Don Del Son

1. No Dejes Que Se Muera Tu Son

2. Elembao

3. Por un Momento de Placer

4. Belleza Natural

5. Viviendo Sin Tu Amor

6. Montaña Rusa

7. Yo No Naci Ayer

8. Quiero Saber

9. Perdonar y Olividar

10. Corazon, Dame Fe

Don Del Son,Henry Fiol,Kubaney,Latin,Tropical

Average customer rating:

Early Caballe, covering the range of her opera roles
A great collection of diva Caballe's best singing!!!!!!!!!!!!!!!!!!!
REALLY GOOD !
Cut-and-Paste Caballe

Very Best of
Montserrat Caballe
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Montserrat Caballé: Ultimate Collection
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ASIN: B000083GOF
Release Date: 2003-04-22

Tracks:

Ritorna Vincitor
Qui Radames Verra... O Patria Mia
Pace, Pace Mio Dio
Una Macchia E Qui Tutt'ora
Tu Che Le Vanita
Ave Maria
L'altra Notte In Fondo Al Mare
Voi Lo Sapete, O Mamma
Ils S'Eloignent Enfin... Sombre Foret
Las Fuentecitas De Parque
Cuba Dentro De Un Piano
Chevre
Punto De Habanera
Cancion De Cuna Para Dormir A Un Negrito
Canto Negro

Tracks:

In Quelle Trine Morbide
Si. Mi Chiamano Mimi
Donde Lieta Usci
Vissi D'Arte
Un Bel Di Vedremo
Tu, Tu, Piccolo Iddio!
Signore, Ascolta
In Questa Reggia
Tu Che Di Gel Sei Cinta
O Mio Babbino Caro
Chi Il Bel Sogno Di Doretta
Son Vergin Vezzosa
O Rendetemi La Speme... Qui La Voce Sua Soave...
Torno Il Riso Sul Suo Aspetto... Vien Diletto
Oh! S'io Potessi Dissipar Le Nubi...
Col Sorriso D'Innocenza...
Qual Suono...Oh, Sole! Ti Vela Di Tenebre Oscure

Customer Reviews:

Early Caballe, covering the range of her opera roles.......2006-09-20

Leaving the hype aside, EMI would have been more accurate to entitle this 2-CD ssurvey "Opera Arias by the Young Caballe." In the whole generous 151 min. there are only 6 songs to represent her extensive recital repertoire, and no Zarzuela. For those items you have to go to rCA. Here we get Caballe mostly from the Seventies (1971-79) with bits form the early Eighties.

The reviewers below have given deserved praise to Caballe's abilities as diva. My onw opinion is that she was better on records than in the opera house. She wasn't gifted as an actress and cut a short, wide figure onstage. But as a vocal actress on disc she was very convincing, despite her over-reliance on pathos and delicacy. One longs at times, amid all the beauitful floated notes, for more spine and guts to her heroines. (I find her acclaimed Aida, for example, a one-note portrayal.) Lady Macbeth needs to be more sinister, Elisabetta more tragically enduring.

In all, this two-fer serves as a fine survey of her early career, and for listeners like me, who don't necessarily buy Caballe's complete opera sets, it may be all we need.

A great collection of diva Caballe's best singing!!!!!!!!!!!!!!!!!!!.......2005-12-26

This is a great collection of caballe's eternal art.All the songs here have been remastered and sound wonderful.The very best of, contains a nice selection of caballe's greatest verdi singing.Her rendition,heard here,of la vergine degli'angeli from the forza del destino is the best one in recorded history.She sings it with such feeling and the most glorious soft notes in history.All of the arias on this disc aptly demonstrates her mastery of bel canto, and italian opera for that matter.In signore,ascolta from turandot,another memorable performance from Caballe,she sculpts this aria beautifully like a master craftsman;ending this piece with a ultra high pianissimo bflat,which she holds out all the way to the final bars of the music ,for an astounishing 15 seconds.One of the most beautiful notes ever produced from the human throat.Other noticable mentions would be her pace pace mio dio,her ave maria from othello,col sorriso d'innocenza from il pirata,as well as an entire spanish recital(recorded in 1979,in good voice)are all include here;and much more besides.There is also a nice picture of a young, beautiful, and thin Montserrat Caballe on the cover.The cd booklet includes exstensive linear notes and five rare photes of this divine soprano,who has both a heart and voice of pure gold.

REALLY GOOD !.......2004-02-19

I`VE BEEN LOOKING FOR SO LONG THE "PUCCINI ARIAS" ALBUM AND IT`S ALMOST COMPLETE IN THIS COMPILATION. ENJOY THE PURE VOICE OF MONTSERRAT WITH THIS GREAT COLLECTION OF GREAT ARIAS BY VERDI,PUCCINI,BELLINI,ROSSINI,ETC. YOU`LL NEVER REGRET.CLEAR SOUND DIGITALLY REMASTERED.

Cut-and-Paste Caballe.......2003-05-17

This two-disc recital draws heavily upon two Caballe recital discs (a Bellini/Verdi recital, and a recital of Puccini arias), with some extra material thrown in. At the end of disc one, there are also some Spanish songs thrown in, a good choice, since Caballe sang these songs extensively in her many recitals.

For Caballe fans that already own the backlist of her recitals, there is not enough here to entice you to buy this new recital, unless you like the unique combination of arias. Tracks 1-5 on disc one are wonderful interpretations by Caballe of Verdian arias. I especially like the one from Macbeth- perfectly executed, with the pianissimi in all the right places. Equally as thrilling is her Tu Che Le Vanita, a dramatic, long aria that shows off the interpretive power she was capable of, when she wasn't in a lazy mood. As for the Ave Maria, I find it curious that they chose to cut the preceding Willow Song. In my mind, you can have a Willow Song on a soprano's recital disc without the Ave Maria, but it seems inappropriate for the reverse to be the case. Personally, I don't think that Caballe has anything on Mirella Freni, who is perhaps the most perfect Desdemona of her era.

I must admit to not having heard Caballe's interpretations of L'Altra Notte and Voi Lo Sapete. To imagine Caballe singing Santuzza really seems like a stretch to me. My favorite Santuzzas are Callas, Bumbry, and Verrett (in that order). Of course, Caballe did sing a lot of roles, and it isn't impossible that she could do justice to the aria, but I just can't imagine it, try as I might. A final selection worth mentioning is the aria from William Tell, from a supreme bel canto recording of Rossini's masterpiece.

Tracks 1-11 on the second disc are culled from her famous Puccini Arias recording, with the exception of In Questa Reggia from Turandot (a role that she would sing very late in her career, as opposed to the more familiar and suitable-for-her-voice role of Liu). What is notable is what didn't make the cut. Listeners will be deprived of her heart-wrenching, powerful interpretation of Sola, Perduta, Abbandonata, with its sinister clarinet obligato. They will also miss out on an enchanting aria from Puccini's little known and rarely staged Le Villi. This is a shame, since the original Puccini Aria disc is currently out of circulation.

