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Aida, opera
Composed by
Giuseppe Verdi
Performed by
Mexico City Orquesta del Palacio de Bellas Artes
with
Ignacio Ruffino,
Roberto Silva,
Oralia Dominguez,
Maria Callas,
Carlos Sagarminaga,
Mario del Monaco,
Giuseppe Taddei
Verdi: Aida,Giuseppe Verdi,Mexico City Orquesta del Palacio de Bellas Artes,Carlos Sagarminaga,Giuseppe Taddei,Ignacio Ruffino,Maria Callas,Mario del Monaco,Oralia Dominguez,Roberto Silva,Pantheon,Classical,Italian Romantic Opera,Opera
Average customer rating:
- The End of the Big Voice?
- Fla Gator Lady
- 20 Great Tenor Arias
- Plesantly surprised...
- Absolutely Agree About Corelli
|
Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
Manufacturer: Decca
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- Paul Potts [United Kingdom]: One Chance
- The Most Famous Opera Duets
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ASIN: B000007OTX
Release Date: 1998-06-09 |
Tracks:
- La Boheme: Che gelida manina
- Manon Lescaut: Donna non vidi mai
- Carmen Bizet: La fleur que tu m'avais jetee (Flower Song)
- Luisa Miller: O! fede negar potessi .. Quando le sere al placido
- La Traviata: Lunge da lei ... De' miei bollenti spiriti
- Martha: M'appari
- Giordano: Amor ti vieta
- L'Africaine: Mi batte il cuor .. O paradiso
- La Favorita: Favorita del re . . . Spirto gentil
- Werther: 'Pourquoi me reveiller'
- Die Meistersinger von Nurnberg: 'Morgenlich leuchtend in rosigem Schein'
- Les Contes d'Hoffmann: O Dieu! De quelle ivresse
- TOSCA: E lucevan le stelle
- Pagliacci: Recitar! ... Vesti la giubba
- Il Trovatore: Di quella pira
- Aida: Se quel guerrier .. Celeste Aida
- TOSCA: Recondita armonia
- L'Elisir d'Amore: Una furtiva lagrima
- La Gioconda: Cielo e mar!
- Turandot: Nessun dorma
Customer Reviews:
The End of the Big Voice?.......2007-04-16
This CD, which is truly fine overall, reminds me of Marilyn Horne's lament that we have probably seen the end of the big voice and it makes me sad. I agree with the reviewer who refers to "microphonies". And more justice could be done to Bjorling's voice with a better transfer. But at some point, music becomes a matter of taste and I prefers singers who have the instrument and the support and the training, whether formal or not, to just let fly and take a chance on making a mistake. Domingo can be wonderful and so can his musicianship but he tends to be so stiff. I have to wonder at the virulence and asperity with which some people go after Pavarotti. It's true that late in his career he made some questionable recordings but the answer to that is simple: don't buy them. At his best, he belongs for all time in the top echelon of tenors. I love this CD and would recommend it to anyone who enjoys great (big) voices.
Fla Gator Lady.......2007-01-12
Highly recommend this CD with these beloved arias of the greatest tenors in opera. I have owned this CD for a couple of years and purchased another for a friend who always requests that I play it ... perfect for listening in the car, dinner, bridge games, relaxation ... just so perfect. You won't be disappointed in this one.
20 Great Tenor Arias.......2007-01-09
A great disc,combination of the greatest tenors of the 20th century and some of the most beautiful music ever written in any century,a must addition to any opera lovers collection.
Plesantly surprised..........2006-01-14
I don't remember how I found this CD the other day surfing through the "Amazon" such as it is, but I did. I listened to a few clips provided & on the strength of that, I purchased this CD.
First it is a great buy. A booklet with pictures of each tenor, a small bio, the year recorded and TRANSLATIONS of each aria are provided. This is really nice. It seems more & more that translations are being left out. Being a former opera singer, I may know most of the words, but sometimes it's just nice to read along (sometimes it's just nice to listen too).
Being on the Decca label, there is admittedly quite a few Pavarotti selections. Out of 20 selections, he has 6 of them. But I love Pavarotti, so this is no problem for me. These are all early recordings & his voice is magnificent! Being a singer, I still marvel at his ability to sing "All'armi!" on a high D and still say the 2nd syllable "mi" on such a note! WOW. There is also of course his very sweet, impassioned and lyrical turn as Rodolfo in "La Boheme" as well as the lesser known (although I still have it on casette) "La Favorita" which has a particularly high tessitura.
Also featured are a young Plácido Domingo singing a VERY nice "Flower song/ La fleur que tu m'avais jetée" from Carmen. He usually sounds too pushed for me on the top notes (as one might expect from a Pavarotti fan, I like free top notes) but in this recording he is pretty darn fabulous. He also sings an aria from "Tales of Hoffman/Les Contes d'Hoffman" and I have always felt that he, like Neil Schicoff, were well suited to this role.
Lamentably there are only one selection each from Carreras, Correlli, Monaco, Aragall & Kollo. Especial kudos to the young recording they feature for Aragall. He had a very free and nice high tenor well suited to Verdi. Of course as his career went forward with the natural darkening of his voice and the "heavier" roles, he did start to develop a wobble. But this recording is before that. His top, his phrasing are all beautifully done in his featured aria from "La Traviata."
Mario del Monaco's "E lucevan le stelle" is hauntingly beautiful and has such a wonderful pianissimo in it that it makes you just want to gasp for beauty's sake. I now know every tenor I've heard sing this aria was trying to emulate what he did.
This is a great CD because it does bring together on one CD some of the greatest singers of the 20th/21st century. Bergonzi, di Stefano, Björling, in addition to the previously mentioned artists is quite an impressive collection. I'm sure there's only one of each for Carreras, Aragall (I believe they are formerly EMI/Angel artists) and perhaps some of the others because they are "imported" from another label. There's so much Pavarotti on this CD because he IS a Decca artist.
A highly recommended CD, affordable, not the usually obscure and unpolished artists that are sometimes found on compilations. Plus acutal linear notes and translations. Nicely done, Decca!!!
Absolutely Agree About Corelli.......2005-05-27
Franco Corelli's "Nessun Dorma" is still the best of them all - clear, passionate, and exciting. (And those final two notes...! Gives me chills just to think of it.) I was fortunate enough to see him live in both "Turandot" and "Romeo and Juliet" a year before his retirement, and he was still a Calaf and a Romeo to die for... as, of course, Liu and Juliet did! As it is, I tend to buy compilations depending on how much Corelli they include - though Bjorling is a strong second, and I have happy memories of Domingo. Long live the Golden Age of Operatic Tenors!
Average customer rating:
- Great for kids!
- Mediocre Sound Quality
- I was pleased
- The Most Famous Opera Arias
- Okay But.... - a review of "The Most Famous Opera Arias"
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ASIN: B000002SCE
Release Date: 1994-07-19 |
Tracks:
- Rigoletto: Act I - Caro nome
- Rigoletto: Act III - La donna e mobile
- Gianni Schicchi: O mio babbino caro
- Carmen: Act I - Habanera: La voila...L'amour est oiseau rebelle
- Orfeo ed Euridice: Act III - Che faro senz Euridice
- Madama Butterfly: Act III - Un bel di, vedremo
- Romeo et Juliette: Act I - Ah! je veux vivre
- Le nozze di Figaro: Act II - Voi che sapete che cosa e amor
- Samson et Dalila: Act II - Mon coeur s'ouvre a ta voix
- Tosca:: Act II - Vissi d'arte, vissi d'amore
- Aida: Act I-Celeste Aida
- Il Barbiere Di Siviglia: Act I-Una voce poco fa
- Lakme: Act II - Ou va la jeune indoue?
