Verdi: Un ballo in maschera

1. Un ballo in maschera, opera
   Composed by Giuseppe Verdi
   Performed by La Fenice Theater Orchestra
   with Guido Fabbris, Daniela Mazzucato Meneghini, Francesco Signor, Carlo Bergonzi, Adriana Lazzarini, Ottorino Begali, Lorenzo Saccomani
   Conducted by Nino Sanzogno
   
   

Verdi: Un ballo in maschera,Giuseppe Verdi,Nino Sanzogno,La Fenice Theater Orchestra,Adriana Lazzarini,Carlo Bergonzi,Daniela Mazzucato Meneghini,Francesco Signor,Guido Fabbris,Lorenzo Saccomani,Ottorino Begali,Mondo Musica,Classical,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: Luciano Pavrotti: The Best (Farewell Tour) Luciano Pavorotti Luciano is the best!

Luciano Pavrotti: The Best (Farewell Tour) Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Flotow | Flotow, Friedrich von | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music All Works Featuring Luciano Pavarotti | Pavarotti, Luciano | ( P ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Bixio, Cesare Andrea | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Cardillo, Salvatore | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Capua, Eduardo di | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Curtis, Ernesto de | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: The Best of the Three Tenors Romantica: The Very Best Of Luciano Pavarotti Pavarotti: Greatest Hits Amore: Romantic Italian Love Songs The Best of Luciano Pavarotti: 20th Century Masters/The Millennium Collection ASIN: B0007V5WB4 Release Date: 2005-09-13

Tracks:

1. La donna obile
2. Una furtiva lagrima
3. "Libiamo ne'lieti calici (Brindisi)
4. Donna non vidi mai
5. Che gelida manina
6. O soave fanciulla
7. Mi batte il cor...O Paradiso!
8. M'appari
9. Quando le sere al placido chiaror d'un ciel stellato
10. Se quel guerrier io fossi!..Celeste Aida
11. Forse la soglia attinse
12. Recitar! - "Vesti la giubba"
13. Come un bel di maggio
14. Ah mes amis - Pour mon
15. Di quella pira
16. Nessun dorma!

Tracks:

1. Torna a Surriento
2. Santa Lucia luntana
3. La Danza
4. L'ultima canzone
5. Non t'amo pi
6. Mattinata
7. 'O sole mio
8. 'A vucchella
9. Core 'ngrato
10. Nel blu, dipinto di blu
11. Vivere
12. Il Canto
13. Caruso
14. Buongiorno a te
15. Ti adoro
16. E lucevan le stelle
17. Questa o quella (Ballata)
18. Parmi veder le lagrime

Customer Reviews:

Luciano Pavrotti: The Best (Farewell Tour).......2007-06-27

Wonderful Pavarotti sings the best of the best. His voice never ceases to amaze me. Listening pleasure at it's finest.

Luciano Pavorotti.......2007-02-17

All the songs are wonderful, can never become tired of listening to his songs. Excellent.

Luciano is the best!.......2007-01-20

I can't speak more highly of this collection of Pavrotti's songs. I keep this two CD pack in my car so I can enjoy it on my way to and from work. Even after I have arrived, I find myself sitting in my car waiting for a song to end. Walking out on a song seems sacriligious. While I grew up listening to Caruso and Lanza, there is no question that Pavrotti is the Master! Although, I do have to admit Pavrotti has the greater advantage of modern recording technology to better present his talent than Caruso and Lanza had. However, Lanza definitely didn't have the power that Pavrotti has. With Caruso, we will never know... I highly recommend this collection of Pavrotti's, if you are a Pavrotti fan. If you aren't, buy it anyway and become one:)

Average customer rating: OKAY, TAKE ME AWAY. Great music...stunning recording quality Incredible Just Stunning!

Essential Verdi Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music Paris Symphony Orchestra | ( P ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Verdi, Giuseppe | ( V ) | Composers, A-Z | Classical Music Blowout | Stores | Music Berlin Philharmonic Orchestra | ( B ) | Performers, A-Z | Classical Music Blowout | Stores | Music London Philharmonic Orchestra | ( L ) | Performers, A-Z | Classical Music Blowout | Stores | Music National Philharmonic Orchestra London | ( N ) | Performers, A-Z | Classical Music Blowout | Stores | Music Paris Symphony Orchestra | ( P ) | Performers, A-Z | Classical Music Blowout | Stores | Music Vienna Philharmonic Orchestra | ( V ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: The Ultimate Puccini Collection Essential Puccini Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco... The Most Famous Opera Duets The #1 Opera Album ASIN: B000056JSW Release Date: 2001-02-13

Tracks:

1. Rigoletto: La donna e mobile - Luciano Pavarotti
2. Nabucco: Va pesiero - Chicago Symphony Orchestra
3. La forza del destino: Overture - Kirov Orchestra
4. La Traviata: Un di felice - Joan Sutherland
5. I Vespri Siciliani: Merce dilette amiche - Maria Chiara
6. La Traviata: Libiamo ne' lieti calici - Joan Sutherland
7. Il Trovatore: Di quella pira - Jose Carreras
8. Il Trovatore: Vedi! le fosche notturne spoglie - Chicago Symphony Orchestra And Chorus
9. Il Trovatore: Stride la vampa! - Stefania Toczyska
10. Aida: Ritorna vincitor! - Leontyne Price
11. Don Carlo: Dio che nell'alma infondere - Carlo Bergonzi
12. La Traviata: Prelude - Orchestra E Coro Del Maggio Musicale Fiorentino
13. Rigoletto: Caro nome - Joan Sutherland
14. Don Carlo: O don fatale - Olga Borodina
15. Aida: Se quel guerrier io fossi! Celeste Aida - Carlo Bergonzi
16. Emani: Ernani! Ernani involami - Joan Sutherland
17. Un Ballo in Maschera: Di tu se fedele - Jussi Bjorling
18. Un Ballo in Maschera: Morro ma prima in grazia - Margaret Price
19. Luisa Miller: Quando le sere al placido - Luciano Pavarotti
20. Aida: Gloria all'Egitto - Chicago Symphony Orchestra

Tracks:

1. Requiem: Dies irae - Wiener Philharmoniker
2. La forza del destino: Pace pace mio Dio - Angela Gheorghiu
3. Rigoletto: Questa o quella - Carlo Bergonzi
4. Rigoletto: Bella figlia dell'amore - Luciano Pavarotti
5. Otello: Ave Maria - Renee Fleming
6. La Traviata: Parigi o cara - Frank Lopardo
7. Macbeth: Ah la paterna mano - Luciano Pavarotti
8. Il Trovatore: Squilli echeggi la tromba guerriera - Chicago Symphony Orchestra And Chorus
9. Don Carlo: O Carlo ascolta - Dmitri Hvorostovsky
10. Requiem: Ingemisco - Luciano Pavarotti
11. Simon Baccanegra: Come in quest'ora bruna - Kiri Te Kanawa
12. Macbeth: Salve o Re! Si colmi il calice - Lucia Aliberti
13. Aida: O patria mia - Leontyne Price
14. I lombardi: La mia letizia infondere - Placido Domingo
15. Aida: Lo sguardo avea degli angeli - Montserrat Caballe
16. La forza del destino: Solenne in quest'ora - Nikolai Putilin
17. Macbeth: Patria opressa - Chicago Symphony Orchestra And Chorus
18. Il Trovatore: Tacea la notte - Katia Ricciarelli
19. I due Foscari: Dal piu remoto esilio - Odio solo ed odio atroce - Jose Carreras
20. Don Carlo: Spuntato ecco il di esultanza - Orchestra E Coro Del Teatro Alla Scala Di Milano

Customer Reviews:

OKAY, TAKE ME AWAY........2006-01-20

I don't know opera.

Last summer we had an incredible 20th anniversary trip to Italy. As a side trip from Venice, we planned a night in Verona. Neither my wife or I had been to an opera.

Is this how its supposed to be...

...an incredible star filled night with a three quarter moon, the largest stage and outdoor theatrical production on the planet, all taking place in a roman colleseum (arena) built in 180 a.d., an incredible colorful set and production with a full symphony orchestra and voices that don't come easy. Aida.

Now I know what all the hpye is as you opera fans sure are lucky to have such a beautiful setting for all your productions.

Okay, we got spoiled. But I also found myself getting spoiled on the Italian composer Verdi.

For me, this set is not only a "take me back to Verona" trip, but a great introduction to Verdi's other works. With some of the biggest names in the opera world in starring roles, I listened to both discs twice the first night they arrived.

