| 1. Enamorado |
| 2. Ti Madre |
| 3. Hoy Tengo Ganas de... |
| 4. Chica Ideal |
| 5. Ella Se Fue |
| 6. Juntos Podemos Salvar el Planeta |
| 7. Con Tu Sonrisa |
| 8. Hoy Sin Tu Amor |
| 9. Todavía |
| 10. Mi Linda Tierra |
Editorial Reviews
About the Artist
Nazario Brea es un ser humano de cualidades excepcinales, humilde,sencillo, y de una espiritualidad muy elevada. Eterno enamorado de la vida y del amor. amante y respetuoso de la naturaleza, especialmente del mar, y los arboles. Nacio en la Republica Dominicana, en la cuidad de Santo Domingo De Guzman (La Capital de la Republica Dominicana) un 18 de Marzo, y desde nino mostro talento, e inclinacion artistica, lo cual fue desarrollando en el colegio San Vicente De Paul, en la cuidad de San Francisco De Macoris, donde hizo sus estudios primarios y secundarios, siendo miembro del coro y del grupo de teatro, luego ingreso a la Universidad Autonoma De Santo Domingo, donde estudio ingenieria civil, carrera que abandono para dedicarse por completo a la musica. Sus pasos lo llevan a la ciudad de New York, donde de una manera muy casual y modesta, comienza a ganarse la vida cantando en restaurantes acompanandose de una guitarra, instrumento que seria su companera por por los 12 anos siguientes, hasta que deside estudiar piano, composicion, y armonia. Entonces en forma de canciones empiezan a brotar de su corazon los sentimientos y manera de pensar de un artista que ha logrado alcanzar una gran madurez, que lo convertido en todod un cantautor gracias al talento de cantar y componer. Nazario Brea, Trae consigo la responsabilidad de compartirlo todo a travez de sus canciones que encierran un mensaje positivo de realidad, amor y esperanza. Nazario Brea, es un cantante de una sensibilidad y expresion extraordinaria que se entrega por completo en cada cancion que canta, lo que junto a la tecnica y dominio de su voz, ha logrado conseguir gracias a varios anos de estudios con los mas prestigiosos y exigentes maestros de la ciudad de New York. Nazario Brea, con su estilo ha logrado transmitir las emociones, sentimientos y vivencias de que tratan sus canciones, de forma tal que quien lo escucha no solamente se siente tocado en partes muy profundas de su alma y su corazon, sino que desde ese momento se hace un miembro mas de la gran familia de "Amigos Y Admiradores De Nazario Brea" --This text refers to the Audio CD edition.
Product Description
A Ti Madre... Es titulo de este album dedicado a las madres. dedicado al amor, dedicado a la naturaleza, dedicado a la vida, a y todo lo que nos redea... en fin este album es una verdadera joya musical, que llena el gusto musical de grandes y chicos! --This text refers to the Audio CD edition.
Through a variety of happenings, the vet ended up befriending Bjorling, who he described to me as "one hell of a nice guy" and they became drinking buddies. He and his fellow aviators had front row seats at any and all recitals and apparently became society figures in cultured Stockholm. To my wonder and astonishment, this old Regular Joe fellow, no opera fan before Sweden, told me he was the guy who taught Jussi Bjorling the song "Pistol Packin' Mama." Now wouldn't we all pay good money to have heard him sing that!!
There's nothing more terrific than a great voice attached to a great guy who'd sit and drink with downed aviators and happily learn their favorite pop songs. This disc of music is as wonderful as the guy who recorded it.
the accompanist at the voice studio where I studied
for love of singing (i.e., mine was a modest voice).
She in turn introduced me to some of the great singers
then active, or who came through, Chicago. And also, her
own teachers and colleagues, including Dr. Rudolf Ganz and
Frederick Schauwecker. One day, when the topic of melody
came up, Dr Ganz suggested that all piano students should
hear Jussi Bjoerling deliver legato melody. And when Lynn
asked Mr. Shauwecker, who little praised anyone, even a client,
how Jussi did on the trip they were just back from, she was
astonished to hear him grudgingly admit that "Jussi is singing
like an angel. It can't possibly continue at such a level, even
for him." It didn't. As we found out a couple of weeks later
when we heard this recital live, it didn't "continue", it got
better. At the time I found it the greatest listening experience
of my life. Today, 50 years later, it still is. Whatever vocal
records you have by anyone, this is better. There are no equals.
"Like an angel" is one of Frederick's understatements.
I haven't heard the Azucena Barbieri recorded earlier with Milanov & Bjorling that many people prefer over her performance in this one, but here she is superb: her voice is strong and so dark that you really get a sense of Azucena's baleful schema.
Of course, the selling point is Callas. In this recording, she demonstrates just how supremely gifted she is as an artist. There are numerous wonderful surprises in her phrasing throughout that keep you always spellbound by her character.
It's an amazing, essential recording for any opera lover.
Second, track 11 ("Gemçis Güzel Günerli") *is* a Turkish song, written by an Aremenian citizen of Turkey, Hrant Kenkulian, or "Udi Hrant," as he's often known -- this is mentioned in the liner notes to Mediterranea. ("Udi" is an honorific prefix meaning that he was a master player of the ud, a Middle Eastern lute.) If you're interested in exploring his music further, there are several recordings of his work (voice, ud, and violin) on the Traditional Crossroads label. (Type "Udi Hrant" into the search engine on this site and you'll find the CDs very easily.)
Turkey was -- and still is -- an ethnically mixed country, which is a legacy of the Ottoman Empire. There were Armenian Turkish composers and musicians at the courts of the Ottoman sultans, and there were those who also excelled at light classical and popular song. Hrant Kenkulian was a master of classical and popular music -- if you explore further, you'll find out that he's one of many 20th-century Armenians who were involved in the development of Turkish music.
Yannatou is an inheritor of Turkish tradition, too. Modern Greece was occupied by the Ottomans for many centuries, and there is a very strong Turkish tinge to much of the Greek music she performs. (And vice versa, as she performs Pontic Greek music from the Black Sea coast of Turkey; also songs from Smyrna -- now called Izmir -- on Turkey's western coast.)
What I love most about her work is her peerless way with all of the songs she chooses. Many people have tried to come up with pan-Mediterranean discs, but Yannatou is one of a handful of people who has succeeded at it.
Inded it belongs to, adn illustrates, a whole body of non Turkish music from Turkey which actually speaks to the ethnic cleansing that occured the in the 1900-1920's period.
Few people in today's Turkey, which has been purged of knowledge of the roots of its own tradional music, are aware of the multiethnic roots of its music. It was for years criminal to even suggest that many songs were orignially Greek, Kurdish or Armenian.
So I am glad that my Turkish friend likes the Armenian ballad Gecmis Guzel Gunleri ("The Beautiful Past Days") and am only sorry that he never heard the original recordings by an long dead artist now know in Turkey as Udi Hrant, but whose non stage name was Udi Hrant Kenkulian. His family was murdered in the Turkish Genocide against the Armenians, which makes his song more ever poignant - as the title suggests..
I first heard Savina Yannatou on Mondo Greece and knew I must have one of her CDs. I discovered this one and was compelled to buy it. It is filled with the music of Primavera de Salonika, playing kanun, santouri, lyra, and other authentic intstruments that complement Savina's voice. Her voice is beyond description ... totally captivating, exceptional, without comparison. Listen and be amazed - then buy the CD!!! Erika Borsos (erikab93)
According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.
Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!
Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)
TOP MODERN VERDI -- THAT IS MY ASSESSMENT!
I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.
This recording brought Leontyne Price's Leonora to the Salzburg stage, a contribution that was in many ways the ideal combination of vocal beauty, drama, and Verdian sensitivity. Although Price is a lesser Leonora than Maria Callas, she performs very well on this recording, revealing much of Leonora's distress and pathos over Manrico's predicaments. I have never heard a more beautiful Tacea la notte or D'Amor sull'Rosee sung in all the Trovatores I've heard, and she adds a few high notes of her own in bits of the score. A wonderful performance. It was no doubt that Karajan would say that he got goosebumps when he heard her sing.
Corelli is Manrico. He may not have the beautiful legato of Carlo Bergonzi or the smooth discipline of Placido Domingo, but what a Manrico! You could hear a true gyspy in this performer, and he sings with such macho verve that it would be no doubt that Leonora would fall in love with this one tenor. A performance to keep for the ages!
Simionato is Azucena. With Stignani, Cossotto, and Barbieri, Simionato joined these great mezzos in the tier of Azucenas who make this role the center of the opera. She is perhaps the most insightful and powerful mezzo to take the role, and the runs simply pose no problems for her. She is the definitive Azucena, along with today's Dolora Zajick.
Ettore Bastianini is di Luna. Need I say more about this Verdian baritone except that he is excellent in every sense of the word? Bravo!
With Karajan on the podium in demented form, and a cast that matches his pacing word for word, this is probably my Trovatore of choice.
I cannot believe the reviewers who went on and on about Corelli, and the Azucena, and conveiently mentioned Miss Price only in passing or in many cases not at all.
But so much for reviews and reviewers. I can never forget what a teacher of organ, Zubin Mehta's brother, once said to me. Those who can, do. Those who cannot teach, and those with even lesser gifts review those to which they cannot hold a candle.
Thanks to all those reviewers who gave Miss Price the dignity that she deserves. I think history will eventually bear witness to the exceptional gifts of this artist. And to those in question, please read the reviews of Paul Hume circa 1960 from a Washington, DC newspaper, regarding Leontyne Price. He was a reviewer that was the exception.
I gather this version is in considerably improved sound. Well and good, for some versions have sounded--with the best of good will--pretty awful.
I am giving this only four stars because of Price. Yes, I know that at the time this recording was made she was still a keen and willing performer, not yet immobilized in her diva-hood. Nevertheless, I am simply not willing to give her the benefit of a doubt because I had the misfortune to see her in two live performances, once in "Ballo in maschera" and once in "Il trovatore." One of those two performances was the worst I have ever seen on stage and the other was the second worst--only I am not quite sure which was which. In both cases, she mooched around the stage, ignoring all others, softly crooning to herself until her big solo numbers, then she marched down to the footlights at center stage, faced forward and sang like an angel. That done, and having exhausted the cheers of the audience, she mooched back into the opera, loftily ignoring all others until the final curtain. But forget all that as sour grapes on my part, the fact remains that I can name a half-dozen sopranos easily available on CD who offer Leonoras equal to or better than this one from Price, starting with Bianca Scacciati, way back in 1930.
The previous Amazon reviewer downgraded this recording because of the presence of Corelli, calling him "a ludicrously vulgar Manrico." I do not object to that. Everyone has a right to his or her opinion. I must point out, however, that Manrico is a ludicrously vulgar part in a gloriously, marvelously, ludicrously vulgar opera. (And also this: computers have a wonderful thing called a spell-checker. Use it!)
But the good news stops there. The Conte di Luna of Bastianini, well past his vocal prime, is full of hollow tones and hokey overplaying. Corelli was a shameless primo tenore who had no patience for phrasing and no intelligence for much else besides singing as loud as he could and turning his handsome profile to best advantage. He is a ludicrously vulgar Manrico, second only to Tucker, who unfortunately paired with Price on her first Trovatore in 1959 for RCA.
Given all that, I think it's worthwhile to buy the cheapest version of this Trovatore that you can find--I have the super-bargain set from Opera d'Oro--so that you can revel in Price's singing and skip very quickly past Corelli's. The recent reawakening of enthusiasm for this crude singer is beyond me.
As usual, rhythm is the weakest element in Corelli's performance, but Herbert von Karajan, master of rubato, stays with him almost preternaturally, providing a cushion of musical continuity that is like a masterclass in opera conducting. The aria thus becomes an unusual marriage of Italian feeling and Austrian grandeur: quite a performance! (And how the Vienna Philharmonic breathe with von K !!)
The Pira is the one instance when HvK decides not to accomodate: he wants to go very fast, martial style. Franco wants to go considerably slower, and the two are never once together, except in the first High C, which seems to last forever. In the choral/orchestral coda, Karajan forges ahead, as if to say: "I'll show you!". But, at such speed, chorus and orchestra fall apart (the very loud trumpets and percussion end up in different counties!) and then Franco comes in for the kill with a second High C that has to be heard to be believed!! It does last forever! Live!
Part of Corelli's rhythmic issues have to do with von Karajan's love for many different and contrasting speeds. This is absolutely idiomatic in an opera like Trovatore, but not every singer can keep up with that.
One who sure can is Giulietta Simionato, the Azucena. Whatever von K throws her way, she can handle: she is like a mad dog. Every syllable, every word, every phrase is "burnt in" with a volcanic power and a supreme self-assurance that I have not heard in any other Azucena. No matter how slow a waltz-rhythm, she never runs out of breath or steam. If fast, she eats it up. Loud? She is like Vesuvius. Soft? Just listen to the ending of the Condotta ell' era in ceppi, when she seems to be humming from inside her skull, as in a vision.
My favourite moment is the finale of the first scene of act III. Giorni poveri vivea. K sets a slow, weary movement to the initial arioso for Azucena, which Simionato handles with a dark, mournful colour and seemingly endless supplies of breath. Then K goes as fast as the wind into the stretta, and old Giulietta digs into it like a starved greyhound, taking, but of course, all the high options. Brava, diva! Karajan had found his match.