- La Wally: Act I - Ebben? Ne andro lontano
- La Boheme: Act I - Che gelida manina
- Die Zauberflote: Act II-Die Holle Rache kocht in meinem Herzen
Customer Reviews:
Great for kids!.......2007-06-27
I'm generally not a fan of music "samplers," but opera can be tough to introduce to children. And hey--even adults played cards, ate, and talked through the recitative sections of the early operas while they waited for the next aria! So I feel that getting kids hooked on opera through great arias probably can't hurt (the next 10 years or so will determine whether I'm right or not). My 4-year-old loves this CD; it's a delight to watch her imitate Anna Moffo (the sincerest form of flattery, for sure). Highly recommended resource for introducing young kids to opera. More top picks: Siberell's Bravo! Brava! A Night at the Opera, and the Black Dog Opera Library CDs.
Mediocre Sound Quality.......2007-03-31
If you note the album was released in 1994, and includes selections from many years prior, you will understand that the quality of the sound engineering is not going to dazzle your ear.
It's a very nice collection to hum along to, but don't expect shivers down your spine as the sound quality is not sufficient to reproduce the dynamic range of these voices.
I was pleased.......2007-02-18
I am by no means an opera expert, but found this to be a wonderful CD. Along with the songs I already knew I liked (such as a song from Carmen,) I found many others I enjoyed. In fact, Samson et Dahlila turned out to be my favorite. If you are just getting started or at any point in your adventure of opera, I would recommend this one.
The Most Famous Opera Arias.......2007-01-05
I was completely surprised in the product as well as the time in which it was delivered.
I would not only refer this seller but I will come back myself.
Okay But.... - a review of "The Most Famous Opera Arias".......2006-08-18
My daughter (6 y.o.) and I like opera; but sitting for two hours to watch Turandot is just not within the realm of possibilities for my 4 year old son right now... so I was looking for an opera CD for the car. He will sit and listen to short arias.
This was the first we purchased and it is okay but not great.
Problem #1 - where is Wagner. No Wagner?
Problem#2 - Elena Obraztsova - she sounds like Carmen's grandmother. Rather matronly for a vixen (imho--lol)
Three Stars. [C+] Great Price and good sound quality for the car. The operatic styles of some of the performers are antiquated and frilly sounding, but I would probably buy this CD again.
Note: We purchased and really preferred "The # 1 Opera Album". It has more selections and better artists in our opinion. Also it's a two CD set. Just something to consider.
Average customer rating:
- Great Stuff
- A Great Introduction to Italian Opera
- Best of the best!
- Fabulous bargain for anyone
- Great songs for a low price.
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The Best of Italian Opera
Manufacturer: EMI Classics
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ASIN: B000000UXN
Release Date: 1997-01-21 |
Tracks:
- La Traviata: 'Libiamo, Libiamo'
- Rigoletto: 'La donna e' Mobile'
- The Barber Of Seville: 'Una voce poco fa'
- La Boheme: 'Che gelida manina'
- Rigoletto: 'Gualtier Malde!' Caro nome'
- Il Trovatore: 'Vedi! le fosche'
- Il Trovatore: 'Il balen del suo sorriso...Per me ora fatale'
- TOSCA: 'Vissi d'arte'
- La Traviata: 'Di Provenza il mar, il suol'
- The Marriage Of Figaro: 'Voi che sapete'
- Aida: 'Se quel guerrier io fossi...Celeste Aida'
- Madama Butterfly: 'Un bel di vedremo'
- La Gioconda: 'Cielo e mar'
- Lucia di Lammernoor: 'Ardon gl' incesi'
Customer Reviews:
Great Stuff.......2007-07-22
The sound quality of this disc is surprisingly good, very good for an ADD. All the selections captured each singer in his/her top form. It is a real treat that this disc contains many work that were not normally in certain singer's repertoire. Gedda's Aida, Moffo's Rossini-Rosina and Cherobino, for example, all were superbly sung. Even Moffo's Lucia sounds much better than I have ever heard in other places.
A Great Introduction to Italian Opera.......2005-05-01
The artists on this CD succeed in their goal to create a CD that displays great Italian opera. Carlo del Monte and Victoria de los Angeles open the disc with the Brindisi from La Traviata. Victoria de los Angeles is not the best Violetta, but she does the job, along with her parner Carlo del Monte, an underappreciated tenor. Victoria de los Angeles also appears on the CD in "Un bel di vedremo" from Madama Butterfly, a role she was well known for. Swedish tenor Nicolai Gedda appears on the disc twice. His first appearence is a superb rendition of "La donna e mobile" from Rigoletto. His final performance on this disc is in the heroric aria "Celeste Aida", a performance in a role that was not in his voice range. Anna Moffo is the star on this CD, appearing three times in three very different roles. First is her beautiful "Una voce poco fa", normally a role that calls for a mezzo-soprano. Her second is "Voi che sapete" from Le Nozze di Figaro, another mezzo-soprano role. Her final appearence is her best, "The Mad Scene" from Lucia di Lammermoor. Underrated tenor Giuseppe Campora performs "Che gelida manina" with a great tenor voice. Soprano Reri Girst is excellent in her performance of "Caro nome" from Rigoletto. One of my favorite baritones appears on this CD. Robert Merrill is a perfect Count di Luna, and it is evident in his rendition of "Il balen del suo sorriso". Another baritone appears on this CD: mario Sereni. He is not a world famous baritone, but he should have been. Overall, this is an excellent introduction to the world of Italian opera.
Best of the best!.......2003-01-11
The performers, the selections, the quality... almost divine!
Fabulous bargain for anyone.......2002-11-24
I would recommend this CD to anyone, from opera novice to experienced listener...
These are older recordings -- I would guess mostly from the 1960's. The recording quality is exceptional for the day and, while not the equivalent of modern engineering, is sufficient to allow sheer physical pleasure from the music and an immediate appreciation of the vocal qualities of the artists. The sound quality is the only mild drawback...
The performances are magnificent! The voices are almost entirely lighter and more agile than the great voices of the 80's and 90's. In fact, the ear of the editor is apparent in his preference for lighter and more agile voices.
For example, there is a beautiful rendition of "Che Gelida Manina" from someone I had never heard before, Guiseppe Campora. He does not have the weight or volume of Pavarotti or Domingo, but has more elegance and a pure, charming tone. A connoisseur performance, but nevertheless a true operatic rendition by a tenor who can hit the high C with authority -- as good for a newcomer to opera who wants to hear the real thing, as for an opera lover who would like to hear something a bit different.
Some of the artists were among the most famous singers of their day: Moffo, de los Angeles, Gedda.
Anna Moffo, one of the greatest sopranos of her day (and all time), is in magnificent voice in famous blockbusters from Rossini's Barber of Seville, Mozart's Marriage of Figaro, and the Mad Scene from Lucia di Lammermoor.
De Los Angeles is at her best in "Libiamo" from La Traviata, but the recording quality (the one inadequately engineered track on the CD) and her lack of oomph make for a second-rate version of "Un bel di".