And, of course, we are planning a return trip to Verona in the very near future to see some more Verdi...perhaps Nabucco or Otello or Macbeth...I'll even settle for Aida again. It was such a magical experience and a superb introduction to opera and Verdi.

This set continues that magical moment for us and provides a great introduction to a master of the opera...Verdi.

Great music...stunning recording quality.......2002-11-01

This is a marvelous compendium of Verdi's opera works that even the serious opera fan wouldn't turn his nose up at. These are the top contemporary soloists singing with first tier orchestras. When I saw the Decca label, I expected reasonable quality, but this disk is stunningly well engineered. Most of the vocals match the best jazz cds for immediacy and intimacy, and the orchestras are equally well done.

Incredible.......2002-06-05

I don't say incredible about too many things, but Verdi was the zenith of Italian Opera and Solti and the Chicago Symphony and the Vienna Philharmonic are the quintessential ensembles for modern classical performance. Not to mention that most of the voices showcased have their own lines of CDs (Pavarotti, etc.) This CD is the best Verdi album available, and it has EVERYTHING. BUY THIS CD!

Just Stunning!.......2002-01-26

In my opinion this recording is stunning. I am not usually a fan of compilations in classical music, as they're usually watered down representations made under the presumption that the listener would find the full-blown version intimidating or boring. This one, however, is not only an exception in my view, but a recording that deserves a high place of honor in every serious listener's collection. The representation of artists, both vocal and orchestral, is breathtaking and impressive for the span of years. A great big thank you to the people at Decca responsible for putting this collection together, as it is obvious to this listener that a great deal of thought and care went into looking for the most beautiful version of every piece on here. I have purchased two copies, one for home and one for the office, and have gotten two friends similarly hooked. I am also feverishly searching for more pairings of Joan Sutherland and Carlo Bergonzi. In the meantime, I'm on to Essential Puccini!!

Average customer rating: Wow! It's like dying and going to Heaven! How Italian should 'Un Ballo' be? This one isn't very ARGUABLY THE BEST "BALLO" EVER RECORDED Grazia Decca! Bravo Bergonzi!

Verdi: Un Ballo in Maschera Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Puccini: La fanciulla del West La Nilsson: My Life in Opera Wolfgang Windgassen singt Wagner Anna Netrebko & Rolando Villazón: Duets Ernest Ansermet: Decca Recordings 1953-1967 ASIN: B000N4SJHY Release Date: 2007-04-10

Tracks:

1. Preludio
2. Posa In Pace
3. La Rivedra Nell'Estasi
4. Alla Vita Che T'aaride
5. Volta La Terrea
6. Ogni Cura Si Doni Al Diletto
7. Zitti... I'incanto Non Dessi Turbare
8. Re Dell'Abisso, Affrettati
9. Che V'agita Cosi?
10. Della Citta All'occaso
11. Su, Profetessa, Monta il Treppie
12. Di' Tu Se Fedele
13. Orsu, Amici
14. E' Scherzo Od E Follia
15. Finisci Il Vaticinio
16. Preludio
17. Ecco I'Orrido Campo
18. Ma Dall'arido Stelo Divulsa
19. Tecco It Sto

Tracks:

1. Ahime! S'appressa Alcun!
2. Seguitemi...Mio Dio!
3. Ve', Se Di Notte Qui Colla Sposa
4. A Tal Colpa E Nulla Il Pianto
5. Morro, Ma Prima In Grazia
6. Alzati; La Tuo Figlio
7. Eri Tu Che Macchiavi Quell'anima
8. Siam Soli. Udite
9. Dunque I'onta Di Tutti Sol Una
10. D'Una Grazia Vi Supplico
11. Il Messaggio Entri
12. Ah! Di Che Fulgor, Che Musiche
13. Forse La Soglia Attinse
14. Ma Se M'E Forza Perderti
15. Saper Vorreste
16. Fervono Amori E Danze(rip)... So Che Tu Sai
17. Ah! Perche Qui Fuggite
18. Ella E Pura

Customer Reviews:

Wow! It's like dying and going to Heaven!.......2007-05-30

What to say....."AT LAST!"
Yes, at last! Finally, after all these years (I guess it took the passing of Ms Nilsson and many inquiries from me to Decca/Philips/Universal Classics, pleading for it), finally it is available for our hot little hands again.

I love this recording. Another of my "growing-up" opera recordings, so it's like seeing an old friend from my childhood again! Is this the best "un Ballo"...probably not, but it certainly ranks up there. I loved these old singers, and generally will always want the "old" recordings I knew to still be in my collection, even though they have been "surpassed" or replaced with newer efforts. In many cases today, I feel that studio recordings have been "juiced-up" technologically or electronically to sound better than they really are. The singers in these older recordings were doing all this on their own, with no "clean-up" or "beefing" as I call it, except for perhaps occasional phrases or notes being re-recorded and spliced in. This recording is one of my favorite recordings from the beginning of my operatic journey to today. It has been bested by Solti's newer effort in digital sound, etc, and by others, but know what...this will always be in place on my shelves, and I will go to it frequently to listen to Ms Nilsson's efforts, along with Bergonzi's, Macneil's, Simionato's, Solti's and the Accadamia de Saint Cecelia Orchestra of Rome. To Universal Classics I say "Brava" on the re-release of this grand old recording. ~operabruin

How Italian should 'Un Ballo' be? This one isn't very.......2007-05-29

In terms of recording and vocal polish, this 1962 Un Ballo from Rome is exemplary. Bergonzi and Nilsson were world-class voices, and the role of Amerlia suited Nilsson almost as well as Aida. For power, accuracy, ad vocal gleam she has no peers. Yet I always hear her in the shadow of Callas and Tebaldi, who gave us tragic, poingnant Amelias in the true Italian style. If that doesn't matter so much to you, then Nilsson is ealy beyond praise. She displays real heart and is never steely.

In fact, I like her better here than Bergonzi, who is always priased for stylishness yet who lacks heft and passion. His Riccardo is too much like a school lesson in how to sing the role, and by comparison Domingo and Pavarotti create more passion and thrills. I must concede, however, that sparks do fly between Bergonzi and Nilsson in their great Act 2 duet. Macneil is strong and stalwart but not Italiante, either. As for Solti, his aggressive, punchy conducting is actually quite effective, but he would go on to do much better in 1985 with Margaret Price and Pavarotti as his two leads. That set is preferable to this one, I think, because it feels emotionaly ture whereas this one feels put together form bits and pieces. Both are powerhouse readings, however.

ARGUABLY THE BEST "BALLO" EVER RECORDED.......2007-05-22

Deccca is to be congratulated and commended for finally reissuing this superb recording long absent from the catalogue. Georg Solti's way with the weightier Verdi operas is dramatic, compelling, and totally absorbing. He infuses the power of Wagner and Strauss into his orchestration, and it gives this opera an orchestral grandeur that is far less evident on other recordings. He's directing a cast who are themselves legendary. Carlo Bergonzi, the epitome of Italian lyricism, is heard here in his early vocal prime, and the dividends he pays are only slightly less than those paid by Bjoerling on the legendary 1940 Met performance. His voice flows like honey, and his phrasing is exemplary. Cornell MacNeil is captured here in his early prime as well - with a free and sonorous baritone that makes "Eri tu" one of the highlights of the performance. His Renato is appropriately menacing and anguished at the same time. Giulietta Simionato, a veteran Italian mezzo, who specialized in Verdi's mezzo roles, makes the most out of this brief but important role. Her top voice rings out dramatically in Ulrica's climaxes, though one would have liked equal power on those exciting "basement" notes that Verdi actually wrote for a true contralto, which Simionato was not (but then again, real contraltos are as scarce as original Mickey Mouse watches). Sylvia Stahlman was an excellent coloratura who should have had a greater career, as her Oscar here demonstrates. Her passage work is accurate, attractive, and limber. Her contribution to the trio in Act III is formidable. That leaves Birgit Nilsson, the mighty Isolde and Brunnhilde of her generation. Yes, she was a Wagnerian and Strauss soprano, but she was also an Aida, a Tosca, a Lady Macbeth, the most famous Turandot in history, and finally, an Amelia in "Ballo". Nilsson does not have the Italianate sound that we have become accustomed to in these roles, but her Nordic virtues are well known. She sang this role often in Sweden, and did very well by it. The role is very difficult, and is loaded with top B flats, B's, and a couple of high C's. These top notes are child's play for her. Her vocal power is something not to be believed, and her ascent to the climatic top C in the Act II aria is something which must be experienced rather than described. She and Bergonzi blend beautifully in the big duet in Act II and they both end it on a sustained high C (though it must be said that Nilsson's is five times the size of Bergonzi's, and she was probably STILL standing further from the microphone!). This recording is a real recorded achievement, and I don't think you've really experienced Verdi"s "Ballo" until you've heard the possibilities explored here. If I had to part with all my other "Ballo" recordings (and I have plenty of them!), this is most definitely the one I'd be clinging to. At the incredibly low price Amazon is charging for it, my advice is to grab it before it again becomes out of print.