Nazario Brea es un ser humano de cualidades excepcinales, humilde,sencillo, y de una espiritualidad muy elevada. Eterno enamorado de la vida y del amor. amante y respetuoso de la naturaleza, especialmente del mar, y los arboles. Nacio en la Republica Dominicana, en la cuidad de Santo Domingo De Guzman (La Capital de la Republica Dominicana) un 18 de Marzo, y desde nino mostro talento, e inclinacion artistica, lo cual fue desarrollando en el colegio San Vicente De Paul, en la cuidad de San Francisco De Macoris, donde hizo sus estudios primarios y secundarios, siendo miembro del coro y del grupo de teatro, luego ingreso a la Universidad Autonoma De Santo Domingo, donde estudio ingenieria civil, carrera que abandono para dedicarse por completo a la musica. Sus pasos lo llevan a la ciudad de New York, donde de una manera muy casual y modesta, comienza a ganarse la vida cantando en restaurantes acompanandose de una guitarra, instrumento que seria su companera por por los 12 anos siguientes, hasta que deside estudiar piano, composicion, y armonia. Entonces en forma de canciones empiezan a brotar de su corazon los sentimientos y manera de pensar de un artista que ha logrado alcanzar una gran madurez, que lo convertido en todod un cantautor gracias al talento de cantar y componer. Nazario Brea, Trae consigo la responsabilidad de compartirlo todo a travez de sus canciones que encierran un mensaje positivo de realidad, amor y esperanza. Nazario Brea, es un cantante de una sensibilidad y expresion extraordinaria que se entrega por completo en cada cancion que canta, lo que junto a la tecnica y dominio de su voz, ha logrado conseguir gracias a varios anos de estudios con los mas prestigiosos y exigentes maestros de la ciudad de New York. Nazario Brea, con su estilo ha logrado transmitir las emociones, sentimientos y vivencias de que tratan sus canciones, de forma tal que quien lo escucha no solamente se siente tocado en partes muy profundas de su alma y su corazon, sino que desde ese momento se hace un miembro mas de la gran familia de "Amigos Y Admiradores De Nazario Brea" --This text refers to the Audio CD edition.
Product Description
A Ti Madre... Es titulo de este album dedicado a las madres. dedicado al amor, dedicado a la naturaleza, dedicado a la vida, a y todo lo que nos redea... en fin este album es una verdadera joya musical, que llena el gusto musical de grandes y chicos! --This text refers to the Audio CD edition.
A Ti Madre,Nazario,Sony International,Latin,Latin Music,Latin Pop,Special Occasions
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Jussi Björling Rediscovered
Wolfgang Amadeus Mozart , Umberto Giordano , Georges Bizet , Jules Massenet , Edvard Grieg , Jean Sibelius , Carl Leopold Sjoberg , Pietro Mascagni , Francesco Paolo Tosti , Giacomo Puccini , Stephen Foster , Jussi Bjorling , and Frederick Schauwecker Manufacturer: RCA ProductGroup: Music Binding: Audio CD  All Works by Beethoven
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ASIN: B0000C0FB4 Release Date: 2003-09-09 |
Tracks:
- Applause
- Adelaide, Op. 46
- Frulingsglaube, D686 (Op. 2 No. 2)
- Die Forelle, D 550
- Standchen, D957/Op. Posth. No. 4
- Die Bose Farbe, D795/Op. 25 No. 17
- Traum Durch Die Dammerung, Op. 29 No. 1
- Cacilie, Op. 27 No. 2
- Standchen, Op. 106 No. 1
- Il Mio Tesoro
- Amor Ti Vieta
- Flower Song (From 'La Fleur Que Tu M'Avais Jetee')
- Encore: The Dream 'Instant charmant; En Fermant Les Yeux'
- The Swan, Op. 25 No. 2
- The Dream, Op. 48 No. 6
- Diamond On The March Snow, Op. 36 No. 6
- Rushes, Whisper, Op. 36 No. 4
- Black Roses, Op. 36 No. 1
- Enocre: Visions
- Addo Alla Madre
- Encore: Ideale
- E Lucevan Le Stelle
- Encore: L'Alba Separa Della Luce Ombra
- Encore: Jeanie With The Light Brown Hair
- Encore: 'Come Un Bel Di Di Maggio'
- Encore: 'Che Gelida Manina'
Amazon.com
Before there were the Three Tenors there was Jussi Björling, the great Swedish tenor who died in 1960 at the age of 49. His bright, sunny tone had a slight, emotion-laden tear in it that conveyed feeling as well as, or more than, any number of sobs and effects that other tenors use. His Carnegie Hall recital of September 24, 1955 has long been available; in addition, this CD features nine never-before released selections from that recital which either did not fit on the original LP or were omitted for some other reason. He can sing at any dynamic level, the voice is always secure, and his taste and musicianship, as always, are impeccable. I doubt we'll ever hear Tosti's Ideale sung more tenderly or "Che gelida manina" sung with such poetic abandon; the newly discovered Grieg, Sibelius, and Sjoberg songs are sung with an opera singer's--rather than a Lieder singer's--style, but it's doubtful anyone will complain. Björling fans should race to hear this; for those who came to opera after his heyday (or during the reign of other tenors), this will be a stunning ear-opener. A must have. --Robert LevineCustomer Reviews:
Magnificent.......2005-09-02
Through a variety of happenings, the vet ended up befriending Bjorling, who he described to me as "one hell of a nice guy" and they became drinking buddies. He and his fellow aviators had front row seats at any and all recitals and apparently became society figures in cultured Stockholm. To my wonder and astonishment, this old Regular Joe fellow, no opera fan before Sweden, told me he was the guy who taught Jussi Bjorling the song "Pistol Packin' Mama." Now wouldn't we all pay good money to have heard him sing that!!
There's nothing more terrific than a great voice attached to a great guy who'd sit and drink with downed aviators and happily learn their favorite pop songs. This disc of music is as wonderful as the guy who recorded it.
"Bjorling".......2005-01-05
Frederick's Understatement........2004-12-22
the accompanist at the voice studio where I studied
for love of singing (i.e., mine was a modest voice).
She in turn introduced me to some of the great singers
then active, or who came through, Chicago. And also, her
own teachers and colleagues, including Dr. Rudolf Ganz and
Frederick Schauwecker. One day, when the topic of melody
came up, Dr Ganz suggested that all piano students should
hear Jussi Bjoerling deliver legato melody. And when Lynn
asked Mr. Shauwecker, who little praised anyone, even a client,
how Jussi did on the trip they were just back from, she was
astonished to hear him grudgingly admit that "Jussi is singing
like an angel. It can't possibly continue at such a level, even
for him." It didn't. As we found out a couple of weeks later
when we heard this recital live, it didn't "continue", it got
better. At the time I found it the greatest listening experience
of my life. Today, 50 years later, it still is. Whatever vocal
records you have by anyone, this is better. There are no equals.
"Like an angel" is one of Frederick's understatements.
Remastering is not perfect.......2004-07-20
Jussi Bjorling is obvious a tenor in top form, but this recording forty years later omits the higher overtones of his voice. Nevertheless, this is a recording of the highest caliber that does justice to this talented man who died too young.
THE ultimate singing voice.......2004-05-22
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Songs Of Spain / De Los Angeles, et al
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Falla
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ASIN: B00000I4KQ Release Date: 1999-02-23 |
Tracks:
- El rossinyol
- El testament d'Amelia
- Adios meu homino
- Mina nay por me casare
- Tengo que subir
- Ahi tienes mi corazon
- La vi llorando
- Ya se van los pastores
- Campanas de Belen
- Jaeneras que yo canto
- A dormir ahora mesmo
- Granadinas
- Hincarse de rodillas
- Cancion de trilla
- Parado de Valldemosa
- Nik baditut
- Andregaya
- Din, dan, boleran
- Mariam matrem
- Ay, triste vida corporal!
- Que es mi vida, preguntais?
- Porque es, dama, tanto quereros?
- No me llames segalaherba
- Ay, luna que reluces
- En esta larga ausencia
- Molinillo que mueles amores
- Confiado jilguerillo
- Seguidillas religiosas
- Cancion de cuna
- El jilguerillo con pico de oro
- El canape
Tracks:
- Ah, el novio no quiere dinero
- Coma la rosa en la guerta
- Estavase la mora
- Aquel rey de Francia
- Damos gracias a ti, Dios
- Sobre Baca estaba el rey
- Ay que non hay!