The rest of disc two focuses on Bellini, in the form of I Puritani and Il Pirata. Listeners will be treated to both the polacca and the mad scene from Bellini' final opera. Caballe, of course, cannot hold a candle to Joan Sutherland, who was a true coloratura soprano (Caballe was more lyrical), but she isn't bad, either, as Elvira. The Bellini role that would garner her more acclaim was Imogene from Il Pirata. This two-disc recital draws to a close with her divine reading of Imogene's mad scene. This is the stuff of operatic legend.

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.

Average customer rating:

The Incomparable LEONTYNE PRICE: "The Stradivarius of Singers"!!
Leontyne Price: The Ultimate Collection
The true prima donna asoluta
Fabulous singing, Overblown orchestras
Fabulous!

Leontyne Price: The Ultimate Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Price, Leontyne | Divas | Opera & Vocal | Styles | Music

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Verdi: Aida/Il trovatore/Puccini: Madama Butterfly/La Rondine/Tosca/Turandot
In Concert

ASIN: B00000J912
Release Date: 1999-05-25

Tracks:

Aida: Ritorna vincitor
Turandot: Signore, ascolta
Le nozze di Figaro: Porgi amor
Madama Butterfly: Un Bel Di
Manon: Adieu, notre petite table
Manon Lescaut: In quelle trine morbide
Dido & Aeneas: Thy hand...when I am laid
Il Trovatore: Che piu... Tacea la notte ...Di tale amor
Les Nuits D'ete: Sur les lagunes
Porgy & Bess: Summertime
La rondine: Chi il bel sogno
Carmen: Habanera
La forza del destino: Son giunta...Madre.
Vier letzte Lieder: Im Abendrot
Ariadne auf Naxos: Es gibt ein Reich

Tracks:

Aida: O Patria Mia
TOSCA: Vissi d'arte
Turandot: Tu che di gel cinta
Le nozze di Figaro: Susanna
Il Trovatore: Siam giunti
Un Ballo in Maschera: Morro ma prima in grazia
Carmen: Sequidille
Il re pastore: L'amero
Don Carlo: Tu che la vanita
Suor Angelica: Senza Mama
Anthony and Cleopatra: Give me my robe
Madame Butterfly: Tu? tu?
La forza del destino: Pace, pace mio Dio

Customer Reviews:

The Incomparable LEONTYNE PRICE: "The Stradivarius of Singers"!!.......2006-08-14

This collection is a wonderful, affordable, and welcome overview of one of Opera's greatest and beloved aritsts:the phenomenal American Superstar soprano LEONTYNE PRICE.

For those Opera-lovers who first encountered Ms. Price's magical vocalism from the recording studio, this collection includes the the entire legendary "Blue Album" which many operaphile consider to be one of the finest recordings ever. The selections gathered here vividly demonstrate the reason why Leontyne Price is regarded as the supreme VERDI soprano of her generation (30 years to date) a renowned PUCCINI specialist, and one of the greatest artists of all time. Recorded in the early 60's, Ms. Price's instrument was, in her own words "a juicy lyric". The intrinsic lyricism of her voice was aligned to warm, lustrous tone that pulsated in the middle voice, yielded a dark, uniquely sensuous sound in the lower regions, and gleamed with a distinctive, fast, liquid vibrato in the upper voice. That unique vibrato was elemental to this diva's ability to infuse Verdi and Puccini's most dramatic phrases with surging power (without pushing), and still produce lovely pianos in alt - soaring there with an ease that was singular to her, and that continued to her retirement in the 2002. Elsewhere the listener is treated to the rewards of Ms. Price's natural vocal evolution, wherein her voice developed into a full spinto with the middle throbbing, creamy, and lush, the low voice alternately chesty or breathy, slightly weaker -but retaining its smoky quality. It is in her upper voice, already superb, however, that Ms. Price revealed the rewards of maturation. The upper voice became rounder, less vibrant perhaps but refulgent with greater strength at the top, meeting the out-sized demands of STRAUSS and WAGNER (missing in this compilation) amongst others, while spinning out soft, exquisite pianos, and luxuriating in the long phrases of any number of composers, not the least of which were MOZART, VERDI and PUCCINI.

Leontyne Price recorded arias and scenas from every standard repertory VERDI opera with few exceptions (Nabucco/Luisa Miller/Vespri/Falstaff) in superlative fashion. Her onstage roles included the "Il Trovatore" Leonora, the role of her sensational MET debut (that resulted in a record 42 minute ovation), thrice recorded by her, and a signature role throughout her career. The selections on this recording were culled from her first complete recording of the opera. Here Ms. Price soars effortlessly to the heights repeatedly in "Tacea la notte", and sings the cabaletta fluently. "D'amor sull ali rosee" (once the sole property of Ms. Price's Verdian predecessor Zinka Milanov) is enhanced by the soprano's expert trills, musical nuances, and the glorious vibrato that carries her gossamer tones to the floated high C in alt. She was also the leading interpreter of Verdi's other Leonora -di Vargas- in "La Forza del Destino" which the diva recorded twice. There is also a Live MET performance available on DVD, recorded when the diva was nearing her retirement from Opera. (The two selections here also hail from her first complete recording of this work) "Son giunta!...Madre pietosa Vergine" is one of Verdi's most demanding scenas for soprano, but THIS soprano was a mistress of Verdian sweep, and supplies a wealth of dynamic shadings that illustrate the desperation of the hapless Leonora. Ms. Price produces silvery, vibrant, pulsing tone with amplitude that rises to the forte climaxes, riding them without overpowering the orchestra. This role was one of her most riveting potrayals from a dramatic viewpoint. The second "Forza" aria is the great lament "Pace, pace mio Dio" and is synonymous with Leontyne Price to this day. The diva sang this aria onstage more often than any other Verdi aria throughout her long career. Here she infuses the music with sorrow and despair, her voice in service to the text, and caps the aria with her stirring cries of "Maledizione!!" on a sustained forte high Bflat. Ms. Price's successful outings as Amelia are represented by the Act II aria "Morro, ma prima in grazia" from her stellar complete recording of "Un Ballo in Maschera". She sings the aria in a hushed, somber manner, climaxing on a brilliant high C, and with a lovely diminuendo at its end. One of the several operatic roles Ms. Price sadly did not assume onstage was Queen Elisabetta from "Don Carlo". We must be grateful for her warm, glowing, majesterial account of "Tu che le vanita", replete with burnished, opulent tone throughout. The leading newspaper of Italy said of Ms. Price that "..our great Verdi would have her the ideal Aida" and that sentiment has been adopted the world over. The "Aida" selections here are the first ones recorded by the American diva, and remains a revelation. In "Ritorna vincitor" the soprano's lyric instrument is indeed "juicy", declaiming her fierce opposition to the Egyptian invaders of her Ethiopian homeland with energetic and powerful vocalism. She then masterfully delineates the young princess' dilemma with fervent and youthful passion, ending with a prayerful "Numi pieta" suffused by warm, sable-colored tone. "O Patria mia" is another of Ms. Price's most revered performances, indeed the aria that garnered her a (5) five minute ovation on live television at her "farewell to Opera" performance in the same opera. The soprano injects Aida's farewell to her homeland with rich, smoky, plangent tones that rise effortlessly to a shining high C that bedeviled some of her most illustrous rivals, and would be bettered in the future only by the wonderful Spanish soprano Montserrat Caballe - and Ms. Price herself!!