Grazia Decca! Bravo Bergonzi!.......2007-04-22

Thanks and praise to Decca for finally making this Ballo available on CD. Riccardo was one of Carlo Bergonzi's greatest roles -- right up there with Radames, Alfredo, Alvaro, Edgardo, and Nemorino. In addition to this Decca/Solti offering, which is Bergonzi's first commercial recording of Ballo, there is his second commercial recording a few years later for RCA with L. Price, Grist, Verrett, and Merrill under Leinsdorf. There are also pirate CDs of a live performance with Leyla Gencer, as well as pirate VHSs, now available on DVDs, of a fine live televised performance in Tokyo (with Stella and Zanasi, and Japanese subtitles). When Decca recently issued its Bergonzi "Sublime Voice" collection, most of Riccardo's role was included (but not the final masked ball scene with the Amelia-Riccardo duet and Riccardo's death-bed pardon of Renato). That release was welcome, but not enough for those who admire the whole Decca recording which until now was available only on our old LPs.

Comparing the present Decca issue with the RCA studio recording, Bergonzi's performance on both is outstanding, but the Decca is, to my ears, the more exciting of the two. As to the other participants and the two recordings taken as a whole, each has its merits and demerits, and any lover of this opera will be fortunate to own both. The Decca acoustic, as with other Decca recordings of the period (such as the Karajan Aida with Tebaldi, Bergonzi, and Simionato), favors the orchestra and occasionally comes close to drowning out the soloists at a climactic moment (but it's better than the aforementioned Aida in this respect). But all the words and all the music are there and are easily audible, especially if you know what you are listening for, and the quality of the sound -- both near and distant --is excellent. There is also some use of the patented Decca stage movement, which works well. With the soloists in full cry and not close-miked, the Decca comes much closer to simulating the ambience of a live performance than the RCA studio recording. And Solti's account of the orchestral score is exciting in a way that the Leinsdorf for RCA, though excellent, is not.

Birgit Nilsson may not be anyone's first choice for Amelia, and sometimes her loud high notes are so metallic as to be more suited to her Wagner and Strauss heroines than to Verdi. But I find her performance here taken as a whole to be enjoyable, dramatically expressive, in many places exciting, and sufficiently attuned to the Verdi style to be interesting and worth hearing and rehearing. L. Price on the RCA has her good moments, and she was a great Verdian, but she seems not to be in her best voice in many places on that recording.

As for Oscar, Sylvia Stahlman on Decca holds her own with the much more frequently recorded Grist on RCA. Stahlman is quite pleasant to listen to and acquits herself very well in the role, although her low notes are weak and her diction not quite up to Grist's standard. The Grist performance on the RCA is also excellent.

Ulrica is a somewhat ungrateful part which is not the best role in the great Simionato's repertoire (or that of other great Verdi mezzos), but she acquits herself honorably here, sometimes with better volume in the high parts than in the low parts (a bit surprising, in light of her justified fame as Amneris and Azucena, although I think part of the problem on this recording may be the Decca sonics). If mild criticism is justified, the fact remains that the role is well and idiomatically sung. Verrett on RCA is her usual full-toned force of nature, and she gives the kind of thrilling account of this role that one came to expect from her, whether she was Eboli, Dalilah, or Lady Macbeth.

MacNeil as Renato on Decca is fresh-voiced and deploys a beautiful instrument. But Merrill on RCA gives a more seasoned and, perhaps surprisingly to some, a more dramatically characterful account of the role.

John Culshaw recounts in his autobiography "Putting the Record Straight" the difficulties that arose in making this recording, including a sad account of his dealings with Jussi Bjorling, whom Bergonzi replaced on this project. Although Culshaw was "haunted" by the "ghost" of Bjorling "no matter how superbly Bergonzi sang" and appears to think that this recording is not one of Decca's most successful efforts, it has much to commend itself from my perspective. You can turn the volume up for most of the opera for optimal appreciation of the soloists, and you can turn it down in time to avoid being startled by the one or two orchestral climaxes that may fairly be characterized as blasting (including the final notes of the opera). The faults of this recording notwithstanding, the magnificence of the Bergonzi performance is a treasure, and the rest of the recording matches up pretty evenly with the RCA when the pluses and minuses of each are considered, and there are elements in each that could just as well lead someone to favor the Decca over the RCA as vice versa. But since we now have both, there is no need to prefer one over the other.

If Decca's tardiness in preparing and issuing this CD had to do with a perceived conflict with its Bartoletti/Pavarotti and/or its Solti/Pavarotti recordings of this opera (and I have no idea whether that was the case) -- or if it reflected an assumption that there would not be a sufficient market for this Solti/Bergonzi offering in view of the Pavarotti recordings (also entirely speculative) and the reductions over time in the ranks of Bergonzi fans, including those who, like myself, have heard him perform this and other roles at the MET -- those considerations would only make me more grateful. There is more than one good recording of most great operas. It will be interesting to see how the market responds to the current issue. I would guess that there are many people of all ages who cherish Bergonzi's extensive discography and who will be delighted to have this Ballo for the enjoyment it will hold for years to come. Perhaps this review will help encourage others to take advantage of the opportunity to experience the pleasures of this recording.

Average customer rating:

Story Of Verdi In Words And Music Manufacturer: Vox (Classical) ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Children's Music | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music CDs Under $7 | Requiems | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Requiems | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: The Story of Tchaikovsky Story Of Johann Strauss In Words And Music The Story Of Brahms Story Of Dvorák In Words And Music Story Of Wagner In Words And Music ASIN: B000001KDJ Release Date: 1995-04-16

Tracks:

1. La forza del destino: Overture
2. Aida: Ballet
3. Otello: Drinking Song
4. Otello: Ave Maria
5. La forza del destino: Overture
6. Requiem: Requiem aeternam
7. Un Ballo in Maschera: Eri tu, Che Macchiavi
8. Nabucco: Chorus Of The Hebrew Slaves
9. Aida: Ballet
10. Rigoletto: La Donna e Mobile
11. Requiem: Agnus Dei
12. Anvil Chorus
13. La Traviata: Libiamo (Drinking Song)
14. La Traviata: Sempre Libera
15. La forza del destino: Solenne in Quest'Ora
16. La forza del destino: Pace, Pace, Mio Dio
17. Aida: Celeste Aida
18. Aida: O Patria Mia
19. Requiem: Dies Irae
20. Otello: Opening
21. Falstaff: L'Onore! Ladri!
22. La Traviata: Addio Del Passato
23. Il Trovatore: Stride la Vampa
24. Nabucco: Chorus Of The Hebrew Slaves
25. Aida: Chorus And Triumphal March From Act II
26. La forza del destino: Pace, Pace, From Scene 4
27. Aida: Qui Radames verra, From Scene 3

Average customer rating: Sensuality Personified!