- Rosa das rosas
- Maravillosos e piadosos
- Tres moricas m'enamoran
- Paseabase el rey moro
- Dime a do tienes las mientes
- Si no's huviera mirado
- Dexo la venda
- Puse mis amores
- Aqui me declaro su pensamiento
- Pues que me tienes
- Gentil dama, non se gana
- Mi querer tanto vos quiere
- Una hija tiene el rey
- Una matica de ruda
- Si la noche se hace oscura
- Pastorcico, non te aduermas
- Ay triste que vengo
- No soy you quien la descrube
- Pase el agua, Julieta
- Aquel caballero, madre
- Duelete de mi, Senora
- De Antequera salio el Moro
- De los alamos vengo, madre
- Enfermo estaba Antioco
- Dame acogida en tu hato
- Morenica, dame un beso
- Senora, si te olvidare
- De donde venis, amore?
Tracks:
- La rosa enflorece
- Ven querida
- Adio, querida
- Durme, durme, hermozo hijico
- Paxaro d'hermosura
- Avrix, mi galanica
- Irme quiero, la mi madre
- Ya viene el cativo
- Yo m'enamori d'un aire
- Una matica de ruda
- Anda, jaleo
- Los cuatro muleros
- Las tres hojas
- Los mozos de Monleon
- Las morillas de Jaen
- Sevillanas del siglo 18
- El cafe de Chinitas
- Nana de Sevilla
- Los pelegrinitos
- Zorongo
- Romance de Don Boiso
- Los reyes de la baraja
- La tarara
- El combat del somni: Damunt de tu, nomes les flors
- A l'ombra del Lledoner: Canco de grumet
- Canciones negras: Cancion de cuna para dormir a un negrito
- Cuatro madrigales amatorios: De los alamos vengo, madre
- Coleccion de tonadillas: Callejeo
- Coleccion de tonadillas: El tra la la y el punteado
- Seis canciones castellanas: No quiero tus avellanas
- Seis canciones castellanas: Jota
- Panxolina
- Tu pupila es azul
- Cantos populares espanolas: Malaguena
- Cantos populares espanolas: Granadina
- Cantos populares espanolas: El Vito
- Cantos populares espanolas: Pano murciano
- Clavelitos
- Adios, Granada
- Madrigal
Tracks:
- Coleccion de tonadillas: Amor y odio
- Coleccion de tonadillas: Callejeo
- Coleccion de tonadillas: El majo discreto
- Coleccion de tonadillas: El majo olvidado
- Coleccion de tonadillas: El majo timido
- Coleccion de tonadillas: El mirar de la maja
- Coleccion de tonadillas: El tra la la y el punteado
- Coleccion de tonadillas: La maja de Goya
- Coleccion de tonadillas: Las currutacas modestas
- Tres majas dolorosas: Oh muerte cruel!
- Tres majas dolorosas: Ay majo de mi vida
- Tres majas dolorosas: De aquel majo amante
- Goyescas: La maja y el ruisenor (Rosario)
- 'La vida breve': Vivan los que rien! (Salud - Act 1)
- 'La vida breve': Alli esta! Riyendo! (Salud - Act 2)
- 'Acis y Galatea': Confiado jilguerillo
- El tripili
- Llorad, corazon
- Iban al pinar
- No lloreis, ojuelos
- Mananica era
- Mira que soy nina
- Gracia mia
- El pano moruno
- Seguidilla murciana
- Asturiana
- Jota
- Nana
- Cancion
- Polo
- 'La Tempranica': Zapateado (La tarantula e un bicho mu malo)
Customer Reviews:
The most noble voice.......2004-05-28
PURCHASE THIS JEWEL WHILE YOU CAN.......2002-01-08
luminous artistry from a genius.......2000-12-26
A special Dignity and an Unfailing Beauty of Voice........2000-09-17
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Tutto Pavarotti
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ASIN: B000009I87 Release Date: 1989-04-28 |
Tracks:
- Caruso
- 'o Sole Mio
- 'a Vucchella
- Core 'Ngrato
- Passione
- Mamma
- Cantique De Noel (O Holy Night)
- Agnus Dei
- Cuius Animam
- Se Quel Guerrier Io Fossi...Celeste Aida
- Una Furtiva Lagrima
- Com'e Gentil
- Oh! Fede Negar Potessi...Quando Le Sere Al Placido
- Lunge Da Lei...De' Miei Bollenti Spiriti
- Di Qual Tetra Luce
- La Donna E Mobile
- La Rivedra Nell'estasi
- Cielo E Mar
- M'apparrTutt'amor
- La Fleur Que Tu M'avais Jet
- Pourquoi Me Rellier
- Mi Batte Il Cour
- Dai Campi, Dai Prati
- Vesti La Giubba
- Addio Alla Madre
- Amor Ti Vieta
- Ch'ella Mi Creda
- E Lucevan Le Stelle
- Donna Non Vidi Mai
- Che Gelida Manina
- Nessun Dorma
Customer Reviews:
The Best.......2007-01-12
Absolutely wonderful!.......2006-09-25
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Verdi: Il Trovatore (complete opera) with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Verdi
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ASIN: B000002RY8 Release Date: 1997-08-19 |
Tracks:
- Act One, Scene One: All'erta! All'erta! - Coro Del Teatro Alla Scala, Milano
- Act One, Scene One: Di Due Figli Vivea Padre Beato - Coro Del Teatro Alla Scala, Milano
- Act One, Scene One: Abbietta Zingara, Fosca Vegliarda! - Coro Del Teatro Alla Scala, Milano
- Act One, Scene One: Brevi E Tristi Giorni Visse - Coro Del Teatro Alla Scala, Milano
- Act One, Scene One: Sull'orlo Dei Tetti - Nicola Zaccaria
- Act One, Scene One: Che Piu T'arresti? - Maria Callas
- Act One, Scene One: Tacea La Notte Placida - Maria Callas
- Act One, Scene One: Quanto Narrasti Di Turbamento M'ha Piena L'alma! - Maria Callas
- Act One, Scene One: Di Tale Amor - Maria Callas
- Act One, Scene One: Tace La Notte! - Rolando Panerai
- Act One, Scene One: Il Trovator! Lo Tremo!...Deserto Sulla Terra - Rolando Panerai
- Act One, Scene One: Anima Mia!...Piu Dell'usato - Coro Del Teatro Alla Scala, Milano
- Act One, Scene One: Di Geloso Amor Sprezzato - Maria Callas
- Act Two, Scene One: Vedi! Le Fosche Notturne - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene One: Stride La Vampa! - Fedora Barbieri
- Act Two, Scene One: Mesta E La Tua Canzon! - Giuseppe Di Stefano
- Act Two, Scene One: Soli Or Siami - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene One: Condotta Ell'era In Ceppi - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene One: Non Son Tuo Figlio! - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene One: Mal Reggendo All'aspro Assalto - Giuseppe Di Stefano
- Act Two, Scene One: L'usato Messo Ruiz Invia!...Mi Vendica! - Renato Ercolani
- Act Two, Scene One: Perigliarti Ancor Languente - Giuseppe Di Stefano
- Act Two, Scene Two: Tutto E Deserto - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene Two: Il Balen Dei Suo Sorriso - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene Two: Qual Suono! Oh Ciel! - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene Two: Per Me Ora Fatale - Coro Del Teatro Alla Scala, Milano
- Act Two, Scene Two: Ah! Se L'error T'ingombra - Rolando Panerai
- Act Two, Scene Two: Perche Piangete? ... O Dolci Amiche (Leonora, Ines, Conte, Coro) - Maria Callas
- Act Two, Scene Two: E Deggio Posso Crederlo? - Maria Callas
Tracks:
- Act Three, Scene One: Or Co' Dadi, Ma Fra Poco - Nicola Zaccaria
- Act Three, Scene One: In Braccio Al Mio Rival! - Coro Del Teatro Alla Scala, Milano
