks | Styles | Music
ASIN: B000005IZT
Release Date: 1992-05-27

Tracks:

Different Trains - Electric Counterpoint: Different Trains (excerpt)
Le Mystere Des Voix Bulgares, Vol. II: Stani, Mi Maytcho
The Gospel At Colonus Original Cast Album: How Shall I See You Through My Tears - The Gospel At Colonus
J. S Bach: The Well - Tempered Clavier, Book II: Prelude in E major
The Thin Blue Line - Original Soundtrack: Interrogation, Part One
Guitarra Portuguesa: Cancao Verdes Anos
The Rakes Progress: No Word From Tom
Winter Was Hard: Fratres
The President: Bring Yr Camera: Philip (excerpt)
Different Trains - Electric Counterpoint: Electric Counterpoint (3rd Movement) excerpt
World Saophone Quartet: Rhythm & Blues: For the Love of Money
Spy Vs Spy: John Zorn Plays Music Of Ornette Coleman: Good Old Days
AKIKO YANO: Highland
Before We Were Born
Gypsy Kings: Un Amor

Average customer rating:

A Masterpiece

The Rake's Progress
Igor Stravinsky , Riccardo Chailly , and Stafford Dean
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
ASIN: B00000E2QE
Release Date: 1990-10-25

Tracks:

Act I: Prld - London Sinfonietta/Riccardo Chailly
Act I, Scene 1: 'The Woods Are Green' - Cathryn Pope
Act I, Scene 1: 'The Old Fool!' - Philip Langridge
Act I, Scene 1: 'I Wish I Had Money' - Philip Langridge
Act I, Scene 1: 'I'll Call The Coachman, Sir' - Samuel Ramey
Act I, Scene 2: ' With A Air Commanding And Weapon Handy' - London Sinfonietta Chor/Clive Wearing
Act I, Scene 2: 'Come, Tom' - Samuel Ramey
Act I, Scene 2: 'Love, Too Frequently Betrayed' - Philip Langridge
Act I, Scene 2: 'The Sun Is Bright, The Grass Is Green' - London Sinfonietta Chor/Clive Wearing
Act I, Scene 3: 'No Word From Tom' - Cathryn Pope
Act II, Scene 1: 'Vary The Song, O London, Change!' - Phlip Langridge
Act II, Scene 1: 'I Wish I Were Happy'/'Master, Are You Alone?' - Philip Langridge/Samuel Ramey
Act II, Scene 2: Intro: 'How Strange! Although The Heart For Love Dare Everything' - Cathryn Pope
Act II, Scene 2: 'Anne! Here!' - Philip Langridge
Act II, Scene 2: 'My Love, Am I To Remain In Here For Ever?' - Sarah Walker

Tracks:

Act II, Scene 3: 'As I Was Saying, Both Brothers Wore Moustaches' - Sarah Walker
Act II, Scene 3: 'My Heart Is Cold, I Cannot Weep' - Philip Langridge
Act III, Scene 1: 'Ruin, Disaster, Shame' - London Sinfonietta Chor/Clive Wearing
Act III, Scene 1: 'Aha!'/'He's Here! The Auctioneer' - John Dobson/London Sinfonietta Chor/Clive Wearing
Act III, Scene 1: '...Ever-Sold! Annoyed!' - Sarah Walker
Act III, Scene 2: Prld - London Sinfonietta/Riccardo Chailly
Act III, Scene 2: 'How Dark And Dreadful Is This Place' - Philip Langridge
Act III, Scene 2: 'Very Well, Then, My Dear And Good Tom' - Samuel Ramey
Act III, Scene 2: 'I Burn! I Burn! I Freeze! - Samuel Ramey
Act III, Scene 3: 'Prepare Yourselves, Heroic Shades' - Philip Langridge
Act III, Scene 3: 'There He Is. Have No Fear' - Matthew Best
Act III, Scene 3: 'Gently, Little Boat' - Cathryn Pope
Act III, Scene 3: 'Where Art Thou Venus?' - Philip Langridge
Act III, Epilogue: 'Good People, Just A Moment' - Cathryn Pope/Sarah Walker/Philip Langridge/Samuel Ramey/Stafford Dean