Leontyne Price performed the veristic music of PUCCINI onstage in a number of his operas that included "Manon Lescaut"/"Tosca"/Madama Butterfly"/"La Faniculla del West"/"Il Tabarro"/ and "Turandot", albeit with less frequency than with Verdi. She brought a luminous, womanly quality to all of the composer's music. Here, she sings with particular intensity and emotion as the geisha girl Cio-Cio San (her favorite Puccini role)and offers limpid, melting tone as the fiery Roman prima donna Floria Tosca -the complete opera twice-recorded and highly-acclaimed. Puccini's music for the doomed Chinese slave-girl Liu are exquisitely sung, while "In quelle trine morbide" and "Senza mamma" benefit from the voluptuous, sensuous vocalism of the more mature Price. The most outstanding qualities of this diva in Puccini's music was a femininity and humanity, inherent in all of her singing, but most pronounced with this composer. She also fearlessly sang his highest phrases with a vocal splendor and freedom unrivalled by anyone, nowhere more than as the tragic Butterfly. However, until she retired from public singing, one aria remained a trademark for this diva: Chi bel sogno di Doretta" from Puccini's rarely performed operetta "La Rondine". The performance here was her first recording of it, and is a classic in its own right. Ms. Price's voice shimmers throughout, singing the high C with astonishing purity, and caressing, velvety tone elsewhere.

MOZART's operas also brought deserved glory to Ms. Price. Her plush-toned voice was considered to be almost too rich for some early in her career. This was amply belied by the rapturous reception her onstage performances brought her, most notably as Donna Anna, the leading lady of "Don Giovanni", ironically not included in this collection. Another aria Ms. Price enjoyed singing in concert, "Come scoglio" ("Cosi Fan Tutte") is missing here as well, though she performed the role of Fiordiligi at the MET. The soprano never performed in "Le Nozze di Figaro", but sang the scena "Dove sono" often in her live concerts, understandably, because of the smooth, elegant vocalism she lavished on this music. It is truly a pity that she didn't either record or perform the entire role. "Porgi amor" (also from Le Nozze) and "L'amero" (Il Re Pastore) were extracted from a Mozart aria recording, and are well-sung, if not as memorably as other Mozarteans.

It is good that RCA included several French selections, for Ms. Price's talents were marvellously well-suited to the Gallic idiom. Leontyne Price sang the leading role of Madame Lidoine in the American premiere of POULENC's "Dialogues des Carmelites", a few performances of MASSENET's "Thais" onstage (both sadly missing from this compilation) in addition to her celebrated recordings of BIZET's "Carmen" and BERLIOZ's song cycle "Nuits D'ete". She lent a deliciously silken tone to the more nuanced passions of the French repertoire. The "Carmen" excerpts are exceptionally vivid in Price's hands, successfully capturing the earthy, sultry qualities of one of Opera's more mercurial creatures. Ms. Price's lower register is richly displayed in the Berlioz song, while Manon's wistful, poignant "farewell" is sung with delicacy and shimmery tone.

The German wing is represented by music that Ms. Price sang onstage, and recorded as well. While the diva recorded Richard STRAUSS' entire "Four Last Songs" song cycle as well as the title heroine in a complete opera recording of "Ariadne auf Naxos" , the listener gets a good sampling of the potency, range, and the "dunkel" qualities she brought to this music. Fortunately, there is a CD of Richard Strauss arias sung by Ms. Price mid-career that is impressive in its breadth, and vocally sumptuous.

Versatility was a Price by-word. In the recording studio she stylishly performed the music of composers that ranged from the early music of PURCELL's "Dido & Aneas" to the 20th Century musings of Samuel BARBER, who wrote the opera "ANTONY & CLEOPATRA" for Ms. Price to open the New MET in 1966 - another historic milestone. Both selections included here are superbly rendered by the artist. The "Dido" aria is sung with a fuller, richer tone than is usually associated with this period (though it should be noted that two great Wagnerian sopranos Kirsten Flagstad and more recently Jessye Norman have been much admired in this music), but with no loss of style, her vibrato evoking pathos and beauty in this plaintive music. The "Antony" scena is sung with all of the majesty, seductive guile, and courage of Cleopatra, one of history's most storied women - and Ms. Price shines in this music written expressly for her voice. RCA also includes the diva's inimitable performance of "Summertime" the opening aria of GERSHWIN's American opera "Porgy and Bess".

This compilation is a superb introduction to the glories of this magnificent artist for a neophyte...and a treasure trove of musical excellence for the connoisseur of great voices, and they come no greater than America's diva assoluta soprano LEONTYNE PRICE.

Leontyne Price: The Ultimate Collection.......2005-07-20

This was the first time I ordered anything from you. I was very happy with my selection. Delivery was fast and accurate, I immediately played my CD and have enjoyed it since.

Rolande M. Collins

The true prima donna asoluta.......2002-05-23

Ms. Leontyne Price is the quentisential diva. I fell in love with her when I started studying music at the conservatory level. Her phrasing, tone, quality, and endless range are breathtaking. This CD features selections from when she was vocaly at her best. Even though I could go without the Ariadne and Cleopatra, the rest of the CD is simply marvelous. I cannot stop listening to D'amor sull'ali rosee, which I think is the best interpretation and performance of the piece that I have ever heard!!! I prefer Price over Sutherland, Caballe, Freni, and Fleming any day. Her high tones give you the feeling of floating on clouds. This is one of the best CD's in my entire classical/Opera collection. Whoever purchases this CD, it will be worth your while.

Fabulous singing, Overblown orchestras.......2002-04-10

When I was first getting interested in opera, during the late 1960s - early 1970s, Leontyne Price was still singing at the Met, but I could never get a ticket because she only sang five performances a year (later, three). She said this was to "preserve" the voice but, as I learned from those who actually did hear her in person, her mid-range was deteriorating at that time until it was practically inaudible (though her high notes and lower range still sounded great). Also, to be honest, as a youngster I was put off by the promotion of her albums...all those fancy pictures of her in diamonds and furs just seemed so ostentatious to me, and listening to her on records was not always a pleasurable experience. Her voice so often sounded swamped by those loud, blaring, overblown orchestras.