- Act Three, Scene One: Giorni Poveri Vivea - Coro Del Teatro Alla Scala, Milano
- Act Three, Scene One: Deh! Rallentate, O Barbari - Rolando Panerai
- Act Three, Scene Two: Quale D'armi Fragor - Maria Callas
- Act Three, Scene Two: Ah Si, Ben Mio, Coll'essere Io Tuo - Giuseppe Di Stefano
- Act Three, Scene Two: L'onda De Suoni Mistici Pura Discenda Al Cor! - Maria Callas
- Act Three, Scene Two: Di Quella Pira, L'orrendo Foco - Renato Ercolani
- Act Four, Scene One: Siam Giunti, Ecco La Torre - Maria Callas
- Act Four, Scene One: D'amor Sull'ali Rosee - Maria Callas
- Act Four, Scene One: Miserere... Quel Suon, Quelle Preci - Maria Callas
- Act Four, Scene One: Di Te, Di Te Scordami Di Te - Maria Callas
- Act Four, Scene One: Udiste? - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene One: Mira, D'acerbe Lagrime - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene One: Conte! ... Ne Basti! - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene One: Colui Vivra...Vivra! Contende Il Giubilo - Maria Callas
- Act Four, Scene Two: Madre, Non Dormi? - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene Two: Si, La Stanchezza Mopprime - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene Two: Ai Nostri Monti Ritorneremo - Giuseppe Di Stefano
- Act Four, Scene Two: Che! Non M'inganna - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene Two: Parlar Non Vuoi?...Ha Quest'infame L'amor Venduto - Coro Del Teatro Alla Scala, Milano
- Act Four, Scene Two: Ti Scosta! - Maria Callas
- Act Four, Scene Two: Prima Che D'altri Vivere - Maria Callas
Amazon.com essential recording
Maria Callas's voice was never noted for its sheer beauty, but she was in her best form for this session and she knew exactly what to do with what she had. She might not make the distraught figure of Leonora rationally credible, but she knows more about acting with her voice than anyone this side of Sir John Gielgud. And she puts Leonora's emotions, her vulnerability, her whole-hearted, self-sacrificial love, squarely before the listener. Herbert von Karajan's conducting brings logical coherence to a work not noted for that quality. In short, this is vintage Callas, at the top of her form in some of the greatest music and some of the most intensely emotional situations ever devised for a soprano. Von Karajan--young and not yet burdened with the mannerisms of his later years, is an ideal partner. The other singers, though dwarfed by Callas, provide substantial support. --Joe McLellanCustomer Reviews:
a source of consumer surplus........2007-07-26
I haven't heard the Azucena Barbieri recorded earlier with Milanov & Bjorling that many people prefer over her performance in this one, but here she is superb: her voice is strong and so dark that you really get a sense of Azucena's baleful schema.
Of course, the selling point is Callas. In this recording, she demonstrates just how supremely gifted she is as an artist. There are numerous wonderful surprises in her phrasing throughout that keep you always spellbound by her character.
It's an amazing, essential recording for any opera lover.
A Leonora For All Time.......2006-04-08
The greatest Leonora!.......2004-07-02
Brilliant!.......2004-06-13
The best Leonora forever.......2004-05-16
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Mediterranea: Songs of the Mediterranean
Manufacturer: Sounds True Direct ProductGroup: Music Binding: Audio CD Traditional Folk
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ASIN: B00004UES8 Release Date: 2000-08-15 |
Tracks:
- Why Little Bird Do you Not Sing
- You On A Hill, I On A Hilll
- Pinguli Pinguli Giuvacchinu/The Door
- The Girl From Nuoro
- Sardinian Dance
- Gentle Hand
- When The Lissome Girl Appeared
- Glory To The Word Of God
- The Jasmine
- Smyrnaean Air
- In The Beautiful Bygone Days
- Dawn Has Broken
- And A Mother
- Lullaby
- The Boatmen
- La Finforletta
- O, Wave
- God Has Afflicted Me/Why Little Bird Do You Not Sing
Customer Reviews:
nice.......2007-05-30
Mediterranean Music.......2006-11-03
Comment on "Gemçis Güzel Günerli" and more.......2005-05-01
Second, track 11 ("Gemçis Güzel Günerli") *is* a Turkish song, written by an Aremenian citizen of Turkey, Hrant Kenkulian, or "Udi Hrant," as he's often known -- this is mentioned in the liner notes to Mediterranea. ("Udi" is an honorific prefix meaning that he was a master player of the ud, a Middle Eastern lute.) If you're interested in exploring his music further, there are several recordings of his work (voice, ud, and violin) on the Traditional Crossroads label. (Type "Udi Hrant" into the search engine on this site and you'll find the CDs very easily.)
Turkey was -- and still is -- an ethnically mixed country, which is a legacy of the Ottoman Empire. There were Armenian Turkish composers and musicians at the courts of the Ottoman sultans, and there were those who also excelled at light classical and popular song. Hrant Kenkulian was a master of classical and popular music -- if you explore further, you'll find out that he's one of many 20th-century Armenians who were involved in the development of Turkish music.
Yannatou is an inheritor of Turkish tradition, too. Modern Greece was occupied by the Ottomans for many centuries, and there is a very strong Turkish tinge to much of the Greek music she performs. (And vice versa, as she performs Pontic Greek music from the Black Sea coast of Turkey; also songs from Smyrna -- now called Izmir -- on Turkey's western coast.)
What I love most about her work is her peerless way with all of the songs she chooses. Many people have tried to come up with pan-Mediterranean discs, but Yannatou is one of a handful of people who has succeeded at it.
Gecmis Guzel Gunleri is actually Armenian.......2004-09-22
Inded it belongs to, adn illustrates, a whole body of non Turkish music from Turkey which actually speaks to the ethnic cleansing that occured the in the 1900-1920's period.
Few people in today's Turkey, which has been purged of knowledge of the roots of its own tradional music, are aware of the multiethnic roots of its music. It was for years criminal to even suggest that many songs were orignially Greek, Kurdish or Armenian.
So I am glad that my Turkish friend likes the Armenian ballad Gecmis Guzel Gunleri ("The Beautiful Past Days") and am only sorry that he never heard the original recordings by an long dead artist now know in Turkey as Udi Hrant, but whose non stage name was Udi Hrant Kenkulian. His family was murdered in the Turkish Genocide against the Armenians, which makes his song more ever poignant - as the title suggests..