In keeping with the light and lyrical orientation of the selections, Moffo -- a famous Gilda and hardly a dramatic voice -- is bypassed for the even lighter, sweeter and more agile colatura Reri Grist (while she still had her voice), in a lovely "Caro Nome".
Another nice selection is Mario Sereni performing "Di provenza, il mar". Both this and "Libiamo" are taken from one of my favorite recordings of Traviata -- also a great chance to hear Serafin at the helm of the Rome Opera House orchestra. (The 2-CD version of this is still available from EMI, I think.) Newcomers will love this pretty tune, and Sereni's archtypal Verdi baritone is good, although hardly the best ever.
Franco Corelli has never been a favorite of mine, but he sounds the best I've ever heard him in his rendition of "Cielo et mar".
Anyway, I didn't intend to list every cut. Whether you are an opera lover who would like to hear some of opera's most famous arias performed in a new light, or an opera lover who would like to hear great performances at a cut-rate price, this CD gets my unqualified approval.
Great songs for a low price........2001-08-16
Ranging from selections of La Traviata, Il Trovatore and other popular Italian operas, this is a great cd for under four bucks. The singers may not be well recognized, but they do possess powerful voices.
Average customer rating:
- Audio beauty and magnificence, Maria Callas
- sublime
- Good "Best Of"
- The Very Best of Maria Callas
- Classic Callas
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- Maria Callas, the Voice of the Century
- The Most Famous Opera Arias
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- The #1 Opera Album
ASIN: B00005Y1YQ
Release Date: 2002-02-12 |
Tracks:
- Carmen: L'Amour Est Un Oiseau Rebelle
- Gianni Schicchi: O Mio Babbino Caro
- La Wally: Ebben? Ne Andro Lontana
- Samson Et Dalila: Mon Coeur S'ouvre A Ta Voix
- Tosca: Vissi D'arte, Vissi D'amore
- Andrea Chenier: La Mamma Morta
- Le Nozze Di Figaro: Porgi Amor
- Orphee Et Eurydice: J'ai Perdu Mon Eurydice
- Aida: Ritorna Vincitor!
- Adriana Lecouvreur: Respiro Appena... Lo So L'Umile Ancella
- Madama Butterfly: Un Bel Di Vedremo
- Norma: Casta Diva
- Turandot: Signore, Ascolta!
- Louise: Depuis Le Jour
- La Boheme: Si. Mi Chiamano Mimi
- La Gioconda: Suicidio
- La Forza Del Destino: Pace, Pace Mio Dio!
Customer Reviews:
Audio beauty and magnificence, Maria Callas.......2007-03-31
There are moments on this recording that are virtually audio heaven.
Ms. Callas' voice goes beyond the normal concept of beauty.
sublime.......2007-02-14
she is an angel , a voice without parallel , a collection very interesting of arias from different masters.
Good "Best Of".......2007-02-09
Maira Callas was never a favorite of mine, but she is notable as a passionate, (but sometime shrill to my ears) performer. This collection is a good single record tribute to her operatic legacy.
The Very Best of Maria Callas.......2006-08-20
Second on my list for CDs that should be recommended for people who want to start on a long trail of Callas to the Carmen with Gedda and Prétre. This has perhaps the best excerpts of all time from Maria Callas. The 'Ritorna vincitor' and 'Una voce poco fa' are to be treasured. Any long-time Callas fan will find this CD of little to no interest, because anything they haven't heard before, there's a better, low-audio-quality version of somewhere. 4 stars for that reason.
Classic Callas.......2006-07-11
Countless assessments of Maria Callas' life and career, as well as re-issues of some of her definitive recorded performances have been fueled by the 25th anniversaary of her tragic and prophetic death alone in her Paris flat on September 16, 1977. One of those such discs, this 17 track retrospective compilation from the archives of EMI is among the best. Every character she portrays is bought to life by her incomparible ability both vocally and emotionally. Enjoy!
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
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ASIN: B0007V5WB4
Release Date: 2005-09-13 |
Tracks:
- La donna obile
- Una furtiva lagrima
- "Libiamo ne'lieti calici (Brindisi)
- Donna non vidi mai
- Che gelida manina
- O soave fanciulla
- Mi batte il cor...O Paradiso!
- M'appari
- Quando le sere al placido chiaror d'un ciel stellato
- Se quel guerrier io fossi!..Celeste Aida
- Forse la soglia attinse
- Recitar! - "Vesti la giubba"
- Come un bel di maggio
- Ah mes amis - Pour mon
- Di quella pira
- Nessun dorma!
Tracks:
- Torna a Surriento
- Santa Lucia luntana
- La Danza
- L'ultima canzone
- Non t'amo pi
- Mattinata
- 'O sole mio
- 'A vucchella
- Core 'ngrato
- Nel blu, dipinto di blu
- Vivere
- Il Canto
- Caruso
- Buongiorno a te
- Ti adoro
- E lucevan le stelle
- Questa o quella (Ballata)
- 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:
- Album matches content hype
- Fun
- invigorating!
- Totally awesome!
|
Stars & Stripes Forever and the Greatest Marches
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD
All Works by Beethoven
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ASIN: B000003F5U
Release Date: 1991-09-06 |
Tracks:
- Aida: Grand March
- Babes In Toyland: March Of The Toys
- Semper Fidelis
- Suite No. 1, Op. 43: Marche miniature
- Yankee Doodle
- Up The Street
- The Damnation of Faust: Rakoczy March
- Caucasian Sketches: Procession Of The Sardar
- Sambre et Meuse
- The Ruins Of Athens: Turkish March
- Colonel Bogey
- Dixie
- American Salute: When Johnny Comes Marching Home
- Strike Up The Band
- Radetzsky March
- Pomp And Circumstance March No. 1
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- Mlada: Procession Of The Nobles
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- National Emblem March
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Customer Reviews:
Album matches content hype.......2007-05-31
I intially bought this album for a few selections I had heard from Classical 102.1 (KDFC-FM). I was pleasantly surprised that the entire album has a very satisfying collection of the greatest marches. I am very pleased with this album, and would recommend it for anyone who likes a broad range of famous marches.
Fun.......2007-01-21
This CD would make a great gift for anyone who enjoys marches. Some of the marches are popular, others are not. All are well-performed and can be enjoyed - LOUDLY!
invigorating!.......2006-12-05
Great recordings of stirring music. I like to play it loud while my kids and I clean house. It makes it go by fast.
Totally awesome!.......2005-03-27
My father was a Marine in the ETC, he told me stories about how they went floor to floor checking for bad guys humming this music. I think it is great music to listen to, I really like track 3, it says so much in the title alone. I hope everybody like this music as much as I do!