But then I heard a remastering of the famous 1961 "Aida" with Vickers, Gorr and Merrill, and I realized how great a singer she was. That's when I started listening more seriously, and discovered a soprano who had a thorough command of her voice from the late '50s to the late '60s, not only in terms of vocal color but also in terms of phrasing. Listening to Price in her prime is incredible...she almost sounds as if she never breathed, her phrasing is so beautifully bound and poised. At the same time, however, I was disappointed by RCA's choice of partners for her on recordings. ...

This set goes a long way towards restoring the legend. Stripped of her sub-par partners (with the exception of Corelli's belting in the "Seguidilla" from "Carmen"), one can listen to Price's voice uncompromised, and it is a thrill. Even when the orchestra sounds detached and uninteresting, as it often does, Price seems to be on an entirely different wavelength, giving out with passion and great musicality. As for the selections chosen, they represent an excellent cross-section of Price's best work, even though the Purcell and Berlioz sound awfully heavy by today's standards and I can live without the "Anthony and Cleopatra" selection or the Strauss song.

One caveat I have is the lack of discographical information. No dates, orchestras or conductors are given. This is a grave injustice, even though the backup does not always meet expectations. On the plus side, all of the legendary "blue album" (her first recital discs for RCA in 1961) is presented complete, including the two selections from the July 1959 "Il Trovatore" that were on that LP...and in MUCH better, more focused sound. For this, and the heavy orchestral sound, I give the set only 4 stars...but for the singing alone I would give it eight!!

Fabulous!.......2002-01-19

The only alternative to Joan Sutherland. An equally gorgeous and fabulous voice. A true diva that puts me to tears. Sensational recital of so many gems.

Average customer rating:

Operatic icon. Performer against which others are measured.
La Divina set the stage
The queen of opera
Essential!
The entire La Divina series is AMAZING!

La Divina 2

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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ASIN: B000002RTT
Release Date: 1994-07-19

Tracks:

Alceste: Divinites du Styx Acte 1
Carmen: Les tringles des sistres tintaient Acte ll
Ernani: Surta e la notte......Ernani! Ernani, involami Atto l
Manon Lescaut: In quelle trine morbide Atto ll
Aida: Ritorna vincitor Atto l
Orphee et Eurydice: J'ai perdu mon Eurydice Acte lV
I vespri siciliana: Bolero: Merce, dilette amiche Atto V
Louise: Depuis le jour Acte lll
La Boheme: Donde lieta usci Atto lll
Mignon: Ah, pour ce soir...Je suis Titania Acte ll
La Traviata: Teneste la promessa...Addio, del passato Atto lll
Don Carlo: O don fatale Atto lll
Samson et Dalila: Printemps qui commence Acte l
La Sonnambula: Compagne, teneri amici...Come per me sereno Atto l
Adriana Lecouvreur: Ecco: respiro appena...Io son 'lumile ancella Atto l
Lucia di Lammermoor: Spargi d'amaro pianto Atto lll

Customer Reviews:

Operatic icon. Performer against which others are measured........2007-05-26

Maria Callas may be the only female operatic 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

La Divina set the stage.......2007-01-05

Maria Callas, as I understand it (I'm not a music expert), helped create a new interest in the bel canto tradition of Donizetti and Bellini at mid-twentieth century. This album represents those composers, plus many others as well.

Callas' range in choice of operatic material is great indeed. Selections on this CD run from Gluck to Donizetti to Bizet and Puccini. Her voice, uneven on occasion, does not define her importance. As noted, she helped spark a renewed interest in bel canto works. The irony is that she did not have great coloratura skills. In the selection from Lucia di Lammermoor, a trill is scarcely heard. Think a few years later, to Joan Sutherland, later still to Beverly Sills, and more recently to sopranos such as Angela Gheorghiu. They all have much better technique, trill well, and exhibit much more agile coloratura singing. But Callas was an important predecessor.

More important than technique is the passion that many heard in her voice and her presence on stage. This is a good introduction to the range of Callas' repertoire and a reminder of this fiery singer from decades ago.

The queen of opera.......2004-05-16

Absolutely beautiful! Divine is the only word to do her justice! Viva La Divina, BRAVISSIMA!

Essential!.......2004-04-04

All three La Divina Albums are essential indeed! I bought them all and enjoy them! A very beautiful, dramatic voice!

The entire La Divina series is AMAZING!.......2004-02-26

I bought all three La Divina Releases and they're all splendid. Brilliant, for Callas and beyond!

Renée Fleming - Visions of Love ~ Mozart Arias / Mackerras

Average customer rating:

Certainly not the best Fleming
Mozart, Mozart, Mozart!
a pleasure
a pleasure
Rare and well-known Mozart

Renée Fleming - Visions of Love ~ Mozart Arias / Mackerras
Wolfgang Amadeus Mozart , Orchestra of St. Luke's , Sir Charles Mackerras , Renée Fleming , and Krista Bennion Feeney
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
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Renée Fleming - The Schubert Album
Renée Fleming
Renée Fleming: Bel Canto

ASIN: B00000429M
Release Date: 1996-09-17

Tracks:

Le nozze di Figaro: Giunse alfin il momento ... Deh, vieni
Don Giovanni: In quali eccessi ... Mi tradi
Die Entfuhrung Aus Dem Serail: Ach, ich liebte, war so glucklich
Il re pastore: / L'amero saro costante
Die Zauberflote: Ach, ich fuhl's, est ist verschwunden
La finta giardiniera: Geme la tortorella
La finta giardiniera: Crudeli, fermate, crudeli, oh Dio! fermate -
La finta giardiniera: Ah, dal pianto, dal sighiozzo
Zaide: Ruhe sanft
Il sogno di Scipione: Lieve son al par del vento
Le nozze di Figaro: Giunse alfin il momento ... Al desio
Concert Aria, K383: Nehmt meinen Dank

Customer Reviews:

Certainly not the best Fleming.......2007-02-02

I do not understand why this disc chooses to record the 'remote' Mozart arias, No. 1.
I do not understand why Ms. Fleming failed to impress listeners as a Mozartian in this disc, No. 2.
A singer of her reputation should be more discerning in her discography.
Not that the rarer or earlier Mozart is any less good than Cosi fan tutte or Don Giovanni.
But if you have listened to recordings of all Mozart's earlier opera (to which I have), you would be bound to admit that Ms. Fleming did not fare well in those pieces she had chosen here. And even in her Donna Elvira on this disc, she is not in best form.

Mozart, Mozart, Mozart!.......2006-05-22

'Visions of Love, Mozart Arias' sung by one of our leading operatic sopranos, Renee Fleming, is a nice listen more for the fact that it is Mozart than the fact that it is being done by Renee Fleming. But then, if you happen to be a Renee Fleming fan, you can have your cake and eat it too.