The Meditarranean Soul Captured in One CD!.......2002-04-02
I first heard Savina Yannatou on Mondo Greece and knew I must have one of her CDs. I discovered this one and was compelled to buy it. It is filled with the music of Primavera de Salonika, playing kanun, santouri, lyra, and other authentic intstruments that complement Savina's voice. Her voice is beyond description ... totally captivating, exceptional, without comparison. Listen and be amazed - then buy the CD!!! Erika Borsos (erikab93)
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Pavarotti Plus
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Puccini
| Puccini, Giacomo
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ASIN: B0000042E7 Release Date: 1997-06-10 |
Tracks:
- Hymn Of The Nations
- TOSCA: Recondita armonia
- Il Trovatore: Ai nostri monti
- La Traviata: Parigi, o cara
- La forza del destino: Invan Alvaro
- Macbeth: Ah la paterna mano
- Otello: Dio ti giocondi
- La Boheme: In un coup?
- I lombardi: L'acque sante del Giordano
- Manon Lescaut: Tra voi, belle
- La traviata: Brindisi
Customer Reviews:
The veterans are here to stay.......1999-12-02
On this disc, Luciano Pavarotti delivers beautiful singing and gets a chance to introduce a fresh crop of future superstars. So what if his voice changed a little? Show me a singer whose voice remained the same over the years and I'll show you a person who was afraid of taking risks. Pavarotti still impresses as a passionate Cavaradossi or enraged Macduff. In this concert he even took on the roles of Alvaro and Otello, usually considered "too heavy" for a lyric tenor. Of the young stars, I am particularly impressed with Dwayne Croft, he has it all to become an operatic giant. Leo Nucci, a veteran like Luciano himself, also took up a challenge: not only did he sing Don Carlo, but also bravely welcomed the new generation of baritones personified by Croft. The women are outstanding as well. Having seen the event on video, I was a bit disappointed Decca did not include the final duet from Eugeny Onegin (Focile/Croft) on this disc. It was sensational. Then I learned there was a complete concert audio recording on 2 CDs, that is now sadly out of print. Overall, much like Domingo's "Gold and Silver Gala" (EMI) this concert optimistically reassures that opera has a future.
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Verdi: La Forza del Destino
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Verdi
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ASIN: B000BO0GPO Release Date: 2006-01-10 |
Tracks:
- Overture - Philharmonia Orchestra
- Introduzione-Scena: 'Buona Notte, Mia Figlia' - John Tomlinson
- Recitativo: 'Temea Restasse Qui Fino A Domani' - Jean Rigby
- Romanza: 'Me Pellegrina Ed Orfana' - Rosalind Plowright
- Scena: 'M'aiuti, Signoria' - Jean Rigby
- Duetto: 'Ah, Per Sempre, O Mio Bell'angiol...Seguirti Fino Agl'ultimi' - Jose Carreras
- Scena-Finale I: 'E Tardi...Vil Seduttor' - Various Artists
- Coro-Ballabile: 'Hola, Hola, Hola! Ben Giungi, O Multattier' - Mark Curtis
- Scena: 'La Cena E Pronta'/Recitativo: 'Viva La Guerra' - Various Artists
- Canzone: 'Al Suon Del Tamburo' - Various Artists
- Preghiera: 'Padre Eterno Signor...Pieta Di Noi' - Various Artists
- Scena: 'Viva La Buona Compagnia'/Recitativo: 'Poich'imberbe E L'incognito' - Various Artists
- Ballata: 'Son Pereda, Son Ricco D'onore' - Various Artists
- Scena, Coro E Ripresa Della Danza: 'Sta Bene' - Various Artists
Tracks:
- Aria: 'Son Giunta! Grazie, O Dio!...Madre, Pietosa Vergine' - Ambrosian Opera Chorus
- Scena: 'Chi Siete?' - Juan Pons
- Scena E Duetto: 'Chi Mi Cerca?...Infelice, Delusa, Reietta' - Paata Burchuladze
- Finale II: 'Il Santo Nome Di Dio Signore...La Vergine Degli Angeli' - Various Artists
- Scena: 'Attenti Al Gioco' - Jose Carreras
- 'La Vita E Inferno All'infelice' - Jose Carreras
- Romanza: 'Oh, Tu Che In Seno Agli Angeli' - Jose Carreras
- Scena E Duettino: 'Al Tradimento...Amici In Vita, In Morte' - Jose Carreras
- Scena: 'All'armi!'/Battaglia: 'Arde La Mischia!'/Scena: 'Piano...Qui Posi' - Various Artists
- Duettino: 'Solenne In Quest'ora' - Renato Bruson
- Scena: 'Morrir! Tremenda Cosa!' - Renato Bruson
- Aria: 'Urna Fatale Del Mio Destino...Egli E Salvo! Oh Gioia Immensa' - Jose Carreras
Tracks:
- Ronda: 'Compagni, Sostiamo' - Abrosian Opera Chorus
- Scena E Duetto: 'Ne Gustare M'e Dato Un'ora Di Quiete...Oh Tradimento!' - Renato Bruson
- Coro: 'Lorche Pifferi E Tamburi' - Abrosian Opera Chorus
- Strofe: 'Venite All'indovina' - Agnes Baltsa
- Scena: 'Que, Vivandiere, Un Sorso' - Agnes Baltsa
- Arietta: 'A Buon Mercato'/Coro: 'Pane, Pan Per Carita' - Various Artists
- 'Che Vergogna!' - Ambrosian Opera Chorus
- Coro-Taratella: 'Nella Guerra, E La Follia' - Various Artists
- Predica: 'Toh, Toh! Poffare Il Mondo'/(Recitativo): 'Lasciatelo Ch'ei Vada' - Juan Pons
- Rataplan: 'Rataplan' - Various Artists
- Coro Ed Aria Buffia: 'Fate La Carita...Che? Siete All'osteria?' - Ambrosian Opera Chorus
- Scena E Duetto: 'Auf! Pazienza Non V'ha Che Basti...Del Mondo I Disinganni'/Scena: 'Giunge Qualcun..Aprite' - Paata Burchuladze
- Scena E Duetto: 'Invano, Alvaro, Ti Celasti Al Mondo...Col Sangue Sol Cancellasi L'infamia' - Renato Bruson
- Melodia: 'Pace, Pace, Mio Dio' - Jean Rigby
- Scena E Terzetto Finale: 'Io Muoio...Confessione!...Non Imprecare, Umilitati' - Various Artists
Customer Reviews:
warning: no libretto.......2007-02-22
Excellent in every way, yet another ignored Verdi Voice!.......2007-01-06
According to what I've heard, she was a Verdi soprano par excellence! Her tendency to cut the top notes short, play with the rhythm at times, and bottle up the tone can't detract from that awesome exciting voice AND that excellent Verdi beat. HOWERVER, Rosalind Plowright seemed to assiduously avoid the typical Verdian soprano sound a la Milanov, Price, Dunn, and Arroyo etc but opted for a brighter sound every bit as huge and crisp as Crespin and as veiled as the Callas of the 1960's. All this makes for an avalanche of a voice that must have raised the roof. She is very very thrilling to hear and this explains why she was a Verdi soprano of choice in Europe during the Milllo and Dunn years. I assume her voice didn't please everyone because it was unwieldy at the top, again like Crespin and also the tone hardened at times; in fact, i must repeat, she sounds exactly like a combination of Callas and Crespin. But make no mistake, those great divas never wrapped their great voices around Verdian phrases like Plowright, especially in .."Son Giunto, grazie o Dio" for in this regard she joins that long line of Verdians going way back to Arangi-Lombardi, Ponselle, and Milanov -- this is Art and anyone who has studied Verdi can identify a Verdian of this caliber. You Verdians out there know what I mean.