Customer Reviews:

A Masterpiece.......2001-12-28

This opera is a masterpiece. The music is some of Stravinsky's finest work and the libretto is brilliant. Based on Hogarth's satirical etchings, this is an ironic look at the nature of love and ambition. Auden and Kallman developed a libretto which is the perfect complement to Stravinsky's neoclassical style. This is probably the finest English language opera and while there isn't much competition for that title, this work is a masterpiece by any standard. This recording is a fine production with excellent singing and orchestral work.

Average customer rating:

Let's forget about Ramey for a minute...
A Handsome Devil Of A Baritone
Swan song of a legend?
Vecchio Ramey
Almost extinct.

Date With the Devil
Samuel Ramey
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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$6.99 and Under | Classical Music Blowout | Stores | Music

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Leading Man

ASIN: B0000682W0
Release Date: 2002-07-16

Tracks:

Berlioz: La damnation de Faust, Op. 24: Marche de Rakoczy
Berlioz: La damnation de Faust, Op. 24: Une puce gentile
Berlioz: La damnation de Faust, Op. 24: Devant la maison
Meyerbeer: Robert le diable: Nonnes qui reposez
Liszt: Two Episodes from Lenau's Mephisto Waltz
Boito: Mefistofele: Ave Signor
Boito: Mefistofele: Son lo Spirito che nega sempre tutto
Boito: Mefistofele: Ecco il mondo
Offenbach: Les contes d'Hoffman: Scintille, diamant!
Gounod: Faust: Le veau d'or est toujours debout!
Gounod: Faust: Vous qui faites l'endormie
Stravinsky: The Rake's Progress: I was never saner
Stravinsky: The Rake's Progress: I Burn! I freeze!

Amazon.com

It's curious that Samuel Ramey has made such a specialty of diabolical roles, because his voice--although pure bass--has never had the jet-black timbre of a John Tomlinson or the threatening muscular attack of a Bryn Terfel. Indeed, it seems most comfortable in lighter repertory: Rossini, Mozart, anything that calls for grace and flexibility. But he has learned to slip a note of menace into the most elegantly well-turned phrase. His devils are urbane, sophisticated: evil in a suit and tie. And for the past six years, he's turned a rather chic collection of them into a recital program that has toured the world. This CD was recorded en route in Munich (it preserves an isolated fragment of audience applause, presumably to let you know). And here they all are: the Berlioz, Gounod, and Boito takes on Faust, together with Meyerbeer's Robert le Diable, Stravinsky's Rake, and (stretching the definition of operatic devilry) Offenbach's Dapertutto (Les Contes d'Hoffmann). This recording was made when Ramey was approaching 59 and starting to show his age. The voice is graying at the edges and is sometimes noticeably thin of texture, with a vibrato that rocks the poise of his slower, more lyrical numbers. But there's still plenty of life in the singing and an energy that never loses focus or coarsens into bluster. For that alone, he's still worth hearing. --Michael White

Customer Reviews:

Let's forget about Ramey for a minute..........2006-05-02

Most of the previous reviewers are either lamenting Sam Ramey's decline or hailing him as a legend. Let's dwell on the inovative program NAXOS has given us. Many new to this music can use this disc as an introduction to the complete works. Some will only care to have it and go no further. The live concert takes done in a three day span are competently played and warmly recorded. Did anyone mention that Liszt's "Mephisto Waltz"(orchestral version)is included? Most other recordings include alot of duplicate repetoire. Though made at the twilight of his career(Rec. Oct. 2000, age 59), Mr. Ramey dose his devilish best to bring the whole thing off. After all these years he has made these roles special in a cool collective style. The informative program notes will guide you through. Add a star if your a die hard Ramey fan or if your inspired to run out and buy the complete sets.