The Very Best of Régine Crespin Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Canteloube, Joseph | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Fauré, Gabriel | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Poulenc | Poulenc, Francis | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Legend: Régine Crespin [CD & DVD] Italian Opera Arias Berlioz: Les Nuits d'été; et al / Crespin, Ansermet Very Best of The Very Best of Lucia Popp ASIN: B0006VYEJQ Release Date: 2005-04-26

Tracks:

1. Ils S'Eloignent Enfin...Sombre Foret
2. D'Amour L'Ardente Flamme
3. Les Grecs Ont Disparu...Malheureux Roi!
4. Nous Avons Vu Finir...Chers Tyriens
5. Je Vais Mourir...Adieu, Fiere Cite
6. Ah! Salome! Dans Ce Palais...Il Est Doux, Il Est Bon
7. Je Souffre
8. Mes Cheres Filles, J'Ai Encore A Vous Dire
9. Soir
10. Le Secret
11. Apres Un Reve
12. Clair De Lune
13. Lo Fiolaire
14. Lou Coucut
15. Coeur En Peril
16. Berceuse Creole

Tracks:

1. Einsam In Truben Tagen
2. Euch Luften, Die Mein Klagen
3. Eine Waffe Lass Mich Dir Weisen...Der Manner Sippe
4. Ich Sah Das Kind
5. I. Der Engel
6. II. Stehe Still!
7. III. Im Treibhaus
8. IV. Schmerzen
9. V. Traume
10. I. In Der Fremde
11. II. Intermezzo
12. III. Waldesgesprach
13. Timor Di Me?...D'Amor Sull'Ali Rosee
14. Ecco L'Orrido Campo...Ma Dall'Arido Stelo Divulsa
15. Tu Che Le Vanita
16. D'Art Et D'Amour

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Sensuality Personified!.......2005-04-27

This is one of the best collections of Regine Crespin. Of course, her Berlioz/Ravel set with Ansermet is definitive, but the beauty and soft womanliness of her voice can be heard in all the selections on this disc. The engineers went for her vocal best and they created a fine collection aptly titled "The Best of..." One would be unduly captious to find Crespin "brittle" of tone here.

It is by now, very difficult to imagine anyone singing "Il est doux" with more apt expression of the line than La Crespin. Wagner's Wesendonk lieder is simply sublime from start to finish and the Faure takes on new meaning. That she is comical, melancholy, fun and happy by turns singles her out. This collection captures all her awesome talent. Underneath it all seems to be a very, if I may, sexual energy.

Crespin must be heard to be believed and the miracle lies in that even her softest tones are really enveloping, never thin. All tones are open and this is why there are enough colors in Regine Crespin's delicious voice to paint the world a thousand times, but it may also be why she infamous for being short and edgy on top but I remind, never here is she such. She is a relaxed singer in superb voice, comfortable in her own olive skin and makes the most out of every word those poets wrote.

The whole collection is unique in pace, style, and voice. It is Regine Crespin...in a nutshell fabulous!

Average customer rating: Not as good as Amore a voice teacher and early music fan Verdi The triumph of mediocrity no expert

Andrea Bocelli: Verdi Zubin Mehta , Israel Philharmonic Orchestra , and Zubin Mehta Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music Bocelli, Andrea | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Bocelli, Andrea | A to B | Featured Performers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Adult Contemporary | Pop | Styles | Music Similar Items: Andrea Bocelli - The Opera Album ~ Aria Cieli di Toscana Andrea Romanza Sogno ASIN: B00004X16D Release Date: 2000-09-12

Tracks:

1. Il Trovatore: Di quella pira (Il Trovatore)
2. Il Trovatore: Ah si, ben mio (Il trovatore)
3. Rigoletto: La donna e mobile (Rigoletto)
4. Un Ballo in Maschera: Di'tu se fedele (Un ballo in maschera)
5. Un Ballo in Maschera: Ma se m'e forza perditi (Un ballo in maschera)
6. Rigoletto: Ella mi fu rapita (Rigoletto)
7. Rigoletto: Possente amor mi chiama (Rigoletto)
8. Aida: Celeste Aida (Aida)
9. La Traviata: De' miei bollenti spiriti (La traviata)
10. La Traviata: oh mio rimorso (La traviata)
11. I lombardi: La mia letizia infondere vorrei (I lombardi)
12. Ernani: Merce, diletti amici (Ernani)
13. Don Carlo: Io la vidi e il suo sorriso (Don Carlo)
14. Luisa Miller: Quando le sere al placido (Luisa Miller)
15. La forza del destino: La vita e inferno all'infelice (La forza del destino)

Amazon.com Classical Music Reviews

With this CD devoted solely to operatic arias--by none less than Giuseppe Verdi, the greatest Italian opera composer of all time--pop crossover phenomenon Andrea Bocelli throws his hat into the operatic ring with the big boys. The hat occasionally fits, and occasionally it doesn't. The beauty of the voice is undeniable, as is the relative ease in all registers. But, regardless of what the engineers do, it is clearly a small voice. For "Celeste Aïda"--Radames's great aria from Aïda--Bocelli opens with fine, as-big-as-possible exclamation and sounds confident; the long diminuendo on the aria's final high B-flat is stunning (whether or not the engineers were twiddling with the knobs, we'll never know). The tenor is more at home with Alfredo's Act Two music from La Traviata; he sings with grace and charm, ending the rarely performed cabaletta (a brief and showy piece that usually follows an aria) with one of the longest, most solid high Cs ever recorded. Elsewhere, there are mixed results: "Di' tu se fedele" from Un ballo in maschera is so free of feeling that it seems digitally produced. A big, unnecessary high D at the close of the Duke's cabaletta "Possente amor" from Rigoletto is screamed, and Bocelli sounds at times as if he's about to collapse from exhaustion during a heavy aria from Ernani. But "Ah si, ben mio" from Il Trovatore is beautiful, as is the Luisa Miller aria; Don Carlo also seems to fit Bocelli well. Needless to say, the singer's fans will certainly want to have this--and it might encourage them to try other recordings of music by Verdi. Newcomers and the curious will find plenty to admire, too. The sound itself remains alluring, and Bocelli has taken steps also towards improving his technique. In short, some nice surprises for the opera lover, and many for the Bocelli fan. --Robert Levine

Customer Reviews:

Not as good as Amore.......2007-03-24

This CD came perfectly, I just prefer the Amore CD better.

a voice teacher and early music fan.......2007-02-14

It is said that from the age of eleven years, Guiseppe Verdi (1813-1901) wanted to write operas. He left his post as organist to study music in Milan, a move made possbile by his patron,Barezzi, whose daughter he eventually married in 1836. Shortly thereafter he composed his first opera 'Oberto" which was so successful that his future seemed secure. However, the death of his wife and two babies some time later forced him into a state of depression. The impressario Mirelli gave him the book 'Nabucco' (Nebuchadnezzar) to read, and he immediately began to write music for it. Therewith he embarked on the career which eventually made him the "Grand Old Man" of Italian opera. In modern slang, he was a "natural".From "Oberto", written in his twenties, to "Falstaff", completed when he was eighty, his characteristic integrity and intensity persisted; as he wrote his 30 operas, his powers of expression broadened and deepened. By the time he wrote 'Aida', commissioned by the Khedive of Egypt, Verdi was 56. 'Aida' is often named as his greatest opera. The live elephants used in the production, the authentic costumes and musical instruments copied from ancient Egyptian tombs made an attractive picture, and his music made a "Celeste Aida" of the whole.
Lets face it; Bocelli is no Pavoratti, and perhaps it was not wise to choose some of the arias associated with tenors of his ilk, but Bocelli makes the best of his talents, which are considerable. And he has done a lot to create interest among young voice students,(male) and as a voice teacher I make use of his appearance and his youthfulness to engage their interest, and he does that!!!!I think his record sales tell the tale.

Verdi.......2007-01-03

Excellent Verdi selections. As usual, top tonal quality with excellent breath control. The best tenor to come along with such diversification as to sing just about anything presented to him. A superb choice for the connoisseur of italian operas.

The triumph of mediocrity.......2006-02-04

No, Bocelli is not an awful singer, he is an awful OPERA singer, and it shows here. His colorless, uneducated and bland voice make me wonder why people like him so much. As a baritone in training I'm able to say that my voice teacher's STUDENTS sing much better than this guy.
His tessitura is nowere near adequate for singing any of the arias from Rigoletto, "La donna è mobile" sounds much like a kid would sing it. "Celeste Aida" is one of the worst selections, and one of the most electronically enhanced, as it requires a precise voice placement (which Bocelli doesn't posses) since much of it lies very high in the register, and a heavier, rounder voice; if the role is not adequate for many REAL tenors, it is much less adequate for a pop singer. The "feeling" raving reviewers talk about is nothing more than a voice coming (incorrectly) from the throat, and the "beautiful" high D in "Possente amor" is a beautifully screamed falsetto, the same could be said about "Di quella pira"'s C; what's amazing about all this is the fact that electronic enhancement doesn't make his voice sound better. Some have ludicrously compared him to the likes of Vargas, Domingo, and Corelli, even saying he's better; this is nothing more than ignorance and bad taste.
Maybe his fans are tired of detractors bringing out the big names in their defense, so let's be honest: he's one of the WORST opera interpreters out there, I wish great singers like Mariusz Kwiecen, Matthew Polenzani, and René Pape received the publicity he gets, though it won't happen; at least some consolation lies in the fact that these people are true artists willingly and GLADLY offering their art to the people in order to make a living; I'm sure if Andrea didn't make so much $$$$ with his opera experiment, he would've dropped this travesty long ago.

no expert.......2005-12-17

I'm not a genuine, dyed-in -the-wool opera fan. The sound of the soprano voice makes me grit my teeth. Some of the great tenors are very pleasing, but mostly I'm just not especially enthusiastic or impressed. Actually, I think it's rather stupid for good singers to abuse their voices by bellowing. This was necessary before the invention of amplification, but not any more.
So, obviously, I'm not in the position to compare Bocelli's arias to those of the tenors considered the greats. I can hear that his voice lacks the robustness of the Pavarottis of this world. BUT - I like many of the famous arias, and to my ear, Bocelli's performances, electronically enhanced or not, are melodic and pleasant to the ear. As a result of listening to Bocelli, I've become familiar with some great music that I would otherwise be likely to ignore.
So I listen and enjoy and really don't care about all the criticism.