Average customer rating:
- masters of classical music
- A good basic collection
- An excellent introduction to classical music
- Very Beautiful!!!!!1
- Still Stuck on Beethoven
|
Masters of Classical Music (Box Set)
Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD
Mazurkas
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ASIN: B000001VU5
Release Date: 1990-10-25 |
Tracks:
- Eine kleine Nachtmusik: Allegro - Mozart, Wolfgang Amadeus
- Piano Concerto In A Major, K 488: Adagio - Mozart, Wolfgang Amadeus
- Flute Concerto In D Major, K 314: Allegro - Mozart, Wolfgang Amadeus
- Symphony No. 40 in G minor: Molto allegro - Mozart, Wolfgang Amadeus
- Clarinet Concerto KV 622: Adagio - Mozart, Wolfgang Amadeus
- Serenade, K 375: Menuetto - Mozart, Wolfgang Amadeus
- Turkish March - Mozart, Wolfgang Amadeus
- Violin Concerto, K 216: Allegro - Mozart, Wolfgang Amadeus
- Divertimento, K 334: Menuetto - Mozart, Wolfgang Amadeus
- Horn Concerto, K 447: Allegro - Mozart, Wolfgang Amadeus
- Cassation, K 99: Allegro - Mozart, Wolfgang Amadeus
Tracks:
- Overture No. 4 In Major: Rejouissance - J.S.Bach
- Overture No. 3 In D Major: Air - J.S.Bach
- Brandenburg Concerto No. 2 In F Major: I. Allegro - J.S.Bach
- Jesu, Joy Of Man's Desiring - J.S.Bach
- Overture No. 2 In B Minor: Menuet & Badinerie - J.S.Bach
- Prelude In C Major - J.S.Bach
- Toccata And Fugue In D Minor - J.S.Bach
- Prelude In C Minor - J.S.Bach
- Overture No. 1 In C Major: Passepied - J.S.Bach
- Brandenburg Concerto No. 1 In F Major: II. Adagio - J.S.Bach
- Kommst du nun, Jesu vom Himmel herunter, Chorale - J.S.Bach
- Brandenburg Concerto No. 3 In G Major: II. Allegro - J.S.Bach
- Violin Concerto In E Major: I. Adagio - J.S.Bach
- St. Matthew Passion: Finale Chorus: 'Wir setzen uns mit Tranen nieder' - J.S.Bach
Tracks:
- Symphony No. 5: Allegro con brio - Ludwig Van Beethoven
- Fur Elise - Ludwig Van Beethoven
- Violin Romance No. 2 - Ludwig Van Beethoven
- 'Moonlight' Sonata: Adagio sostenuto - Ludwig Van Beethoven
- Minuet - Ludwig Van Beethoven
- Symphony No. 8 In F Major: Allegretto scherzando - Ludwig Van Beethoven
- Coriolan: Overture - Ludwig Van Beethoven
- Piano Concerto No. 2: Adagio - Ludwig Van Beethoven
- Symphony No. 5 In C Minor: Allegro - Ludwig Van Beethoven
- Egmont: Overture - Ludwig Van Beethoven
Tracks:
- Die Fledermaus: Die Fledermaus (Excerpts) - Johann Strauss
- Wine, Woman And Song - Johann Strauss
- Tritsch Tratsch Polka - Johann Strauss
- The Blue Danube - Johann Strauss
- The Gypsy Baron: Introduction - Johann Strauss
- Annen Polka - Johann Strauss
- Vienna Blood - Johann Strauss
- The Gypsy Baron: Einzugsmarsch - Johann Strauss
Tracks:
- Tannhauser: Overture - MASTERS OF CLASSICAL MUSIC
- Die Meistersinger von Nurnberg: Dance Of The Prentices - MASTERS OF CLASSICAL MUSIC
- Die Meistersinger von Nurnberg: Prelude Act 3 - MASTERS OF CLASSICAL MUSIC
- Die Meistersinger von Nurnberg: Aufzug der Meistersinger - MASTERS OF CLASSICAL MUSIC
- Der fliegende Hollander: Overture - MASTERS OF CLASSICAL MUSIC
- Lohengrin: Prelude - MASTERS OF CLASSICAL MUSIC
- Tristan und Isolde: Prelude And Liebestod - MASTERS OF CLASSICAL MUSIC
- Tannhauser: Arrival Of The Guests At Wartburg - MASTERS OF CLASSICAL MUSIC
Tracks:
- Piano Concerto No. 1: Allegro non troppo - Peter Tchaikovsky
- String Serenade: Waltz - Peter Tchaikovsky
- Violin Concerto: Andante - Peter Tchaikovsky
- The Sleeping Beauty: Introduction - Peter Tchaikovsky
- The Sleeping Beauty: Pas d'action - Adagio - Peter Tchaikovsky
- The Sleeping Beauty: Waltz - Peter Tchaikovsky
- Capriccio italien Op. 45 - Peter Tchaikovsky
- Swan Lake: Ballet Suite: Scene No. 10 - Peter Tchaikovsky
- Swan Lake: Ballet Suite: Waltz - Peter Tchaikovsky
- Eugene Onegin: Polonaise - Peter Tchaikovsky
Tracks:
- The 4 Seasons: Concerto No. 1 In E Major: Spring - VIVALDI, Antonio
- Siciliano - VIVALDI, Antonio
- Concerto In D Minor:: (Allegro Assai) Cologne Concerto - VIVALDI, Antonio
- The 4 Seasons: Concerto No. 2 In G Minor: Summer - VIVALDI, Antonio
- Oboe Sonata In B Flat Major, RV 34: Adagio - Allegro - Largo - Allegro - VIVALDI, Antonio
- The 4 Seasons: Concerto No. 3 In F Major: Autumn - VIVALDI, Antonio
- Oboe Concerto: Allegro non tasto - Largo - Allegro non molto - VIVALDI, Antonio
- Concerto In D Minor: (Largo e spiccato) Cologne Concerto - VIVALDI, Antonio
- The 4 Seasons: Concerto No. 4 In F Minor: Winter - VIVALDI, Antonio
Tracks:
- Scherzo No 1 In B Minor, Op. 20 - Frederic Chopin_
- Three Nocturnes, Op. 9: No 3 In B Major - Frederic Chopin_
- Twelve Etudes, Op. 10: No 5 In G Flat Major - Frederic Chopin_
- Twelve Etudes, Op. 25: No 10 In B Minor - Frederic Chopin_
- 24 Preludes, Op. 28: No. 13 In F Sharp Major - Frederic Chopin_
- 24 Preludes, Op. 28: No. 14 In E Flat Minor - Frederic Chopin_
- 24 Preludes, Op. 28: No. 15 In D Flat Major 'Raindrops' - Frederic Chopin_
- 24 Preludes, Op. 28: No. 16 In B Flat Minor - Frederic Chopin_
- 24 Preludes, Op. 28: No. 17 In A Flat Major - Frederic Chopin_
- 24 Preludes, Op. 28: No. 18 In F Minor - Frederic Chopin_
- Scherzo No. 2 In B Flat Minor, Op. 31 - Frederic Chopin_
- Waltz In E Flat Major, Op. 18 - Frederic Chopin_
- Nocturne In C Sharp Minor, Op. Posth. - Frederic Chopin_
- Four Mazurkas, Op. 24: No. 3 In A Flat Major - Frederic Chopin_
- Four Mazurkas, Op. 24: No. 4 In B Flat Minor - Frederic Chopin_
Tracks:
- Ave Maria - Franz Schubert
- Impromptu In E Flat Major - Franz Schubert
- Standchen - Franz Schubert
- Trout Quintet: Tema con variazioni - Franz Schubert
- 'Rosamunde': Entr'acte No. 1 - Franz Schubert
- Moment Musical In A Flat Major - Franz Schubert
- 'Rosamunde': Entr'acte No. 2 - Franz Schubert
- Moment Musical No. 3 In F Minor - Franz Schubert
- 'Rosamunde': Ballet Music No.2 - Franz Schubert
- Symphony No. 8 In B Minor 'Unfinished': Allegro moderato - Franz Schubert
Tracks:
- Nabucco: Overture - Verdi, Giuseppe
- Nabucco: Va pensiero, sull'ali dorate - Verdi, Giuseppe
- Aida: Prelude - Verdi, Giuseppe
- II Trovatore: Verdi! le fosche notturne (Gypsies' Chorus) - Verdi, Giuseppe
- II Trovatore: Or co' daddi, ma fra poco (Soldiers' Chorus) - Verdi, Giuseppe
- Aroldo: Overture - Verdi, Giuseppe
- La Traviata: Prelude - Verdi, Giuseppe
- La Traviata: Noi siamo zingarelle - Verdi, Giuseppe
- La Traviata:: Libiamo ne' lieti calici - Verdi, Giuseppe
- La Traviata: Di Madride noi siam mattadori - Verdi, Giuseppe
- La forza del destino: Overture - Verdi, Giuseppe
Customer Reviews:
masters of classical music.......2007-03-26
A nice collection for the classical listener. Great variety of composers and the music quality of the cds are very good.