I confess I have been influenced in my overall rating by one of the other reviewers, who obviously has much more experience with recordings of Mozart arias. But from my point of view, someone who just likes to listen to female operatic and art song vocals, this is a great change from the recordings of French chansoms and German Lieder, which all start to sound like variations of Shubert's 'Ave Maria'.

Here, we get the orchestrations of that all time greatest master of the 18th century opera, the utterly incomparable Wolfgang, for those of us who don't have the patience to sit through, or even do garden weeding through a complete performance of Don Giovanni (although I am partial to complete recordings of Die Zauberflote, The Magic Flute).

This is probably not the best album with which to sample Fleming for the first time. As this is the first of her albums I have reviewed, I'll let you know as soon as I find it.

Meanwhile, if you can get this one at a good discount, you will enjoy the Mozart!

a pleasure.......2003-07-03

Her "turtledovish",creamy, slightly gruffy voice is perfect in Mozart. All are very lovey/dovey romantic songs. I Love the repetive nature of vocal lines in Mozart's music. It's very different from later Italian composers. This music is more charming and sometimes meant to be a little comical. Thay all have a certain rhythm pattern, typical of Mozart. After a while you start to pick up on it and get the gist of the style. Then you can hear an unknown piece and single it out as Mozart. She does an incredible effort at maintaining that creamy richness, roundness, and that beauty of tone that is so necessary in Mozart ,when she is singing at high tessitura or when she is singing in pure head voice or "in the mask". I think Mozart vocal music is the most difficult to do, but also the most fun.

a pleasure.......2003-07-03

Rare and well-known Mozart.......2003-06-24

Renee Fleming's Mozart CD is a collection of beautiful arias, gorgeously sung. Rare Mozart gems are presented along with more popular arias from FIGARO, DON GIOVANNI, DIE ENTFUHRUNG, and DIE ZAUBERFLOTE -- a wise programming choice on Fleming's part, since EVERYONE sings the popular arias. Fleming's lush yet agile tone is perfect for the long lines of "L'amero, saro costante" from IL RE PASTORE and the similar "Geme la torturelle" from LA FINTA GIARDINIERA. She has the coloratura flexibility for "Ach, ich leibte" from DIE ENTUHURUNG and the amazing "Lievi son," an aria Mozart wrote when he was only sixteen years old! It is also interesting to hear Fleming give an outstanding performance of Donna Elvira's "Mi Tradi," since her more usual role in DON GIOVANNI is Donna Anna. But my favorite track is the first one, "Deh vieni, non tardar" from FIGARO; I believe this is one of the very finest pieces of singing Fleming has ever recorded.

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Tebaldi at her best!
Tebaldi the Great
A legacy for the ages!
Best Collection
Modified rapture

La Tebaldi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Best of Tebaldi
Very Best of
Verdi: Il Trovatore
Grandi Voci: Renata Tebaldi
La Boheme

ASIN: B0000041Y8
Release Date: 1991-08-09

Tracks:

Madama Butterfly: Un bel dvedremo
La Boheme: Si, mi chiamano Mimi
TOSCA: Vissi d'arte
Mefistofele: L'altra notte
Aida: Ritorna vincitor
Otello: Mia madre aveva...Piangea cantando...Ave Maria - Verdi
Il Trovatore: Siam giunti...D'amor sull'ali rosee
Verdi: Pace, pace, mio Dio!
Guglielmo Tell: S'allontanano alfine!...Selva opaca
Adriana Lecouvreur: Ecco, respiro appena...Io son l'umile ancella
Cecilia: Grazie sorelle

Tracks:

Gianni Schicchi: O mio babbino caro
Suor Angelica: Senza mamma, o bimbo
Andrea Chenier: La mamma morta
La Wally: Ebben?... Ne andro lontana
Don Carlo: Tu che la vanit
Un Ballo in Maschera: Ecco l'orrido campo...Ma dall'arido stelo divulsa
Un Ballo in Maschera: Morro, ma prima in grazia
Giovanna d'Arco: Oh ben s'addice...Sempre all'alba
Turandot: In questa reggia
La Gioconda: Suicidio!
La rondine: Sogno di Doretta
Cavalleria Rusticana: Voi lo sapete
L'arlesiana: Esser madre e un inferno

Customer Reviews:

Tebaldi at her best!.......2007-04-07

I'd highly recommend these CDs!They have a little of everything. They'd make an excellent addition to anyone's opera collection. Her voice is etherial!

Tebaldi the Great.......2007-02-19

Renata Tebaldi is one of the glorious voices of the past half century. Recordings here come from the 1950s and 1960s. She had a sumptuous spinto voice, clearly manifest on this 2 CD set. Here are some of her "greatest hits." As would be expected, the repertoire of Puccini and Verdi is heavily represented here.

She "leads off" with "Un bel di" from Puccini's "Madame Butterfly." Her voice brings life to this aria; her characterization is right on. At the point, where the volume of her voice increases, the sound remains lush; there is no bleating or ugliness in her singing.

There follow two more classic Puccini arias that Tebaldi does justice to. "Si, mi chiamano Mimi" from "La Boheme" is a wonderful version of this work. She captures the poignancy in Mimi's character. Her work here can probably justly be termed "iconic." In short, this is a ravishing turn by "La Tebaldi." So, too, is her take of "Vissi d'arte" from "Tosca." One can understand the enthusiasm of her claque at La Scala as one listens to her singing. Her rich voice fits these roles nicely; her characterization is well rendered. Her version of "Ritorna vincitor" from Verdi's "Aida" is also well done. Her voice richly captures the character and fits the music well.

Verdi and Puccini are not the only composers represented on this 2 CD set. Also recorded are her singing Boito ("Mefistofele"), Rossini ("William Tell"), Cilea ("Adriana Lecouvreur"), Giordano ("Andrea Chenier"), Catalani ("La Wally"), and so on. Once more, the selection of music in this set well represents her body of work.

All in all, a satisfying selection of "the greatest hits" of Renata Tebaldi. The "liner notes" conclude by referring to her as possessing "a perfect voice of bewitching beauty." I'm not sure that anyone can achieve perfection (the statement has a bit of hyperbole); nonetheless, her voice is ravishing as already noted. Those interested in her recorded oeuvre would be well rewarded by acquiring this work. The CDs serve well to introduce "La Tebaldi" to those who may not have heard her before. Such listeners will be richly rewarded by that introduction.

A legacy for the ages!.......2001-02-23

Perhaps the greatest spinto and certainly among the greatest sopranos of all times, with an extremely powerful, amazingly beautiful instrument, Renata Tebaldi on this set heard in some of her best moments! I will not repeat comments on her beautiful voice since it often overshadows the pathos with which she performed each role. To me, she knew exactly where to draw the line between acting and singing. Not too much to become annoying, not too little to become boring. This compilation also shows how versatile this soprano was, with repertoire ranging from Puccini and Verdi to Rossini and even Wagner (though no Wagner aria is heard on this particular double cd). In her early years she also performed Mozart roles!