Average customer rating: Complete Solti/Bergonzi Ballo Released Another dazzled listener Sublime indeed The sublime vocal artist Blown away!

Carlo Bergonzi - The Sublime Voice ~ 40 Tracks from the Legendary Tenor Giuseppe Verdi , Giacomo Puccini , Ruggiero Leoncavallo , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Herbert von Karajan , Georg Solti , Rafael Kubelik , Nello Santi , Gianandrea Gavazzeni , Lamberto Gardelli , Sir John Pritchard , Carlo Bergonzi , Renata Tebaldi , Ettore Bastianini , Fiorenza Cossotto , Enzo Sordello , Dietrich Fischer-Dieskau , Tugomir Franc , Renata Scotto , Libero Arbace , Fernando Corena , Birgit Nilsson , Giulietta Simionato , Sylvia Stahlman , Joan Sutherland , Dora Carral , and Piero de Palma Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Bergonzi, Carlo | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music General | Pop | Styles | Music General | R&B | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini The Very Best of Franco Corelli The Very Best of Beniamino Gigli The Very Best of Giuseppe di Stefano The Very Best of Nicolai Gedda ASIN: B00004C8TH Release Date: 2001-06-12

Tracks:

1. La Boheme: Che Gelida Manina - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
2. La Boheme: O Soave Fanciulla - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
3. La Boheme: Mimi E Tanto Malata - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
4. La Boheme: Dunque E Proprio Finita! - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
5. La Boheme: In Un Coupe?... O Mimi, Tu Piu Non Torni - Carlo Bergonzi/Renata Tebaldi/Rodolfo Gianna D'Angelo/Ettore Bastianini
6. Madama Butterfly: Dovunque Al Mondo - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
7. Madama Butterfly: Vogliatemi Bene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
8. Madama Butterfly: Io So Che Alle Sue Pene - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
9. Madama Butterfly: Addio, Fiorito Asil - Carlo Bergonzi/Renata Tebaldi/Fiorenza Cossotto/Enzo Sordello
10. Cavalleria Rusticana: Ah! Io Vedi, Che Hai Tu Detto? - Carlo Bergonzi/Fiorenza Cossotto
11. Pagliacci: Recitar!... Vesti La Giubba - Carlo Bergonzi
12. Don Carlo: Dio, Che Nell'alma Infondere - Carlo Bergonzi/Dietrich Fischer-Dieskau/Tugomir Franc/Chor Of The ROHCG
13. Rigoletto: Questa O Quella - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
14. Rigoletto: Ella Mi Fu Rapita! - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
15. Rigoletto: Parmi Veder Le Lagrime - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
16. Rigoletto: Possente Amor Mi Chiama - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
17. Rigoletto: La Donna E Mobile - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
18. Rigoletto: Bella Figlia Dell'amore - Carlo Bergonzi/Dietrich Fischer-Dieskau/Renata Scotto/Fiorenza Cossotto
19. Otello: Dio! Mi Potevi Scagliar - Carlo Bergonzi

Tracks:

1. Un Ballo In Maschera: La Rivedra Nell'estasi - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
2. Un Ballo In Maschera: Di' Tu Se Fedele - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
3. Un Ballo In Maschera: E' Scherzo Od E Follia - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
4. Un Ballo In Maschera: Teco Io Sto - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
5. Un Ballo In Maschera: Forse La Soglia Attinse - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
6. Un Ballo In Maschera: Ma Se M'e Forza Perderti - Carlo Bergonzi/Birgit Nilsson/Giulietta Simionato/Sylvia Stahlman/Fernando Corena/Libero Arbace...
7. Tosca: E Lucevan Le Stelle - Carlo Bergonzi
8. Manon Lescaut: Donna Non Vidi Mai - Carlo Bergonzi
9. Aida: Se Quel Guerrier Io Fossie!... Celeste Aida - Carlo Bergonzi/Renata Tebaldi
10. Aida: Pur Ti Riveggo, Mia Dolce Aida - Carlo Bergonzi/Renata Tebaldi
11. La Gioconda: Cielo E Mar! - Carlo Bergonzi
12. La Traviata: Un Di Felice, Eterea - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
13. La Traviata: Lunge Da Lei - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
14. La Traviata: De' Miei Bollenti Spiriti - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
15. La Traviata: O Mio Rimorso! - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
16. La Traviata: Parigi, O Cara - Carlo Bergonzi/Joan Sutherland/Dora Carral/Piero De Palma/Chor Del Maggio Musicale Fiorentino
17. Il Trovatore: Deserto Sulla Terra - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
18. Il Trovatore: Ah! Si, Ben Mio - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
19. Il Trovatore: Di Quella Pira - Carlo Bergonzi/Ettore Bastianini/Chor Del Teatro All Scalla Di Milano
20. Adriana Lecouvreur: La Dolcissima Effigie - Carlo Bergonzi
21. Adriana Lecouvreur: L'anima Ho Stanca - Carlo Bergonzi

Customer Reviews:

Complete Solti/Bergonzi Ballo Released.......2007-04-24

No need to add to what the other reviewers say about this five-star collection. I am writing to alert readers that on April 10, 2007 Decca released the complete recording of Un Ballo in Maschera with Bergonzi, Nilsson, Stahlman, Simionato, and MacNeil, conducted by Solti. To read my detailed review of that release, bring the product up on Amazon.

Another dazzled listener.......2006-12-12

I had to write the same thing for the Sony Classical recording of a Bergonzi recital of Italian songs--this is simply one of the most passionate and intelligent singers I have ever heard, and he sounds as good or better now than when I first played one of his records 25 years ago. Anyone who has the slightest shred of interest in the operatic voice should own this collection from one of the truest and most passionate tenors in recorded history.

Sublime indeed.......2006-05-31

I first came to appreciate the artistry that is Carlo Bergonzi on his magnificnt recording of Butterly with Renata Scotto. Later I got the privelege of hearing him several times in person. He was among the most intelligent of tenors. He knew his voice well and how to use that voice to convey the drama and music in a wonderful combination.

If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.

I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.

On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.

All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.

The sublime vocal artist.......2003-08-15

I have seen most of the great tenors of the past 50 years at the Met: Corelli, Tucker, Vickers, Gedda, Pavarotti, Domingo, etc.. For me, Bergonzi over all, was the superior Italian Opera tenor. His legato, agility, breath control, tasteful musicianship, diction, was superior to most of the great tenors. He was outstanding as Nemorino and Rhadames; Edgardo and Alvaro etc.. This CD shows him at his very best, which is a joy to hear. This CD is a must vocal lesson for any aspiring young tenor, as Carlo Bergonzi is a master singer.

Blown away!.......2003-01-20

This album brings Carlo Bregonzi to life. This is a view from all angels. He commands such an array of singing styles.
No one brings the great composers to life the way Carlo Bergonzi does.

Buy this album!