A good basic collection.......2006-11-10
With selections from numerous composers, it is an easy way to familiarize oneself with some of the most popular classical works and excerpts. A pleasant listen for the initiated too.
An excellent introduction to classical music.......2006-10-18
This is an excellent introduction to classical music. Well performed and presented.
Very Beautiful!!!!!1.......2006-10-05
If you are a fan of classical music then you better get this set. Not only is it very cheap, 10 Discs for about 2$ per disk. Now where are you gonna find a deal like this. I actually found mine chaper, $20.00 even and the music is outstanding. If you had a very bad day and very stressed out, just put in one of these cds, lay down, dim down the lights and just relax. It really helped me out.
Still Stuck on Beethoven.......2006-08-22
I just recently started listening to classical music so I'm certainly not one to compare or critique the quality of this set. However, I do have a few comments...
My interest started in this genre of music because I'm researching my ancestry in Prussia and this is the music of those times. Never mind my ancestors were poor peasants who probably never got the chance to hear such wonderful music... when listening to these CDs, I'm taken back in time... to a royal court in Europe... to another place in time. The music is inspiring, relaxing, invigorating.
I have yet to listen to all the CD's in the set. I'm stuck on Beethoven! Wasn't he AWESOME!?!
I think this set is a wonderful introduction to classical music!!!!!
Average customer rating:
- Bravo!
- Outstanding compilation of the Italian classics,
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ASIN: B0000026XP
Release Date: 1990-05-17 |
Tracks:
- Canzon Septimi Toni No.2
- Concerto in E Major, Op. 8, No. 1: I-Allegro From Spring (La primavera)
- Overture (Allegro)
- from Concerto in G Major for 2 Guitars: I-Allegro
- from String Quartet in E Major Op. 13, No. 5: Minuetto
- from Sonata for Violin & Guitar: III-Menuetto: Allgretto
- from Sonata Concertata in A Major: III-Rondeau
- Cantabile for Violin & Guitar
- from Concerto for Guitar and Strings Orchestra, Op. 30: II-Andantino Siciliano
- Nocturne: Moderato from the ballet La Boutique Fantasque (after Rossini)
- from the Sebastian Suite: Barcarolle
- Dance for Six (from William Tell)
- La Donna E Mobile (from Rigoletto)
- Musetta's Waltz (from La Boheme)
- O Soave Fanciulla (Love Duet) from La Boheme
- Vissi D'Arte (from Tosca)
- Intermezzo: Andante Cantabile ( from Fedora)
- Introduction to Act I (from La traviata)
- Intermezzo (from Cavalleria rusticana)
- Celeste Aida (from Aida)
- O Mio Babbino Caro (from Gianni Schicchi)
Customer Reviews:
Bravo!.......2000-07-22
I heard this album for the first time at a restuarant in Florence during my trip to Italy. I was surprised it was from the US beacause it has captured the very soul of Italy. After 7 years it has remained my favorite of all Puccini cds I own. I especially like the fact that it is instumental and can be played for many occassions. It never fails to stir the wanderlust for a trip back to Italy! A must for every romantic!
Outstanding compilation of the Italian classics,.......1999-05-01
I have been a music lover for years. This CD introduced some Italian music to me that I was not familiar with. I listen to this music very often...it is almost theraputic in effect. I have never heard more beautiful music together on one CD. You won't regret getting this one!
Average customer rating:
- A memorable album by Robert Shaw
- Great version
- Superb
- Brings back memories
- Apologies to Puccini.
|
Verdi: Requiem & Operatic Choruses
Manufacturer: Telarc
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- Bach: Mass in B minor / McNair, Ziegler, Simpson, Aler, Stone, Paul; Shaw
- Mozart: Requiem / McNair, Watkinson, Araiza, Lloyd; Marriner
- Mozart - Requiem / Augér, Bartoli, Cole, Pape, Wiener Phil., Solti
ASIN: B000003CUH
Release Date: 1990-10-25 |
Tracks:
- Requiem: 1. Requiem & Kyrie
- Requiem: 2. Dies Irae
- Requiem: 3. Offertory
- Requiem: 4. Sanctus
Tracks:
- Requiem: 5. Agnus Dei
- Requiem: 6. Lux Aeterna
- Requiem: 7. Libera Me - 1. Libera Me - 2. Dies Irae - 3. Requiem Aeternam - 4. Libera Me
- Requiem: Spuntato Ecco
- Requiem: Patria Oppressa!
- Requiem: Fuoco Di Gioia
- Requiem: Va Pensiero
- Requiem: Gloria All'Egitto
Amazon.com
Robert Shaw learned from Arturo Toscanini, and in his stupendous 1987 recording for Telarc he managed to surpass the master on some points. He is unerring in his pacing and staging of climaxes, and draws phrasing and dynamics from the chorus that other conductors can only dream of. Points are made with exhilarating effect throughout the account: never has the bass drum in the Dies irae been as splendidly hammered as here, and the whooping brass in the Tuba mirum is breathtaking. The all-American solo quartet sounds a bit driven, especially the light-voiced Susan Dunn and Jerry Hadley, but their contribution is a strong one nonetheless. --Ted Libbey
Customer Reviews:
A memorable album by Robert Shaw.......2007-04-16
I sometimes wonder why any top choral conductor would want to conduct, least of all record, a piece where the soloists invariably command center stage at the expense of the chorus.
Robert Shaw (1916 - 1999), of course, is practically a god in the choral world. And while he has done well as an orchestral conductor, his claim to fame to most will always be his work with choruses.
So here we have an operatic requiem written by one of history's greatest opera composers, conducted by one of history's greatest choral conductors. How does it turn out?
The Atlanta Symphony Chorus is very, very good. Their sumptuous sound becomes even more memorable thanks to the stunning reverberation of Atlanta Symphony Hall. Their Libera Me fugue was literally a wall of sound that seemed for a moment to encompass your entire world. The Dum Veneris passage following that was the best I'd ever heard: all four parts were distinct and incredibly powerful.
The four soloists, however, really stole the show for me. Susan Dunn and Diane Curry displayed a lot of passion in Recordare. They also created a wonderfully blended sound through their Agnus Dei duet, probably the best blend I'd ever heard so far.
Jerry Hadley is definitely one of my all-time favorite Verdi Requiem tenors. He reminded me of Richard Tucker in his commanding Kyrie entrance. His Ingemisco possessed a ringing power that left me breathless.
Paul Plishka was probably the "weakest" of the four. In Confutatis, it sounded like he was punching his voice. However, he sounded very good in the Offertorio.