Carerras is close to the microphone, and this forcing does not do well in Verdi. Nevertheless, there is an honesty with this man, a passion, an innate truth. I prefer him dead or alive to Domingo, but he is not at the technical level of Domingo or Aragall. Preziosilla is Ms. Baltsa, and how well she sings. I am a FAN of RENATO BRUSON so its not fair to sing his praises!
Giuseppe Sinopoli is intense and he achieves a noble Verdi sound appropriate for Forza, nice and warm sounding but rhythmic indeed. I do like his work in this Forza and I think his work as a Verdian has NOT been bettered, not even by Jimmy Levine who I also really like. However, Trovatore belonged to Zubin Mehta and Humberg (I think I spelled it right - he is on the Naxos Trovatore)
TOP MODERN VERDI -- THAT IS MY ASSESSMENT!
Musical Sheet Lightning.......2006-10-11
I appreciate most the interaction of keen drama with religion in a form preferable to the rather morbid religious-secular dualism of Wagner's Tannhauser. Although Verdi's monks may sing quietly, the religious element blends with the plot more convincingly than in Wagner's schematically opposed Pilgrim's Chorus and Venusberg music. Even more striking is the contrast between Verdi's opera and Tchaikovsky's frantic Eugen Onegin where the protagonist's stupid egotism results in a tragic duel. In Act IV of La Forza del Destino the noble lover Alvaro tries to convince the vengeful Carlo that "God alone can bring retribution." Although Carlo murders his sister and Alvaro is weak enough to curse his "destiny" (secular language for the overruling sovereignty of God), the last word goes to Padre Guadiano in "Non imprecare, umiliati." In addition to all these features the performance gives us Agnes Baltsa as an entertaining gypsy Preziosilla. Verdi measures out just the right amount of this change of pace rather than making us wallow in it as does Bizet's Carmen. In his great tragic opera, Verdi proves once for all that one of the best forms of opera is high-tension theater. His work forms a perfect complement to the operas of Meyerbeer.
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Classic Puccini Recordings
Puccini , and Tebaldi Manufacturer: Decca ProductGroup: Music Binding: Audio CD General
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ASIN: B00006IU8W Release Date: 2003-03-11 |
Album Details
Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.Customer Reviews:
Excellent introduction to Tebaldi's art.......2005-09-29
Wonderfull.......2005-08-19
Classic Renata.......2005-03-16
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The Complete Caruso
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ASIN: B0001TSWQO Release Date: 2004-11-09 |
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Verdi: Il Trovatore
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Verdi
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ASIN: B0000012WQ Release Date: 2005-09-13 |
Tracks:
- Part I, Scene 1: 1. Intro: 'All' Erta! All' Erta!' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part I, Scene 1: Racconto: 'Di Due Figli Vivea Padre Beato...Abbietta Zingara'/'Sull'orlo Dei Tetti' - Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part I, Scene 2: 2. Scena E Cavatina: 'Che Piu T'arresti?' - Laurence Dutoit/Leontyne Price
- Part I, Scene 2: 2. Scene E Cavatina: 'Tacea La Notte Placida...Di Tale Amor' - Leontyne Price/Laurence Dutoit
- Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Tace La Notte!' - Ettore Bastianini
- Part I, Scene 2: 3. Scena, Romanza E Terzetto: 'Deserto Sulla Terra' - Franco Corelli/Ettore Bastianini/Leontyne Price
- Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Vedi! Le Fosche Notturne Spoglie' - Chor Der Wiener Staatsoper/Roberto Benaglio
- Part II, Scene 1: 4. Chor Di Zingari E Canzone: 'Stride La Vampa!' - Giulietta Simionato/Chor Der Weiner Staatsoper/Roberto Benaglio/Franco Corelli/Rudolf Zimmer
- Part II, Scene 1: 5. Scena E Racconto: 'Soli Or Siam!'/'Condotta Ell'era In Ceppi' - Franco Corelli/Giulietta Simionato
- Part II, Scene 1: 6. Scena E Duetto: 'Non Son Tuo Figlio?...Mal Reggendo All'aspro Assalto' - Franco Corelli/Giulietta Simionato
- Part II, Scene 1: 6. Scena E Duetto: 'L'usato Messo Ruiz M'invia!' - Franco Corelli/Giulietta Simionato/Kurt Equiluz
- Part II, Scene 2: 7. Scena Ed Aria: 'Tutto E Deserto' - Ettore Bastianini/Nicola Zaccaria
- Part II, Scene 2: 7. Scena Ed Aria: 'Il Balen Del Suo Sorriso' - Ettore Bastianini
- Part II, Scene 2: 7. Scena Ed Aria: 'Qual Suono! Oh Ciel!' - Ettore Bastianini/Nicola Zaccaria/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part II, Scene 2: 8. Finale II: 'Ah! Se L'error T'ingombra'/'Perche Piangete?' - Leontyne Price/Laurence Dutoit/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part II, Scene 2: 8. Finale II: 'E Deggio, E Posso Crederlo?' - Leontyne Price/Ettore Bastianini/Franco Corelli/Nicola Zaccaria/Laurence Dutoit...
Tracks:
- Part III, Scene 1: 9. Chor D'Introduzione: 'Or Co' Dadi...Squilli, Echeggi La Tromba Guerriera' - Chor Der Wiener Staatsoper/Roberto Benaglio/Nicola Zaccaria
- Part III, Scene 1: 10. Scena E Terzetto: 'In Braccio Al Mio Rival!' - Ettore Bastianini/Nicola Zaccaria/Giulietta Simionato/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part III, Scene 1: 10. Scena E Terzetto: 'Giorni Poveri Vivea' - Giulietta Simioinato/Nicola Zaccaria/Ettore Bastianini/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part III, Scene 2: 11. Scene Ed Aria: 'Quale D'armi Fragor Poc'anzi Intesi?' - Leontyne Price/Franco Corelli
- Part III, Scene 2: 11. Scene Ed Aria: 'Ah! Si, Ben Mio' - Franco Corelli
- Part III, Scene 2: 11. Scene Ed Aria: 'L'onda De' Suoni Mistici' - Leontyne Price/Franco Corelli/Siegfried Rudolf Frese
- Part III, Scene 2: 11. Scene Ed Aria: 'Di Quella Pira' - Franco Corelli/Siegfried Rudolf Frese/Chor Der Wiener Staatsoper/Roberto Benaglio
- Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Siam Giunti; Ecco La Torre' - Siegfried Rudolf Frese/Leontyne Price
- Part IV, Scene 1: 12. Scena, Aria E Miserere: 'D'amor Sull'ali Rosee' - Leontyne Price
- Part IV, Scene 1: 12. Scena, Aria E Miserere: 'Miserere'/'Ah! Che La Morte Ognora' - Chor Der Wiener Staatsoper/Roberto Benaglio/Leontyne Price/Franco Corelli
- Part IV, Scene 1: 13. Scena A Duetto: 'Udiste? Come Albeggi' - Ettore Bastianini/Leontyne Price
- Part IV, Scene 1: 13. Scena A Duetto: 'Vivra! Contende Il Giubilo' - Leontyne Price/Ettore Bastianini
- Part IV, Scene 2: 14. Finale Ultimo: 'Madre, Non Dormi?' - Franco Corelli/Giulietta Simionato
- Part IV, Scene 2: 14. Finale Ultimo: 'Si, La Stanchezza M'opprime, O Figlio'/'Ai Nostri Monti' - Giulietta Simionato/Franco Corelli
- Part IV, Scene 2: 14. Finale Ultimo: 'Che! Non M'inganna Quel Fioco Lume?...Ha Quest'infame L'amor.. - Franco Corelli/Leontyne Price/Giulietta Simionato
- Part IV, Scene 2: 14. Finale Ultimo: 'Ti Scosta!'/'Non Respingermi' - Franco Corelli/Leontyne Price/Ettore Bastianini/Giulietta Simionato
Customer Reviews:
Was there ever a more exciting night at Salzburg?.......2006-11-26
This recording brought Leontyne Price's Leonora to the Salzburg stage, a contribution that was in many ways the ideal combination of vocal beauty, drama, and Verdian sensitivity. Although Price is a lesser Leonora than Maria Callas, she performs very well on this recording, revealing much of Leonora's distress and pathos over Manrico's predicaments. I have never heard a more beautiful Tacea la notte or D'Amor sull'Rosee sung in all the Trovatores I've heard, and she adds a few high notes of her own in bits of the score. A wonderful performance. It was no doubt that Karajan would say that he got goosebumps when he heard her sing.