Average customer rating: Set in the Provinces A musically superior performance! Great conductor, great leading soprano The Safest Choice

Verdi - Un ballo in maschera / Arroyo · Domingo · Cappuccilli · Cossotto · Grist · NPO · Muti Giuseppe Verdi , Riccardo Muti , Plácido Domingo , Martina Arroyo , New Philharmonia Orchestra , Covent Garden Chorus of the Royal Opera House , Piero Cappuccilli , Fiorenza Cossotto , Reri Grist , Richard van Allan , Kenneth Collins , Giorgio Giorgetti , and Gwynne Howell Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Similar Items: Verdi: Il Trovatore Verdi: Un Ballo In Maschera (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Antonino Votto, Chorus & Orchestra of La Scala, Milan Verdi: I Vespri Siciliani Il Corsaro Verdi: La Forza del Destino ASIN: B000002SAL Release Date: 1997-09-30

Tracks:

1. Prelude
2. Act One, Scene One: Posa in Pace, A' Bei Sogni Ristora
3. Act One, Scene One: S'avanza Il Conte
4. Act One, Scene One: La Rivedra Nell' Estasi
5. Act One, Scene One: Il Cenno Mio Di La Con Essi Attendi
6. Act One, Scene One: Alla Vita Che T'arride
7. Act One, Scene One: Il Primo Giudice
8. Act One, Scene One: Volta La Terrea
9. Act One, Scene One: Ogni Cura Si Doni Al Diletto
10. Act One, Scene Two: Zitti... L'Incanto Non Dessi Turbare... Re Dell' Abisso, Affrettati
11. Act One, Scene Two: Arrivo Il Primo!... E Lui, E Lui!
12. Act One, Scene Two: Su, Fatemi Largo, Saper Vo' Il Mio Fato
13. Act One, Scene Two: Rallegrati Omai
14. Act One, Scene Two: Che V'Agita Cosi?
15. Act One, Scene Two: Della Citta All' Occaso
16. Act One, Scene Two: Consentimi, O Signore
17. Act One, Scene Two: Figlia D'Averno, Schiudi La Chiostra
18. Act One, Scene Two: Su, Profetessa, Monta Il Treppie
19. Act One, Scene Two: Di' Tu Se Fedele
20. Act One, Scene Two: Chi Voi Siate, L'Audace Parola
21. Act One, Scene Two: E Scherzo Od E Follia
22. Act One, Scene Two: Finisci Il Vaticinio

Tracks:

1. Act Two: Prelude
2. Act Two: Ecco L'Orrido Campo Ove S'Accoppia
3. Act Two: Ma Dall'Arido Stelo Divulsa
4. Act Two: Teco Io Sto
5. Act Two: Non Sai Tu Che Se L'Anima Mia
6. Act Two: Oh, Qual Soave Brivido
7. Act Two: Ahime! S'Appressa Alcun
8. Act Two: Amico, Gelosa T'Affido Una Cura
9. Act Two: Odi Tu Come Fremono Cupi
10. Act Two: Seguitemi
11. Act Two: Ve', Se Di Notte Qui Colla Sposa
12. Act Three, Scene One: A Tal Colpa E Nulla Il Pianto
13. Act Three, Scene One: Morro, Ma Prima In Grazia
14. Act Three, Scene One: Alzati! La Tuo Figlio
15. Act Three, Scene One: Eri Tu Che Macchiavi Quell' Anima... O Dolcezze Perdute! O Memorie
16. Act Three, Scene One: Siam Soli. Udite
17. Act Three, Scene One: Dunque L'Onta Di Tutti Sol Una
18. Act Three, Scene One: D'Una Grazia Vi Supplico
19. Act Three, Scene One: Qual E Dunque L'Eletto?... Ah! Del Conte La Morte Si Vuole!
20. Act Three, Scene One: Il Messaggio Entri
21. Act Three, Scene One: Ah! Di Che Fulgor, Che Musiche
22. Act Three, Scene Two: Forse La Soglia Attinse
23. Act Three, Scene Two: Ma Se M'e Forza Perderti
24. Act Three, Scene Three: Fervono Amori E Danze
25. Act Three, Scene Three: Saper Vorreste Di Che Si Veste
26. Act Three, Scene Three: Fervono Amori E Danze
27. Act Three, Scene Three: Ah! Perche Qui! Fuggite
28. Act Three, Scene Three: E Tu Ricevi Il Mio!
29. Act Three, Scene Three: Ella E Pura: In Braccio A Morte

Amazon.com

Betrayal and forgiveness are the themes of this complex opera: Amelia's betrayal of her husband, Renato (she is having an affair with Riccardo. governor of the Massachusetts Bay Colony), and the betrayal and assassination of Riccardo by a group of conspirators. The libretto is better integrated than most of Verdi's operas written before Otello and Falstaff. It was originally about an historic incident, the assassination of King Gustav III of Sweden, but Roman censors, nervous about royal assassinations, forced the absurd relocation of the opera to colonial Boston. The music is prime middle-period Verdi, less spectacular than Il Trovatore, Rigoletto or La Forza del Destino, but it is warmly, richly expressive. It requires and rewards exceptionally good voices, and it gets them in this production. Outstanding work by Muti helps make this one of the best Verdi recordings ever made. --Joe McLellan

Customer Reviews:

Set in the Provinces.......2006-10-06

This opera combines wonderfully entertaining music with a wacky setting. Its reputation has been unfairly weakened by an implausible setting in New England. Verdi was never Romantic enough to care much about national cultures, especially a culture distinguishing colonial New England from a Protestant nation like Sweden. Italy for centuries had not been a nation but the heartland of the ancient Roman Empire and the international Roman Catholic Church. That perspective translated into a neoclassical indifference toward deviant provincial cultures. Italian opera composers such as Jommelli and Paisiello flourished in the neoclassical period; and Rossini's style did not differ all that much from theirs. Although Verdi sometimes looked back with disdain on Rossini's stylistic limitations, neither Bellini, Donizetti nor Verdi himself ever broke with certain Italian characteristics derived from that older tradition. That tradition meant an implicit internationalism making New England nothing but just another province, in fact a province of another province, Britannia.

The weird woman in a cave, Ulrica (sung by Fiorenza Cossutto), is just another version of Azucena, who is set in Spain (the province of Hispania) in Il Trovatore. In Verdi's imagination a "strega" is basically a "strega" no matter where she appears, out in the provinces or back home in Italy. Cultural anachronisms such as the masked ball or the dueling code may ignore actual New England Protestantism; but Protestantism, in this view, is provincial religion not to be taken seriously. Why, for that matter, should the new republic in North America be essentially all that different from the old republic of Venice, which neatly went out of existence a decade after the completion of the United States constitution. As I listen to the bell-clear tones of Reri Grist as the page Oscar, my imagination accepts the premise that I am witnessing events from the basic world of Western Civilization as viewed from the heartland.

A musically superior performance!.......2005-10-16

Take my word for it, this is the best Ballo out there. I am not fan of Un Ballo in Maschera, Arroyo, Domingo, Grist, Muti or Capuccilli, so I have no reason to shout the biased glories of this performance, neither can I reject the greatness of it. It is superb!

Martina Arroyo's performance is flawless and for the first time she did not bore me, for in spite of the supreme timbre of her voice she usually is not interesting dramatically. But here, she was most dramatic without ever deviating in any way whatever from the score; no scoops, swoops, screams, shrieks, extended notes or shouts, just telling vocalism. At one point, in the duet "Teco io sto" a strange eroticism took over; soft, mellow, slow, like real love between Domingo and Arroyo. This is something I had NEVER heard before in this duet. It was wonderfully graceful.

This is the only recording of Domingo I really value, for though he lacks elan, he has wonderful musicality. Cossotto does not match the others for depth and darkness, but once again musical perfection is the hallmark of this recording and that quality she has. Capuccilli is a little dull and if less musical than the others, his chesty voice delivers and satisfies in way the others do not. You see what I mean? There is something magical about this Ballo. Grist may have lost some of the pearls off her string of a voice, but her characterization is better than her previous Oscar with Leinsdorf, where her voice was absolutely immaculate. Anyway, she is best Oscar ever.

I guess the star is Muti. I think that his attention to detail and strict adherence to the score create something special in Ballo that perhaps would not work as well in Traviata, per se. He chose obediant singers, not known for the depth of their interpretations. They are smart singers, dependable, and musical. I guess that is why I am so surprised that I have been.....perhaps.....moved!

Great conductor, great leading soprano.......2005-05-18

Having a great conductor/orchestra and one of the worlds most celebrated tenors certainly can't hurt, but this recording features a great baritone and a legendary mezzo. Last but not least, it also features a soprano of true distinction as well.

Martina Arroyo could always hold her own with the great sopranos of her day--a fact too easily forgotten. In this performance she actually beats out the competition, competition that includes Milanov, Tebaldi, and Price. Most critics would agree that this is Arroyo's finest recorded performance. And what a performance it is! Vocally, she is resplendent, and the recording is a glowing tribute to a soprano too often overshadowed by her contemporaries, but one who should never for a moment be overlooked or allowed to become an operatic footnote. Arroyo's performance demands that we sit up and take notice--and admire.