And speaking of Offertorio, that was truly a soloist high point for me. The four singers literally turned into a mini-opera; it was quite dramatic hearing their voices trade back and forth.
The sound of the orchestra was truly a pleasure to hear. This music demands power and virtuosity, and the Atlantans provided both in spades. And drum lovers will be quite satisfied with the almost violent sound of the bass drum in Dies Irae.
The album also features five popular choruses from Verdi's operas. If, like me, you got carried away listening to the Requiem soloists, here's your chance to hear this remarkable chorus without any soloist distraction. The "Don Carlos" chorus (sung in Italian not French) was a rousing affair. "Patria oppressa" was appropriately subdued and melancholy. Fuoco di gioia proved the virtuosity of these choral masters. "Va pensiero" was smooth and rich. "Gloria all'Egitto" featured the chorus in all its mighty grandeur. The orchestra provides excellent accompaniment throughout. You will thoroughly enjoy listening to these choruses.
The recorded sound is absolutely fabulous. The four sections of the chorus are much more evenly miked than on most CDs. The great engineering makes the orchestra an audiophile's dream.
The liner notes contain texts and translations. However, a previous reviewer has found that the "Hostias" paragraph is missing the words "Fac eas, Domine, de morte transire ad vitam."
The tracks use an index system which I suspect is not available on most DVD players, the result being that the Dies Irae is put on a single 36 minute track.
This CD was recorded in April 1987 in Atlanta Symphony Hall, Atlanta, GA. The Requiem duration is 84'23", so the tempos are about average for this piece.
Great version.......2007-02-26
There are version of Verdi's Requiems in that market. I consider this to be onre the best ones I have heard. What adds to this perfomance is the quality of the manufacturer's transfer.
Superb.......2005-10-20
I don't have anything to add to the excellent reviews, I just want to chime in with my vote. This was rated as the top recording of this piece when I bought it on recomendation of a tenor friend back in 1990 or so and it is probably the best sustained operatic performace I have found thus far. The power and the majesty of this piece needs to be heard to be believed. So... Buy it, make sure the neighbors are out, turn the lights out, it in your best listening spot, turn up the volume and press play.
Don't miss the final track on the second disk!
Brings back memories.......2001-05-04
How could I possibly top the splendid review by Dominic Grant below? And his later graceful apology for a mere typo? Well, I just cannot. But I'd like to share my own thoughts, anyway.
With all the flap over the recently released Gergiev recording of the Verdi Requiem on Philips, with its unfortunate choice of Andrea Bocelli - a pop singer masquerading as an operatic singer - as tenor soloist, it is once again - and always - a pleasure to turn to a truly definitive recorded performance, that of Robert Shaw. As points of reference whenever I turn to this performance, I always have in mind earlier recordings by Giulini and Solti, among others. (I include a truly visceral one by Karel Ancerl and the Czech Philharmonic, featuring Galina Vishnevskaya with a "Libera me" to die for, and the type of Slavic excitement that Gergiev tries for but fails.)
Verdi's Requiem is, without doubt, the most operatic of such works as have become part of the liturgical canon. But it doesn't necessarily follow from this that the best recordings are the ones which utilize operatic superstars. Were that the case, Solti's recording, with Joan Sutherland, Marilyn Horne, Luciano Pavarotti and Martti Talvela, would be unchallenged (particularly when one throws in the Vienna Philharmonic, as well as the typically excellent mid-60's sound that Decca was so good at). But, true to form, Solti just couldn't find the proper sensitivity and balance to make his performance the definitive one.
Shaw does what Solti could not do. In a work that requires efforts of equal quality by orchestra, soloists and chorus, there simply is no better chorus than a Shaw chorus. Shaw's four soloists, while perhaps not of the marquee value of the ones on the Solti recording, are outstanding. A previous customer reviewer certainly got it right when he said that Susan Dunn was a Verdi soprano to be reckoned with. And Diane Curry, Jerry Hadley and Paul Plishka are equally excellent. (Plishka, as I mention later, is one of my "memories.") Moreover, in a work which demands that the cataclysms of the Dies Irae and the tenderly supplicant closing pages of the Libera me be captured in proper proportions, none are better than Telarc at this challenge.
The personal friendship between Robert Shaw and the Cleveland-based Telarc team of Bob Woods and Jack Renner goes back to the days when Shaw was George Szell's assistant at the Cleveland Orchestra. Thus it was, when Woods and Renner introduced the "all-digital" Telarc label in the late 70's, that they turned to Shaw and his Atlantans as an enduring source for the recording of choral masterpieces. With the passing of Shaw some two years ago, it is now time that someone sum up his recorded legacy, which, under the aegis of Telarc, exceeds three dozen recordings. In my humble opinion, he will be remembered for a long, long time for three works that Telarc recorded with his forces: The Bach B Minor Mass, the Brahms German Requiem, and this Verdi Requiem.
Oh! The memories! For several years, at a time when Shaw's Atlanta forces were as good as they were to get, in the early 80's, I was fortunate to live in the Atlanta area, and to attend many of his concerts. And, in the fall of 1965, when Paul Plishka had just won a "young artist" award that was to lead to his Metropolitan Opera career, I was fortunate to have been a member of an amateur chorus which performed this work with a semi-pro orchestra and four young soloists. The names of the other three soloists were long ago relegated to the dustbin of history. But the bass soloist at that 1965 performance was none other than Paul Plishka. He's still banging the boards at the Met. One durable dude!
Once again, kudos to Mr. Grant for his superb review, and for his reminding me that I had some "unfinished business" to attend to.
Bob Zeidler
Apologies to Puccini........2000-12-04
Further to my review of the 18th of June below,it's just been brought to my attention by a kind reader that I have inadvertently ascribed the composition of the famous aria,"Nessun Dorma" from Turandot to Verdi himself.First of all,my sincere apologies to Puccini (probably still revolving in his grave !),and my apologies to you for grossly offending your musical sensibilities as you pass this way.That will teach me to spend a little longer editing my reviews before submitting them !
Average customer rating:
- Marvelous Aida!
- Is there any Aida without pluses and minuses?
- The most intimate of stories amidst spectacle sing with musical splendor!
- HYPERBOLICAL AND GRANDIOSE
- JUSTIFIES ITS FAME! Powerful, beautiful and exciting!
|
Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti
Giuseppe Verdi , Riccardo Muti , Montserrat Caballe , Placido Domingo , New Philharmonia Orchestra , Choir of the Royal Opera House Covent Ga , Fiorenza Cossotto , Nicolai Ghiaurov , Piero Cappuccilli , and Luigi Roni
Manufacturer: EMI Classics
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ASIN: B00005NW0C
Release Date: 2001-09-11 |
Tracks:
- Prld
- Act 1, Scene 1: Si, Corre Voce Che L'Etiope Ardisca
- Act 1, Scene 1: Se Quel Guerrier Io Fossi!
- Act 1, Scene 1: Celeste Aida
- Act 1, Scene 1: Quale Insolita Gioia Nel Tuo Sguardo!
- Act 1, Scene 1: Vieni, O Diletta, Appressati
- Act 1, Scene 1: Alta Cagion V'aduna
- Act 1, Scene 1: Su! De Nilo Al Sacro Lido
- Act 1, Scene 1: Ritorna Vincitor!