A Handsome Devil Of A Baritone.......2005-11-09

This recording finds the world famous bass Samuel Ramey at age 59, singing a collection of the "bass villain" repertory he gained fame for interpreting. His voice has darkened considerably and shows signs of aging, but still delivers. On this disc: Berlioz's operatic oratorio "La Damnation de Faust" is another account of the Goethe tale of Faust. Charles Gounod's opera is the more famous account. Samuel Ramey's pure bass voice was tailor-made for the role of the Devil. "Un Puce Gentile" is a more lyrical aria while "Devant La Maison" in which the Devil calls his spirits to bewitch Marguerite, is a coloratura, lively aria. Samuel Ramey once again sigs a Devil in the Meyerbeer grand opera Robert Le Diable, a masterpiece in its time but now an opera that has long fallen on the wayside. His French diction is superb, and his bel canto voice (and it is a bel canto voice) sounds golden, full, dark and rich. It is actually a good thing that he is 59 and singing roles that sound old, sinister and lecherous. Devils are normally regarded as old creatures and somehow Samuel Ramey makes them sound seductive and even beautiful to hear. He has a healing quality to his voice. Take for instance the dramatic-lyric Italian manner in which he sings Ecco Il Mondo from Arrigo Boito's Mefistofele. Mefistofele is a grand vehicle for the bass in the role of the Devil but again this opera was more popular in the old days. George London sang Mefistofele opposite Renata Tebaldi in an old 50's recording and that one is the best interpretation of them all, with grand Italian opera taking on flights of fancy. There is also another fine recording with Norman Treigle of the New York City Opera (he was Ramey's mentor) back in the 60's. The aria "Shine Diamond, shine" of the villainous magician in Offenbach's Tales of Hoffman is a specialty of Ramey's. I saw him performing the role on stage and have heard his full-length recording of all four villains in Hoffman. He makes the villains appropriately edgy and electrifying and suffuses the portrayals with a kind of Broadway musical theatricality mixed with rich lyricism. This is a great recording of Samuel Ramey's but not his best. This does not find him in his prime. To discover how magnetic his voice can be one has to listen to his earlier recordings, particularly those of his bel canto operas - Rossini and Verdi in particular- like Verdi's Attila, in which he sings the role of Attila the Hun, or Rossini's Iago in Otello. His voice was actually superb when he was not singing the lead baritone roles and instead singing minor bass roles like Angelotti in Tosca in the 1978 recording with Montserrat Caballe and Jose Carreras. He has also sung a fine bass role in Massenet's Manon wich starred Beverly Sills. His Robert Le Diable with June Anderson on studio recording is also excellent.

Swan song of a legend?.......2005-01-21

It pains me greatly to give this CD less than 5 stars, because I have been a huge Ramey fan for years. I sat in the orchestra pit on a few occasions while Ramey was a few feet above me, pouring forth sheer vocal glory. However, I sadly must agree with the other reviewers that the wear on his voice is beginning to show. The Amazon reviewer notes that for several years Mr. Ramey has toured the country with the repetoire on this disc.
Some of these are taxing arias, particularly 'Scintille, diamant!', and one wonders whether there would today be more left in the tank if Mr. Ramey had been a little more careful in his scheduling, and repetoire.
The voice sounds fatigued and worn. For a few of these arias, this is his second or third go around. The Boito arias he recorded in the mid 1980s on the Philips label, and those are fantastic. Ironically, it is these earlier recordings that are his enemy here. One can still hear the vocal brilliance and jaw-dropping agility of the voice on those discs, and the difference is marked. Here, the voice has lost some lustre. Clearly, age is a factor. The recorded legacy of Mr. Ramey is profound, but his best days are behind him. The late Renata Tebaldi retired from the stage at the relatively young age of 54, saying that she wanted to avoid 'the mortifying season of decline.' Mr. Ramey is not shaming himself, and he is a long way from such a season, but one wonders how much longer he will go on. What about a teaching position at Northwestern, since you are now a Chicago resident, Mr. Ramey?