The Safest Choice.......2001-07-03

Un Ballo in Maschera is one of Verdi's most sophisticated work with its contrasted atmospheres of comedy, drama and grotesque that sometime blend and intertwine. It has also most demanding roles for all the soloists. That is why it is so hard to find a recording that can offer a conductor and a cast that can cope with its demands. Riccardo Muti is the outstanding Verdian of his generation and, together with the fabulous Philharmonia Orchestra, from London, performs Verdi of the highest level. The recording has a sophisticated production with a string quartett for some intimate moments and characterful singers in the minor parts. In my opinion, Amelia is one of the hardest parts in the soprano repertoire - it requires everything a singer can do: spacious low notes, powerful top ones, control of pianissimo, coloratura, you name it - and act II is simply scary even for the most accomplished diva. Although she is not a very exciting singer, Martina Arroyo simply sings it better than all the others. She shows no effort and deals with every trick of the part with musicianly phrasing and good taste. I don't know if I can say the same thing of Fiorenza Cossotto - she certainly is exciting, but the part of Ulrica is too low for her voice. Reri Grist is a delightful Oscar and I think that her straightforward and virtuosistic singer make the necessary boyish impression. Domingo was in good voice when he recorded this role for EMI (the same cannot be said about his performance on DG), but I think that the part has not really much to do with him. It requires a flamboyance he cannot offer when dealing with lyric singing and/or high tessitura. Cappuccilli is high reliable self. In few words, this is a recording who offers less "problems" than all the others. My only doubt concerns the level of "interest" raised by its cast. Even if Arroyo offers perfect vocalizing, I miss Leontyne Price's less elegant, but more intense performance or - more than that - Margaret Price's utterly musician and theatrical (if less vocally comfortable) singing. The competition for Cossotto is even harder. Shirley Verrett is simply astonishing with firmest tones and Christa Ludwig is in a level of vocal richness and of sophistication of characterization few mezzos could dream of rivalling. And, when it comes to tenors, Bergonzi is in a role where nobody rivels him and Pavarotti is the congenial and spontaneous option. That means - even if Leinsdorf is far inferior to Muti and Solti has poorly engineered recorded sound - I wouldn't dream of parting with any of these. If you have Muti (for perfect conducting and solid vocal performances), Solti (for the musically sophisticated cast) and Leinsdorf (for the excitement of listening to singers who established models for those roles) - you have everything you need about this opera.

Average customer rating: Verdi is rolling in his grave Nice sound, but an all time great? Oh dear oh dear... You're kidding, right? The New Pavarotti

Salvatore Licitra - The Debut Giuseppe Verdi , and Carlo Rizzi Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music General | Classical | Styles | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Forbidden Love Duetto Marcelo Álvarez - Bel Canto / Y. Huang, WNO, Rizzi The Man Who Cried The Tenor's Passion ASIN: B000068TL8 Release Date: 2002-07-02

Tracks:

1. Puccini: Tosca: E lucevan le stelle
2. Puccini: Turandot: Nessun dorma
3. Puccini: La Fanciulla Del West: Ch'ella mi creda
4. Puccini: Tosca: Recondita armonia
5. Puccini: Manon Lescaut: Donna non vidi mai
6. Puccini: Madama Butterfly: Addio fiorito asil
7. Verdi: Aida: Celeste Aida
8. Verdi: La Forza Del Destino: La vita e inferno...Oh tu che in seno
9. Verdi: Simon Boccanegra: Sento avvampar nell'anima
10. Verdi: Un Ballo In Maschera: Baccarole: Di tu se fedele
11. Verdi: Un Ballo In Maschera: Forse la soglia attinse
12. Verdi: Macbeth: Ah! La paterna mano
13. Verdi: Il Trovatore: Manrico? Che?...Di quella pira

Amazon.com

Tenor Salvatore Licitra recently made headlines when he stepped in at the last moment for the, sad to say, probably finished Luciano Pavarotti at the Metropolitan Opera's final Toscas of the season. In fact, there's little Licitra could have done wrong under the circumstances, but he was a great success, and judging from his recent Trovatore and this recital CD, he will be most welcome. The good-sized, somewhat dark-hued voice is appealing--and truly Italian--with an innate caressing quality and sense of line, even from top to bottom (he takes the very low option in the Ballo Barcarolle, which most tenors take up an octave), and nice and free on top. He has no trouble sustaining the high tessitura (or big sound and broad phrases) of Alvaro's aria from Forza; he sounds sincerely regretful as the caddish Pinkerton, and might even be the Dick Johnson (in Fanciulla) we've been looking for. This is an impressive debut recital, recommended for those who have been waiting for Italian opera to fall back into the hands of an Italian tenor. --Robert Levine

Customer Reviews:

Verdi is rolling in his grave.......2007-02-24

Untrained, flat singing. Crap! Anyone who thinks this man can sing better than Luciano Pavarotti needs hearing aids and needs to go back and listen to tenors starting with Caruso and all the great tenors who came after him
As a voice teacher, conductor and tenor I can tell you that he CAN NOT SING!!!!

Nice sound, but an all time great?.......2007-01-09

I am hardly an expert, but I have mixed reactions to this CD. First, I think that Licitra's voice has a nice smooth sound to it. But it is also overmatched by some of the music.

I always love hearing tenors take a shot at Verdi's "Di quella pira" from "Il Trovatore." Once, in a moment of madness, I taped 10-15 tenors, back to back, singing this. What a range of singers! Caruso, Tucker, Corelli, and so on, and so on. Some great, some not so great, some poor. But you can really divide up the singers by listening to one after the other (ad nauseam). Truthfully, Licitra can't handle this work, compared with the greatest of those luminaries. His light voice is overwhelmed at the end by the orchestra and chorus. While his technique seems okay, he just doesn't have the voice to make this memorable. A Franco Corelli or Richard Tucker or Mario del Monaco just soars over the orchestra and chorus.

I thought he did much better in "Nessun Dorma" and the two Tosca arias, "E Lucevan le stella" and "Recondita armonia," and others. To me, his voice seemed to fit those more compellingly.

Again, keep in mind that I am not an expert, but his "Celeste Aida" featured (is this the right term?) scooping as he went from "celeste" to "Aida." I have a clear memory of listening to Richard Tucker singing this (I can't get my hands on the tape right now) where he went from one note to the other without a scoop. Same with "forma divina," if I understand aright.

All in all, "Debut" is a nice work, a promising start to a career, but we all ought to hold off on any comparisons with the greats until Licitra has a chance to grow and earn such accolades.

Oh dear oh dear..........2006-10-29

It gives me no pleasure at all to say that anyone with half an ear for good singing can tell within a few seconds that this is a voice going nowhere -as the last few years since this debut recital album have proved. This makes the previous rave reviews even more inexplicable; where do these people keep their ears? Licitra's technique is fundamentally faulty: he has a slow wobble even in the lower reaches of the voice and as he goes up the tone becomes cloudy and throaty - real problems around the so-called "passaggio" where a tenor can easily crack into the falsetto. The overall effect is of an ugly, unharmonious, effortful sound made by an improperly registered voice. He needs to start from scratch and listen to some better voices -as there are virtually no teachers who can help. That's how Del Monaco and Corelli got it right. Robert Levine is usually a very reliable critic - but his mind cannot have been focused on the job in hand if he truly believed what he wrote in the official Amazon review; NJ Keith, on the other hand, is spot on.

You're kidding, right?.......2006-08-22

I'm sorry, but those of you swooning over Licitra simply cannot have heard recordings from the true greats. If your idea of the pinnacle of operatic tenors begins and ends with Bocelli, may I introduce you to the likes of Franco Corelli, Mario Del Monaco, Jussi Bjoerling, Luciano Pavarotti (though not my favorite, still heads and shoulders above what's out there now), and Giuseppe DiStefano. These men were at the top of their profession when their profession was filled with talent, unlike today where any hack with more than one useful octave and a decent tone are considered "star material". It's a very sad commentary to the level of talent today that this man is considered a star.