Her Puccini arias will make the most demanding listener cry. Her verdian heroines, enriched with her personal touch, are of exceptional value. Her Desdemona (Otello), Donna Leonora (Forza del destino) and Aida stand perhaps out. Her many verisimo roles sooo moving, full of sorrow and pain, exactly how they are supposed to sound. Just listen to "La mamma morta"! An unsurpassed shocking experience! A previous reviewer (F.W.Barton) correctly mentioned that not all moments are from her complete studio recordings, so this is a unique chance to enjoy alternative Tebaldi performances. Strongly recommended!!!!

Best Collection.......2001-01-11

If you love the warmth and power of Renata Tebaldi then this collection is for you. This has Two CD's of her best works. My favorites are her "o mio babbino caro" her tosca which isnt as dramatic as callas but has a vocal warmth in that aria that makes her voice so perfect for the aria. Another soothing aria would be her Un del di from Butterfly what sweetness and amazing finish to that aria!!! Her amazing power was noticed in La mamma morta and In questa reggia ( which was sooo good that it made me wonder WHY DIDNT SHE SING THIS ROLE ON STAGE) oh and of course her Suicido was also very well done.....Renata Tebaldi was without a doubt one of the best of the century...and this collection proves it.

Modified rapture.......2000-04-24

I bought this collection of Tebaldi's Decca recordings with the hope to experience some great singing. However, I can't help feeling a bit disappointed in the end. There are some thrilling performances here, for example, the dark, passionate renditions of the arias from La Gioconda and L'arlesiana, but overall, the achievements are rather uneven. Tebaldi certainly possesses a most beautiful and powerful voice, something to take bath in. Yet, she evinces little of the psychological insights, intense pathos and interpretive individuality of Claudia Muzio, Meta Seinemeyer, Maria Callas and Leonie Rysanek. Compare her performance of 'Ma dall'arido Stelo divulsa' from Verdi's 'Un Ballo in Maschera' with that by Leonie Rysanek (On RCA Living Stereo): The aria is magnificently vocalised by Tebaldi, but it is Rysanek who effectively combine vocal opulence with dramatic insights, evincing Amelia's exteme desperations. Perhaps Tebaldi was constrained by the restrictions and protocols of recording studios and unable to realise her full dramatic potentials --- in this case she is best heard on live recordings where we could experience her in full flight. Furthermore, the 1964 Come back album items on the second disc demonstrate a voice that has lost much of its pristine freshness and youthfulness, even though there are exciting things to hear. Still, the beauty of the voice and the sincerity of utterances are there for us to experience. For ardent Tebaldi fans, this is definitely a must, but for those looking for truly great singing and acting, you might want to look elsewhere for Tebaldi's live recordings and Maria Callas, etc.

Beniamino Gigli: Historical Recordings 1927 - 1951

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Beniamino Gigli: Historical Recordings 1927 - 1951

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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The Legendary Enrico Caruso: 21 Favorite Arias
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ASIN: B000001XLX
Release Date: 2000-06-06

Tracks:

Rigoletto: Bella Figlia Dell'Amore
Les pecheurs de perles: Mi Par D'udir Ancora
Xerxes: Fronde Tenere... Ombra Mai Fu
Lelisir d'amore': Una Furtiva Lagrima
I Pagliacci: No, Pagliaccio Non Son!
Cavalleria Rusticana: Mamma Quel Vino E Generoso
Andrea Chenier: Si Fui Soldato
TOSCA: E Lucevan Le Stelle
Carmen: Il Fior Che Avevi A Me
Aida: Se Quel Querrier
La Boheme: O Soave Fanciulla
Don Giovanni: Il Mio Tesoro Intanto
Il Trovatore: Di Quella Pira
La forza del destino: La Vita E Inferno All'infinito O Tu Che In Seno Agli Angeli
Andrea Chenier: Come Un Bel Di Maggio
La Juive: Rachel, Quand Du Seigneur
Werther: Ah! Non Mi Ridestar
Otello: Gia Nella Notte Densa

Average customer rating:

A Superstar To Remember
I'm am so glad I found this CD!
My growing affection
A great voice and a great lady!
A Bible of Soprano Singing

Very Best of
Mirella Freni
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Very Best of
A Celebration
The Very Best of Victoria de los Angeles
The Very Best of Lucia Popp
The Very Best of Giuseppe di Stefano

ASIN: B000083GOK
Release Date: 2003-04-22

Tracks:

Quel Guardo Il Cavalier...So Ancho'io
Si. Mi Chiamano Mimi - Nicolai Gedda
Addio...D' Onde Lieta Usci - Nicolai Gedda
Vissi D'arte
Un Bel Di Vedremo
Son Pochi Fiori
Ecco! Respiro Appena...Lo Son L'umile Ancella
Poveri Fiori
C'est Des Contrebandiers...Je Dis Que Rien Ne M'epouvent
Me Voila Seul...Comme Autrefois
Allons!...Adieu, Notre Petite Table
Je Voudrais Bien Savoir...Il Etait Un Roi De Thule...Ah ! Je Ris (Jewel Song)
Voyons, Nourrice...Je Veux Vivre
O Nuit Divine ! - Franco Corelli

Tracks:

Vedrai, Carino
O Rendetemi La Speme...Qui La Voce Sua Soave...Vien Diletto
E' Stano...Ah! Fors' E Lui...Sempre Libera
Chi Il Bel Sogno Di Doretta
O Mio Babbino Caro
Senza Mamma
Signore, Ascolta
Tu, Che Di Gel Sei Cinta
Son Giunta!...Madre, Pietosa Vergine
Pace, Pace Mio Dio!
Ritorna Vincitor!
Qui Radames Verra...O Patria Mia
Mia Madre Avea Una Povera Ancella...Piangea Cantando... - Stefania Malagu
Ave Maria

Customer Reviews:

A Superstar To Remember.......2007-01-10

I fell in love with opera because of Mirella Freni. I heard her sing Mimi to Pavarotti's Rodolfo in La Boheme about 30 years ago. Hearing this CD was like seeing a long-lost love, and appreciating them even more this time around.

Freni was a Puccini specialist, and you get an embarrasment of Puccini riches on this CD. Of course, you get the arias "Si, mi chiamano Mimi" and "Addio...D'Onde lieta usci" from La Boheme. Those also feature the incredible Niccolai Gedda. I sure would have liked it if they threw in "O soave fanciulla" as well. You also get arias from Tosca, Madama Butterfly, La Rondine, Gianni Schicci, Suor Angelica, and Turandot.