- Act 1, Scene 1: I Sacri Nomi Di Padre, D'amante
- Act 1, Scene 2: Possente, Possente Ftha
- Act 1, Scene 2: Danza Sacra Delle Sacerdotesse
- Act 1, Scene 2: Mortal, Diletto Ai Numi
- Act 1, Scene 2: Nume, Custode E Vindice
Tracks:
- Act 2, Scene 1: Chi Mai Fra Gl'Inni E I Plausi
- Act 2, Scene 1: Danza Degli Schiavi Mori
- Act 2, Scene 1: Vieni, Sul Crin Ti Piovano
- Act 2, Scene 1: Fu La Sorte Dell'armi A' Tuoi Funesta
- Act 2, Scene 1: Ebben, Qual Nuovo Fremito T'Assal, Gentile Aida?
- Act 2, Scene 1: Pieta Ti Prenda Del Mio Dolor
- Act 2, Scene 1: Su! Del Nilo Al Sacro Lido
- Act 2, Scene 2: Gloria All'Egitto, Ad Iside
- Act 2, Scene 2: Marcia Trionfale
- Act 2, Scene 2: Ballabile
- Act 2, Scene 2: Vieni, O Guerriero Vindice
- Act 2, Scene 2: Salvator Della Patria
- Act 2, Scene 2: Che Veggo! Egli? Mio Padre!
- Act 2, Scene 2: Ma Tu, Re, Tu Signore Possente
- Act 2, Scene 2: Il Dolor Che In Quel Volto Favella
- Act 2, Scene 2: O Re, Pei Sacri Numi
- Act 2, Scene 2: Gloria All'Egitto, Ad Iside
Tracks:
- Act 3: O Tu Che Sei D'Osiride
- Act 3: Vieni D'Iside Al Tempio
- Act 3: Qui Radames Verra!
- Act 3: O Patria Mia
- Act 3: Ciel! Mio Padre!
- Act 3: In Armi Ora Si Desta Il Popol Nostro
- Act 3: Padre, A Costoro Schiava Non Sono
- Act 3: Pur Ti Riveggo, Mia Dolce Aida
- Act 3: Nel Fiero Anelito Di Nuova Guerra
- Act 3: Fuggiam Gli Ardori Inospiti... La, Tra Foreste Vergini
- Act 3: Aida!... Tu Non M'Ami
- Act 3: Ma, Dimmi: Per Quale Via
- Act 3: Traditor!... La Mia Rival!
- Act 4, Scene 1: L'Aborrita Rivale A Me Sfuggia
- Act 4, Scene 1: Gia I Sacerdoti Adunansi
- Act 4, Scene 1: No, Vive Aida!... Vive!
- Act 4, Scene 1: Ohime! Morir Mi Sento!
- Act 4, Scene 1: Spirto Del Nume, Sovra Noi Discendi!
- Act 4, Scene 1: Radames, Radames, Radames
- Act 4, Scene 1: A Lui Vivo, La Tomba!
- Act 4, Scene 2: La Fatal Pietra Sovra Me Si Chiuse
- Act 4, Scene 2: Presago Il Core Della Tua Condanna
- Act 4, Scene 2: Vedi? Di Morte L'Angelo
- Act 4, Scene 2: O Terra, Addio
Amazon.com essential recording
Behind the pyramids and the elephants, the long lines of prisoners of war and of slaves carrying booty, the choral shouts of "Glory to Egypt," and the splendid brass sounding the Triumphal March, Aida is the story of a love triangle: Aida, an Ethiopian princess who has become a slave in Egypt; Amneris, an Egyptian princess; and Radamès, the Egyptian general they both love (Aida secretly). There are ironies and conflicts: How can she love a man who is the enemy of her country, but who says he has fought and conquered for the sake of her love? It is suitable only for the biggest opera houses and therefore demands voices capable of great power as well as emotional expressiveness. Montserrat Caballé, Plácido Domingo, and Fiorenza Cossotto provide such voices, and Ricardo Muti conducts with a sense of drama and dynastic glory. --Joe McLellan
Customer Reviews:
Marvelous Aida!.......2007-02-27
I love Aida. I own so many recordings that I've lost count as to how many I have in my library. In many ways, I think this is one of Verdi's most beautiful and sophisticated scores. Several conductors have handled (and butchered) the score, yet this recording shows how Verdi should really be sung and conducted. Riccardo Muti is perhaps the best Verdi conductor, even better than Toscanini (but not Serafin). His Verdi collection from EMI shows his talent from making the myriad of colors from Verdi's score emerge in such a way that would captivate the listener. His chosen tempi and dynamics are also very theatrical. The magic he performs with the orchestra brings out the several transparencies in Aida, and for this reason I would choose his conducting over that of Karajan's or Solti's. Granted, Montserrat Caballe is not a very visually appealing Aida, but her voice is magnificent--seamless from top to bottom, producing creamy tone wherever necessary. She isn't a true Aida. For that, you must go to Renata Tebaldi. However, Caballe manipulates her voice so that you would think that she was made for Aida. Placido Domingo sings with golden tone and committment throughout this performance. I think that this is a reference performance for Radames after Bergonzi's magnificent performance with Karajan. I'm sorry, but I never enjoyed Corelli's performance under Mehta. I thought he was past his prime there, and his lack of legato makes the private introspective moments sound overtly loud. His high notes are thrilling though. Piero Cappuccilli, one of the greatest Verdi baritones of the last century, sang an authoritative and brooding Amonasro. As wonderful as Gobbi's performance with Callas is, I think Cappuccilli's voice suited Amonasro better. Ghiaurov is a very looming Ramfis.
However, the main reason for me to purchase this set is for the high-octane performance of Amneris given by Fiorenza Cossotto. This brilliant mezzo soprano, whose career is suprisingly still ongoing, has a voice that was tailored to the temperaments of the Verdi mezzo roles. I think that while Giulietta Simionato may have had a warmer timbre, Cossotto inhabited the psychologies of her characters better. I have never heard a more demented Azucena from any other singer, and my recordings of her Eboli show a singer whose grace and elan are unequalled, even by the great Simionato. Her Adalgisa shows a secure instrument that is fluent in coloratura and brilliant in the top registers. Her Santuzza literally puts several sopranos into shame. Her Leonore from Donizetti's La Favorita is a reference performance, equipped with all the coloratura and very large, brilliant high notes. Her Dalila is simply seductive and powerful. Her Principessa di Boullion is menacing, and her Carmen is rightfully seductive. Her recorded Preziosilla on Levine's Forza is perhaps the most accurate and fun interpretation of the gypsy part I've ever heard. Her Lady Macbeth is fierce, and her Rosina is no pushover. Her Amneris, a role which she essayed frequently in many of the world's great theaters, is perhaps the definitive interpretation of the role. Neither Simionato or Barbieri could touch Fiorenza in the thrilling chest notes and the regal interpretation she gave the role. For her, and of course for the cast and Muti, should you buy this set. While some may find Tebaldi's Aida definitive, no one, in my opinion, can skirt around Cossotto's magnificent Amneris. Buy this Aida. It is an essential for any collection.
Is there any Aida without pluses and minuses?.......2006-06-01
It's peculiar that no single performance of Aida on records has ever attained consensus as 'the one', the closest candidate being the RCA-Decca performance with Leontyne Price and Jon Vickers. After decades of listening to most of the major contenders, here's how I would size them up.
Best conducting: Karajan on both his readings, the first for Decca in the early Sixties, the second for EMI in 1980. He has the glorious Vienna Phil. on both--for richness, depth, drama, and splendor nothing equals them. Karrajan himself provides a continuous outpouring of insights into Verdi's deceptively simple score.