Corelli is Manrico. He may not have the beautiful legato of Carlo Bergonzi or the smooth discipline of Placido Domingo, but what a Manrico! You could hear a true gyspy in this performer, and he sings with such macho verve that it would be no doubt that Leonora would fall in love with this one tenor. A performance to keep for the ages!
Simionato is Azucena. With Stignani, Cossotto, and Barbieri, Simionato joined these great mezzos in the tier of Azucenas who make this role the center of the opera. She is perhaps the most insightful and powerful mezzo to take the role, and the runs simply pose no problems for her. She is the definitive Azucena, along with today's Dolora Zajick.
Ettore Bastianini is di Luna. Need I say more about this Verdian baritone except that he is excellent in every sense of the word? Bravo!
With Karajan on the podium in demented form, and a cast that matches his pacing word for word, this is probably my Trovatore of choice.
Must We Forget Leontyne Price?.......2006-01-08
I cannot believe the reviewers who went on and on about Corelli, and the Azucena, and conveiently mentioned Miss Price only in passing or in many cases not at all.
But so much for reviews and reviewers. I can never forget what a teacher of organ, Zubin Mehta's brother, once said to me. Those who can, do. Those who cannot teach, and those with even lesser gifts review those to which they cannot hold a candle.
Thanks to all those reviewers who gave Miss Price the dignity that she deserves. I think history will eventually bear witness to the exceptional gifts of this artist. And to those in question, please read the reviews of Paul Hume circa 1960 from a Washington, DC newspaper, regarding Leontyne Price. He was a reviewer that was the exception.
An old friend returns, yet again.......2005-10-05
I gather this version is in considerably improved sound. Well and good, for some versions have sounded--with the best of good will--pretty awful.
I am giving this only four stars because of Price. Yes, I know that at the time this recording was made she was still a keen and willing performer, not yet immobilized in her diva-hood. Nevertheless, I am simply not willing to give her the benefit of a doubt because I had the misfortune to see her in two live performances, once in "Ballo in maschera" and once in "Il trovatore." One of those two performances was the worst I have ever seen on stage and the other was the second worst--only I am not quite sure which was which. In both cases, she mooched around the stage, ignoring all others, softly crooning to herself until her big solo numbers, then she marched down to the footlights at center stage, faced forward and sang like an angel. That done, and having exhausted the cheers of the audience, she mooched back into the opera, loftily ignoring all others until the final curtain. But forget all that as sour grapes on my part, the fact remains that I can name a half-dozen sopranos easily available on CD who offer Leonoras equal to or better than this one from Price, starting with Bianca Scacciati, way back in 1930.
The previous Amazon reviewer downgraded this recording because of the presence of Corelli, calling him "a ludicrously vulgar Manrico." I do not object to that. Everyone has a right to his or her opinion. I must point out, however, that Manrico is a ludicrously vulgar part in a gloriously, marvelously, ludicrously vulgar opera. (And also this: computers have a wonderful thing called a spell-checker. Use it!)
A minority opinion on this famous Trovatore.......2005-10-05
But the good news stops there. The Conte di Luna of Bastianini, well past his vocal prime, is full of hollow tones and hokey overplaying. Corelli was a shameless primo tenore who had no patience for phrasing and no intelligence for much else besides singing as loud as he could and turning his handsome profile to best advantage. He is a ludicrously vulgar Manrico, second only to Tucker, who unfortunately paired with Price on her first Trovatore in 1959 for RCA.
Given all that, I think it's worthwhile to buy the cheapest version of this Trovatore that you can find--I have the super-bargain set from Opera d'Oro--so that you can revel in Price's singing and skip very quickly past Corelli's. The recent reawakening of enthusiasm for this crude singer is beyond me.
A riveting live performance.......2005-04-04
As usual, rhythm is the weakest element in Corelli's performance, but Herbert von Karajan, master of rubato, stays with him almost preternaturally, providing a cushion of musical continuity that is like a masterclass in opera conducting. The aria thus becomes an unusual marriage of Italian feeling and Austrian grandeur: quite a performance! (And how the Vienna Philharmonic breathe with von K !!)
The Pira is the one instance when HvK decides not to accomodate: he wants to go very fast, martial style. Franco wants to go considerably slower, and the two are never once together, except in the first High C, which seems to last forever. In the choral/orchestral coda, Karajan forges ahead, as if to say: "I'll show you!". But, at such speed, chorus and orchestra fall apart (the very loud trumpets and percussion end up in different counties!) and then Franco comes in for the kill with a second High C that has to be heard to be believed!! It does last forever! Live!
Part of Corelli's rhythmic issues have to do with von Karajan's love for many different and contrasting speeds. This is absolutely idiomatic in an opera like Trovatore, but not every singer can keep up with that.
One who sure can is Giulietta Simionato, the Azucena. Whatever von K throws her way, she can handle: she is like a mad dog. Every syllable, every word, every phrase is "burnt in" with a volcanic power and a supreme self-assurance that I have not heard in any other Azucena. No matter how slow a waltz-rhythm, she never runs out of breath or steam. If fast, she eats it up. Loud? She is like Vesuvius. Soft? Just listen to the ending of the Condotta ell' era in ceppi, when she seems to be humming from inside her skull, as in a vision.
My favourite moment is the finale of the first scene of act III. Giorni poveri vivea. K sets a slow, weary movement to the initial arioso for Azucena, which Simionato handles with a dark, mournful colour and seemingly endless supplies of breath. Then K goes as fast as the wind into the stretta, and old Giulietta digs into it like a starved greyhound, taking, but of course, all the high options. Brava, diva! Karajan had found his match.
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