But wait, there's more! I had not heard Freni sing Micaela until this CD. Wait until you hear the "Je dis que rien ne m'epouvant". It will set you free. Then she throws in "Comme autrefois" from Pearl Fishers. Donizetti, Cilea, Mascagni, Massenet, Bellini, Gounod, Mozart, even Verdi(!)...all here.

There was one thing I found unusual about this compilation, and that was the noticeable absence of "Dove sono" and/or "Porgi amor". I mean, those roles are clearly in the reach of any lyric soprano. I did a little research, and found that she really didn't sing the Countess role in Figaro, she sang Susanna! OK, so let's just say her voice was on the light end of the lyric fach. If that's the case, it makes selections from Tosca, Butterfly, Traviata, Turandot, and Forza kind of curious, doesn't it?

In the end, it doesn't matter. This is an awesome compilation from one of the greatest sopranos of all time. No one is like Freni, and no opera lover should be without this performance record.

Highly recommended.

I'm am so glad I found this CD!.......2004-07-17

I'm a casual opera fan and I admit that until a few days ago I didn't even know who Mirella Freni was. Then a friend, whose taste I respect mentioned that an Italian lady named Freni was the second greatest Violetta he'd ever heard. He went into raptures and I decided that I had to hear this woman. This morning I bought the CD, put it in my player and was astounded and delighted to hear one of the sweetest voices I have ever heard in my life. Mirella Freni's singing is simply beautiful.

My growing affection.......2004-05-25

Freni is a soprano I didn't much care for in the past. For some reason I took her for granted and didn't listen to her records a lot. However, in search for an lyric soprano with ample coloratura to tackle bel canto roles as well, Freni was one of the few I could think of who had the qualities I was looking for; unmistakeable Italian phrasing and musicality, a firm middle register with an easy top and a sweet timbre.

This new release is a great introduction to her big recording legacy. She didn't possess the largest instrument but her technique and wise choices allowed her to expand her repertoire in many areas. The lyrical roles such as Zerlina, Mimi, Liu suit her the best but notice how a more florid part like Norina in Don Pasquale or even the more demanding Puritani Elvira benefits from her firm lyric sound. She avoids the highest notes and if needed sings them carefully but everything is so charmingly sung that a single note cannot ruin the whole. Sincere classical singing does not lie in a single note. Even without the large voice these roles need, she handles the heavy Verdi parts impressively. "O patria mia" and especially Desdemona's scene are magnificient.

This collection has increased my admiration for this wonderful artist. If all the sopranos were flowers in a garden, Freni would be a lovely daisy.

A great voice and a great lady!.......2004-02-07

Mirella Freni's singing even today when she's over sixty still teaches all the young sopranos a lesson how a voice can be preserved. Her singing is lovely, creamy and colourful. She's by far my favourite Liu and part of the Mimi-Triumvirate: Victoria de los Angeles, Maria Callas and Mirella Freni. Her first Mimi with Nicolai Gedda was a revelation, the complete set is a must for ever Puccini-Lover. And despite its not being idiomatic and her poor French her Juliette is riveting and lovely. But my favourite Freni-role will always be Elisabetta in Verdi's "Don Carlo" which she sang to perfection on a live-recording from La Scala (Abbado) featuring Carreras, Ghiaurov, Obraszowa etc. etc. An amazing set for those who want to know why Mirella is still adored today!

A Bible of Soprano Singing.......2003-04-30

Many of these items were available on different cd, now out of print. That disc introduced me to the art of Mirella Freni, and one listening had me hooked. Mirella Freni is my favorite artist in any genre. She has taken such good care of her voice that she is still singing and getting fantastic reviews at the age of 68. She started off by singing lyric/coloratura roles such as Adina, Susanna, Zerlina, Micaela, the Puritani Elvira, then came Mimi, Juliette, Violetta, Marguerite, Manon, which which had heavier orchestrations. The seventies saw Freni's voice expanding and growing naturally very unlike Renata Scotto, who pushed her voice to sing roles too heavily orchestrated. Scotto is a great artist, but nobody can deny the fact that her voice turned terribly shrill. New roles for Freni were Desdemona, Elisabetta, Aida, Tosca and Butterfly (on record) and Boito's Marguerita. Never forcing or pushing, she sang these roles with great success and beautiful tone. She also was expanding emotionally and her characterizations grew deeper and more intense. In the 80's, she continued to expand her repertoire, though not giving up old roles, to include Manon Lescaut, Adriana Lecouvreur, Tschaikovsky's Tatyana and Liza with incredible results. She still added new roles in the 90's and into the 21st century, Fedora, Madame Sans Genes and Tschaikovsky's Maid of Orleans (a mezzo role). Unlike Tebaldi and other Italian sopranos, Freni often sang roles in their original language, French, Russain and songs in German. We only get to hear French and Italian here, and I strongly urge any opera lover to seek out her recordings on other labels than EMI. DG, for her wonderful Manon Lescaut, 2nd Butterfly, 2nd Tosca, Tatyana, Boccanegra's Amelia. On London/Decca, her Mimi (legendary), Butterfly, Nedda, Nannetta, Margharita, Mathilde, Tosca, the Trittico heroines (a Suor Angelica that is supreme).
Now, about the singing on this disc:
The Pasquale aria is nicely done (though I prefer Sill's rendition). The Boheme numbers are legendary, enough said. The Tosca aria is my favorite of all soprano's and ever Freni's (she recorded it at least twice more), beautiful and slow. Her Butterfly is regarded as "model" and her singing of both arias are intense and heart wrenching. Her Amico Fritz arias are perfectly judged and performed. The Adriana arias are fine, though they would grow in character when she took on the full role in the 80's and I prefer her later recording of them for Decca on her Verismo Arias disc. Her Micaela is also regarded as legendary and this recording shows why. The Pearl Fishers, Faust and Manon arias are gorgeously sung with golden tone and the Romeo arias show her technical skills in coloratura, well done. Her Mozart, too, is wonderful, receiving praise from, of all people, Renata Scotto in her autobiography. Her Violetta is secure and rich with brilliant coloratura in the Sempre Libera section. Her Doretta is ok, with some odd breath points that should have been eliminated. The other Puccini sections are very special, showing what a superb Puccinian she is. She is a commanding Verdian in the Forza arias, but the acoustic is horrible. Her singing is worth it, though. The Aida items are intense and with long breaths. I just love her as Aida but the engineers did not capture her voice as richly as it was at that time. Still this is masterful singing of difficult music. Willow Song and Ave Maria are, in my mind, the best ever committed to disc. If you are not under her spell in these tracks, then you must be stone-hearted. My only regret is that her gorgeous Tu che le vanita from Don Carlos is not included here......a serious omission!!!!!
This is a great showcase for a supreme artist. Buy it.....you won't regret it!