Best Aida: For many, Leontyne Price will always be defined by this role, her signature for two decades and perfectly suited to her voice, with its dusky low range and incredible floated high notes. She sounds much fresher in her first RCA recording with Solti than in the remake with Leinsdorf. For other listeners there is no replacement for Callas and her intense involvement with the role, while Tebadi stands out for sheer lusciousness of voice.
Best Rhadames: Bjorling really didn't have the heft to sing this role onstage, but pairing Milanov in a classic RCA mono recording he sounds, as always, ravishing in style and tone. Vickers attacks the role with incredible intensity but is singularly un-Italian despite his glorious, heroic volume of sound. Among stylish tenors with smaller voices, Bergonzi under Karajan, paired with Tebaldi, wins high critical praise. Domingo, for all his virtues, always seems to come in second best.
Let's say we stop there; it's easy to see why the Price-Vickers-Solti set has such a strong following, and also the Tebaldi-Bergonzi-Karajan set. But complaints have always arisen about both, that Vickers has no Italian style and Solti conducts with brazen vulgarity. In the other set, the grouse is that Tebaldi wasn't in best voice and sounds too imperious, while Bergonzi, for all his polish, isn't a viscerally exciting Rhadames.
This carping opened the way for the 70's EMI set with Caballe and Domingo in their vocal prime. Muti conducts skilfully, moving the drama along quickly and with a refreshing lack of overdone sentimentality. Caballe isn't a spinto-dramatic soprano as called for, but she sings for the microphone with wonderful nuance and pathos (I find her less droopy than she often was). Domingo exhibits perfect tone and style, but his reading is a bit callow compared ot what he would achieve later in his career. In other words, there's no true greatness in any part but the whole hangs together nicely. It must be noted, though, that the bland Capuccilli as Amonasro ruins the drama of the Nile scene.
My review, such as it is, stops here, since other reviewers listed below have detailed the specifics of this recording. But I'd like to offer some notes about all the Aidas I've encountered over the years.
--Aida was Birgit Nilsson's best Italian role, and in her EMI recording she softens her steely tone and makes quite a nice success for herself. She is partnered with Corelli, whose vulgar bawling makes him unlistenable to my ears, but if you admire him, this performance led by a young Zubin Mehta ranks with the Caballe-Domingo one.
--Callas must be listened to on her own, or with Gobbi when he enters as her father in Act 3. Their Nile scene is incomparable, not to be missed. Too bad it's ruined by the entrance of the horribly stentorian, unstylish Richard Tucker, a huge blemish on this recording.
--Abbado should have come through with Aida from La Scala when he was musical director there, but his reading for DG is cautious and bland (the same goes for a live performance on Opera d'Oro with Arroyo and Domingo--they aren't great, either, though very good).
--Aidas who can't really manage the part include Katia Ricciarelli for Abbado and Freni for Karajan in his EMI remake (she's wildly overparted but moving and artistic nonetheless). Aprile Millo for Levine from the Met (Sony) can sing the notes but has nothing interesting to tell us. Heresy to say, but I feel the same way about the revered Zinka Milanov with Bjorling on RCA.
--A Rhadames who can't really sing the part is Carreras under Karajan, but he gives his all trying. Pavarotti sang the role both on stage and on disc (with an unknown and forgettable Aida), but his lyric tenor isn't right. Having said that, I was surprised at how enjoyable his Decca performance is. Domingo has sung the role for Muti, Leinsdorf, Abbado, and Levine. All are very good; probably the best is with Leinsdorf, a shame since the conducting is prosaic and the bloom was off Price's voice by then.
--Uninspired condcuting honors go to Leinsdorf, but I get little out of Levine's hectic, impesonal work on Sony, and the sainted Tulio Serafin on the Callas set is authentic but rather workaday. When it comes down to it, Solti for all his vulgarisms threw himself into his preformance, while Karajan is the greatest maestro to take on the opera, pace the fans of Toscanini, whose fiery reading isn't to my taste, even if it didn't have a second-rate cast and boxy, wooden sonics.
The most intimate of stories amidst spectacle sing with musical splendor!.......2005-11-11
What a cast? The only soprano if memory serves me that equals Caballe's beautify and dramatic offering is Zinka Milanov on the RCA/BMG label. As good as Barbieri is on that recoding Cossotto is the Amneris....she owned this role along with Azucena and la favorita...Domingo is dramatic and beautful in tone as always. Cappuccilli is also a worthy part of this great quartet. There are other great Aida's but this is special along with the Milnov, Barbieri recording! Both belong on your CD shelf along with Leontyne Price in one of her great Aida recordings
HYPERBOLICAL AND GRANDIOSE.......2003-09-16
That was how Shaw characterised Verdi, bracketing him with Victor Hugo. Shaw also sensed a falling-off in spontaneity in Aida, its place being taken by increasing sophistication. I doubt if he would have had such reservations if he had heard this tremendous performance, one of the most thrilling you will ever hear. To get it going, Domingo's Celeste Aida is, well, celestial, and he is in superb voice throughout. Caballe sings like an angel from paradise. I remember her interviewed on TV by Bernard Levin years ago, and she almost winced as she said 'For Verdi you need so much VOICE'. There is no doubt about it, Verdi's demands on the human voice are inhuman, and I was lost in admiration at the entire cast and their majestic response to the whole wonderful but monstrous challenge set to them. At least one thing is simple in Aida and that is the plot-line, which makes a nice change compared with, say, Trovatore, and the characters, strongly drawn though they are both by Ghislanzoni and the composer, are not complex like Rigoletto or Iago.
I suspect that singers who can surmount the musical challenge as triumphantly as these do just find that they are acting superbly as well. The conducting helps just a little of course. Verdi's orchestral conception has now advanced beyond the 'big guitar' stage and the sumptuous sound Muti obtains and the strong forward thrust of his tempi creats an enthralling sense of grandeur. I had to listen to this Aida without interruption, just carried along by the sheer power of it. Loss of spontaneity? -- not a bit of it. The Requiem was still to come, and nobody has ever found any loss of spontaneity in that. For all the heartbreaking tenderness and pathos the final impression left is of an overpowering drama.
JUSTIFIES ITS FAME! Powerful, beautiful and exciting!.......2003-02-27
Having listened to most of the famous Aida recordings, I've concluded that this comes closest to the ideal Aida performance in studio. All the singers on this set were at their best in their early '70s when this set was recorded. Their rich, powerful, secure voices and temperament are perfect for the roles.
Although I prefer Caballe in bel canto, as Aida she is superb, full of lyricism. Moreover, Caballe gives here one of her most dramatic studio performances. She doesn't have young Tebaldi's heavenly spinto sound but Montserrat's golden tone is almost equally affective. Notice Caballe's amazing vocal technique; the endless breath, the even registers and the seamless phrasing.
Domingo sings one of his most famous roles. He and Caballe have similar creamy voices and this makes the Aida-Radames duets very successful. He repeated the role in studio many times later but his partnership with Caballe produced the best results. Cossotto, Cappuccilli and Ghiaurov are flawless and remain my favourite Amneris, Amonastro and Ramfis. Muti conducts with grandness and lyricism and creates a masterful AIDA.
Even though this is THE BEST ALL-AROUND AIDA, other sopranos have also given great performances. Arroyo, Milanov, Price and Tebaldi are all superb (each in their own way). More recently, Millo has also successfully performed the title role.
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