Vecchio Ramey.......2003-12-24

I am so sorry to hear that Cd...because Ramey was my idol...He was the king of the opera world...He was the one who has the best technique....but this cd made me shocked...This old swinging voice....Arghhhh....
I think Everyone have to quit the job at the peak of their careers...I want to remember Ramey as the 1991 Mefistofele....not with this cd...
beyond all these words Ramey is still Ramey if we don't count this CD...The old performances makes me forget about it...
I hope this will be the last fault of him...this recording must be rated with 1 star but three stars are for the brightest star of the opera world...

Almost extinct........2003-05-31

Samuel Ramey is unique in the recorded history of opera. He is a bass- a true bass at that- with an intoxicatingly beautiful and resonant voice, possessing a phenomenal techniique with which he is able to lift his voice far above the limitations imposed on it by nature. He has sung Scarpia, one of the most demanding baritone roles in the italian repetoire- convincingly, and with an ease and elegance that any verdian baritone would envy. In fact, for a comparable technique among lower voices, one would have to go back to the great "virtuoso" basses of the early-middle of the 19th century such as tamburini, supposedly the greatest vocal genius among all operatic basses. No recordings exist of this extinct breed of singers who could challenge the castrati in the practise of florid singing and bel canto, but there are many detailed descriptions of their performances, vocal sound, and technique; as well as musical transcriptions of exactly what they sung. Samuel Ramey is undoubtdedly such a singer. His combination of warmth, elegance, and sheer technical brilliance are unmatched among all basses in the history of recorded opera. His style has occasionaly been labelled as bland, pehaps by people who want to hear Chaliapin instead. But as great as the Russian bass was, Ramey posseses an altogether different mentality and represents a different method of schooling- indeed so unique among our time is his style that it is not difficult to understand why people sometimes don't "identify" with his characterisations. We all have ideas of how a certain piece should be performed after all. By way of comparison, Giuseppe DeLuca was one of the great singers in the early years of the last century. He was a baritone, a great stylist and interpreter in the old belcanto tradition. In many ways his basic approach to singing resembled Rameys: poised, elegant, with an emphasis on restraint and a sort of "inner intensity" in his legato. He is one of the true geniuses among all baritones on record, and yet if one was to listen to him with inflexible modern ears his recordings may perhaps sound strange, maybe even dull and lacking in emotional fireworks. He is simply a different TYPE of singer than we generally hear nowadays, and so is Samuel Ramey. So how does he sound on these recordings at the age of 60? His vibrato is noticably wider to be sure- so was Joan Sutherlands(among many) at that age, and as in Sutherlands case, it is more noticable on the longer, more legato passages. Be that as it may, his voice is larger, darker, and heavier because of his age, and with a tone as poised and resonant as rameys, a widening vibrato is both part and parcel. Do not mistake it for a wobble of the kind callas or carreras possesed- that is a result of forcing the voice, and Ramey never forces- wide it may be, but his vibrato is even and controlled. His interpretations of all these characters (particularly the three mephistopheles' in Boito, Berlioz and gounod's operas) have gained tremendously over the years and have reached a peak on this cd. Added to that is the greater maturity of his voice, which raises these performances to a superlative level. In its best moments "A Date with the Devil" shows him to be an unparalleled virtuoso among basses, and still in possesion of the greatest basso-cantante of our time. The very well played and recorded orchestra led by Rudel, with whom Ramey has worked in the past, is a additional bonus. In conclusion, Samuel Ramey may never eclipse memories of recordings from this repetoire by such singers as Boris Christoff, and George London, but certainly his intention is not to do so. As all of the very greatest singers have done, he is, with his highly unique style, carving out his own significant niche in operatic history.

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