The New Pavarotti.......2005-10-13

It's fair to say that today's reigning tenor is Salvatore Licitra from Sicily. He won instant, overnight fame when he subbed for Luciano Pavarotti, who, to the dismay of fans who regard him as a god, is way past his prime and can't sing or record full length operas anymore in the thrilling freshness of his youth. As Pavarotti's star faded, Licitra's ascended. He has already sung the great tenor roles in various American opera houses and his debut as the Met as Cavaradossi in Tosca was a relevation. This is debut album and already he has gone above and beyond. It is pretty amazing for a first album. He sings jucity tenor roles that have been the staple arias for Pavoratti, Domingo and Carreras. This is however not the first time his voice has been recorded. There is a full-length studio recording of Verdi's Trovatore in which he sins opposite Dolora Zajick. That Verdi is phenomenal and all fans of Licitra should own it.

Licitra opens the album with a stunning "E Lucevan La Stelle" from Tosca, still the opera he is most famous for interepreting. His Cavaradossi is a welcome change from past interpretors, though Licitra is more along the lines of Pavarotti's lyric bravura and razzle-dazzle than the more cerebral portrayals of Corelli, Domingo or Carrerras. Other impressive arias on here include "Di Quella Pira" from Trovatore, another successful Verdi venture of his. He has the right tone for Manrico's bravura and even passion. I foresee that this tenor's career will be composed of Verdi, Puccini, (perhaps Wagner if he trains hard for it) and certainly he has the voice for Mozart and French repertoire (possibly Hoffman is in his future or Romeo or Des Grieux if he hasnt already sung Des Grieux). His Calaf from Turandot is outstanding. He is more like Franco Corelli in some respects but his biggest influence is Pavarotti, no doubt about it. It's possible he will parallel the career of Roberto Alagna but any comparisons would be unfair since both singers bring in something different to the table. Let's hope the press doesn't pull the wool over our eyes and have Licitra and Alagna portrayed as rivals. If youre a fan of Licitra, this recording is a must have. I highly recommend it. It's gorgeous and he has a sexy, strong presence on stage. His eyes are the handsomest blue I have ever seen. He is the new Pavoratti and better too.

Average customer rating: Voice of the 20th Century.. The OTHER essential Bjoerling CD; 10 stars! 20!

Jussi Bjorling: Opera Arias Giacomo Puccini , Umberto Giordano , Francesco Cilea , Giacomo Meyerbeer , Charles Gounod , Jules Massenet , Friedrich von Flotow , Gioachino Rossini , Nils Grevillius , and Jussi Bjorling Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Flotow | Flotow, Friedrich von | ( F ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Björling, Jussi | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Arias | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Jussi Björling Rediscovered Artists Of The Century - Jussi Bjorling, The Ultimate Collection The "Pearl Fishers" Duet Very Best of Jussi Björling: Opera Arias ASIN: B000002S05 Release Date: 2002-11-05

Tracks:

1. Act II: 'Una furtiva lagrima': L'Elisir d'Amore
2. Act III: 'Ah! si ben mio coll'essere': Verdi: Il Trovatore
3. Act I: Di tu se fedele': Un Ballo in Maschera
4. Act I: 'Se quel guerrier': Aida
5. Act I: 'Recitar!...Vesti la giubba': I Pagliacci
6. Act I: 'Che gelida manina': La Boh
7. Act I: 'O soave fanciulla': La Boh
8. Act I: 'Recondita armonia': Tosca
9. Act Three: 'E lucevan le stelle': Tosca
10. Act Three: 'Ch'ella mi creda libero': La Fanciulla del West
11. Act Three: 'Nessun dorma!': Turandot
12. Act Three: 'Amor ti vieta': Fedora
13. Act II: 'E la solita storia': L'Arlesiana
14. 'Mi batte, il cor... O paradiso': L'Africaine
15. Act III: 'Salut! demeure chaste et pure': Faust
16. Act III: 'Je suis seul!...Ah, fuyez, douce image': Manon
17. Act III: 'M appari tutt'amor': Martha
18. Cujus animan: Stabat Mater

Customer Reviews:

Voice of the 20th Century.........2000-07-13

Björling tops most polls as "singer of the 20th century", and justly so. Whether one prefers his velvety,lyrically smooth voice of the 30s and 40s, or his more full-bodied, darker power-tenor of the late 50s (he was ready to take on Lohengrin and Otello just before his death), no other human voice has left a legacy of Björling's caliber in recording history.

This collection is a wonderful presentation of the young Björling. His voice was said to have a direct appeal to emotions. Listen to "Ch'ella mi creda libero" with its almost extraterrestial "lift" and try to keep the lump in your throat from growing!

The-37 "O Paradiso" is a fantastic display of power blended with beauty - which is also the case with the Tosca arias presented here.

"Che Gelida Manina" is by many regarded as Björling's signature aria, just as "La Boheme" was said to be his signature opera. The -36 version here shows Björling aged 25 with wonderful silvery tone and grasp of message, problems with Italian pronounciation or not.

Björling never lapsed into self parodic sobbing or exaggerated shouts or gliding "loops" to get a message across. He insisted on sticking to what the composer actually had written down...and within these vocal restraints, Björling still managed to portray an unexplored universe of human feelings. "Vesti La Giubba" is a good example of this: no sobbing or bitter laughter but downright hartbreaking nonetheless. True art!

His -44 studio version of "Nessun Dorma" makes an interesting comparison with his -59 recording from the complete Turandot. Touch and go which one to go for as the second or third best version of "...Dorma" ever in recording history. The shining beacon is in my opinion from a radio concert in Sweden in 1944, where Björling for once actually DOES go beyond the strict readings of the work. His final B just stretches on and on and on into eternity - read heaven.

As for his famous ringing high notes, his final D flat on Cujus Animan may be THE one most beautiful sound I've ever heard from a human being!

If you do not have any Björling CDs, this may be a perfect introduction to his art.

And where to go from there? Well,"O Paradiso" is one of many excellent collections from the 50s. There's also a Norwegian compilation called "jussi's Beste" (which sold to platinum in Norway 35 years after his death...). This CD contains among other highlights the wonderful Christmas song "O Helga Natt", in which the final high note is sung with such force that it threatens to blow your speakers to oblivion, never mind your ears...(if it is the last sound I will ever hear, it is OK by me...).

If you want a complete opera recording, you just have to invest your hard earned cash (or bank credit as is the case with me) on Beechams "La Boheme".

Someone said elsewhere that once you have listened to Björling, you may never want to listen to any other tenor...ever: HOW VERY TRUE!

The OTHER essential Bjoerling CD; 10 stars! 20!.......1999-03-15

Along with the "Pearl Fishers Duet" CD, to me this is the other essential Bjoerling. (The more than 2 dozen friends who've received those 2 CDs as a gift can testify to that!)

The "Vesti" is completely heartbreaking, maybe because there's none of the histrionic sobbing that usually accompanies it. And of course there is that 1945 recording of "Nessun dorma!", which I have seen referred to as one of the 5 greatest recordings of all time. The arias from Tosca are also outstanding. The only addition that would make this perfect CD "even more perfect" would be the inclusion of the Gonoud "Ah! Leve-toi, soleil!"

Although I have loved classical music since I was a kid, until Jussi every tenor I ever heard sounded like an opera parody. Jussi is different; he doesn't make you think "Now there's a guy taking a deep breath and singing loud." To steal a line from Amadeus, when he opens his mouth you "hear the voice of God"; absolute, divine beauty, untainted by ego or eccentricity. that seems to flow without strain or effort.

The only risk in listening to this (or, perhaps, any other Bjoerling) CD? You may never, ever be satisfied with any other voice.

Meditation Music:

1. Vincenzo Bellini: Il Pirata
2. Wagner: Der fliegende Holländer
3. Wagner: Der fliegende Holländer (The Flying Dutchman)
4. Wagner Highlights, Volume 2: Parsifal/Tristan Und Isolde/Siegfried
5. Wagner: Parsifal Act 2
6. Wagner: Rienzi (Excerpts)
7. Wiener Staatsoper Live 1933-1944
8. Aida: Opernquerschnitt in deutscher Sprache
9. Albert Lortzing: Der Waffenschmied [Highlights]
10. Beecham Conducts Wagner

Meditation Music

meditation music

Meditation Music

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Britain's Queen of Song

Beethoven: Violin Sonatas Nos. 5, 9, & 10

Music: Hardleaders the Wayout V.2 [Import]

Best of Haddaway: What Is Love

Café del Sol: Atmospheres [Import]

Cacula [Import]

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Before the Flood [Live]

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30 Hits

Bohemios del Amor

49 Hidden Treasures from the African American Heritage Hymnal

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