The Ultimate Aria Collection ~ A Passion for Opera

Average customer rating:

OPERA HEAVEN
Incredibly Beautiful . . .
Ultimate Aria
Ultimate indeed

The Ultimate Aria Collection ~ A Passion for Opera
Georges Bizet , Giuseppe Verdi , Giacomo Puccini , Gaetano Donizetti , Ruggero Leoncavallo , Gioachino Rossini , Gustave Charpentier , Leo Delibes , Vincenzo Bellini , Christoph Willibald Gluck , Pietro Mascagni , Wolfgang Amadeus Mozart , Francesco Cilea , Edouard Lalo , Camille Saint-Saens , Arrigo Boito , George Frideric Handel , Alfredo Catalani , Amilcare Ponchielli , Charles Gounod , Jules Massenet , Ambroise Thomas , Fritz Wunderlich , Rome Opera Theater Orchestra & Chorus , Maria Callas , Elisabeth Schwarzkopf , Orchestra e Coro del Teatro alla Scala , Wiener Philharmoniker , Orchestre de Paris , Carlo Maria Giulini , Tullio Serafin , Sir Charles Mackerras , Francesco Molinari-Pradelli , Riccardo Muti , and Leone Magiera
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009OQL
Release Date: 1998-08-11

Tracks:

Carmen: Quand je vous aimerai? ...L'amour (Habanera)
I Pagliacci: Recitar!... Vesti la giubba
Madama Butterfly: Un bel di vedremo
L'Elisir d'Amore: Una furtiva lagrima
Nabucco: Va pensiero (Chorus Of The Hebrew Slaves)
Gianni Schicchi: O mio babbino caro
Rigoletto: La dona e mobile
The Barber Of Seville: Largo al factotum
Louise: Depuis le jour
Lakme: Flower Duet
Turandot: Nessun dorma
Norma: Casta diva
Gianni Schicchi: A vete torto!
TOSCA: Vissi d'arte
TOSCA: E lucevan le stelle
La rondine: Chi il bel sogno di Doretta
Il Trovatore: Di quella pira

Tracks:

L'Elisir d'Amore: Quanto e bella, quanto e cara!
Orphee et Eurydice: J'ai perdu mon Eurydice
La Boheme: Che gelida manina
La Boheme: Si, mi chimano Mimi
La Traviata: Di Provenza il mar
L'amico Fritz: O amore, o bella luce del core
Le nozze di Figaro: Voi che sapete
TOSCA: Recondita armonia
Adriana Lecouvreur: Ecco, respiro appena...lo son l'umile ancella
Le Roi d'Ys: Puisqu'on ne peut... Vainement, ma bien-aimee
Samson et Dalila: Mon coeur s'ouvre a'ta voix
Mefistofele: Dai campi, dai prati
Manon Lescaut: In quelle trine morbide
Serse: Ombra mai fu
Turandot: Signore, ascolta
Manon Lescaut: Donna non vidi mai
La Wally: Ebben? ne ando lontana
La Gioconda: Cielo e mar

Tracks:

Aida: Se quel guerriero io fossi...Celeste Aida
Romeo Et Juliet: L'amour, l'amour...Ah, leve-toi soleil
Mefistofele: L'altra notte in fondo al mare
Werther: Toute mon ame est la...Pourqui me reveiller
Barber Of Seville: Una voce poco fa
Cosi Fan Tutti: Un aura amorosa
Le Villi: Se como voi piccina
Un Balle en Maschera: `Se come voi piccina`
Carmen: La fleur que tu m'avais jette
La forza del destino: Pace, pace mio Dio
Adriana Lecouvreur: L'anima ho stanca
La Gioconda: Suicidio
Don Giovanni: Dalla sua pace
La Traviata: De' miei bolenti spiriti
La nozzi di Figaro: Porgi amor
Turandot: Non piangere, Liu
Mignon: Elle ne croyait pas dans sa candeur naive

Amazon.com

Put together in evident haste, this collection is nevertheless a surefire, appetite-whetting starter kit both for the budding operaphile and for the simply intimidated. The samplings include some of the greatest voices from EMI's vaults: here you'll find the polar opposites Callas and Caballe, the golden wonder of Wunderlich and early Carreras, and a host of other singers who've made their stamp on this century. Emphasis is on the soprano and tenor range, while the lower voices are given short shrift, and the selections cleave predictably to standard Italian and French repertory (with an occasional surprise, such as an aria from Lalo's Le Roi d'Ys). Still, the nearly three and a half hours of music represented will make a ready convert of anyone who hasn't experienced the specially heightened, time-stopping expressivity--beyond the power of mere song--that is the aria's function and will likely spark a desire to explore the larger operatic context in several cases. And though the lack of a booklet with texts or at least bios of the artists is frustrating, this is a good place to begin for an overview of the mesmeric power extraordinary voices can wield. --Thomas May

Customer Reviews:

OPERA HEAVEN.......2002-12-13

Probely this is a good buy for someone who is gest getting into the world of OPERA.Still a very good purchaes with fimiluar songs.

Incredibly Beautiful . . ........2001-10-27

If you love opera - this collection of some of the lovliest arias ever sung by artists from Caballe to Freni, from Delibes to Puccini - will inspire you. It is a wonderful gift for friends or for yourself.

Ultimate Aria.......2001-08-03

In my small operetic mind, this set of Cd's has completely captured me for the Opera. I was a young and upcoming musician in my youth. I'v been around the block "as it were" with the Classics. This collection is indeed, the benchmark upon which all others would hope to aspire.

Congradulations EMI for an incredible vision of the greatest opeatic moments recorded.

Gosh what's next?

Ralph Hassman

Ultimate indeed.......2000-08-02

If you don't like the idea of buying whole operas, or if you're a newcomer to opera - this is an extremely good collection / introduction, worth every single cent. The collection features many of the worlds greatest singers, giving their interpretations of some of the world's greatest arias. The compilation itself is very tasteful and covers a wide range from Handel to early 20th century composers. You won't miss any important stuff from the history of opera, except maybe Wagner and the most modern operas - I'll come back to that fact later. The compilers have actually put some lesser known, although no less beautiful, arias here, that oftenly are neglected on ordinary opera-collections, why the name `ultimate collection' is more than correct in that aspect.

EMI have a enormous archive to pick their recordings from, and that of course makes it easy to find first rate interpretations of all the arias included in this collection, and I do think that almost all of the arias are wonderfully sung here. It may be possible to find better performances of single numbers here and there, but I've not yet heard a more complete, wellmatched, and so thrillingly sung collection.

Well then, is there nothing wrong with this compilation? You might find it a little odd that there are so many soloarias and so few duets, terzettos a.s.o, especially since the drama in operas oftenly is greater in numbers with more than one singer. You might also wish that some of the recordings had been a little more modern (most of these recordings were made during the 50's, 60's & 70's) giving place to younger performers that still are singing on the stages, but those are minor objections when the over all quality is so high.