Cupido

Cupido

Track Listings

 
1. Bolero Falaz
2. Cariņo Chiquitito
3. Tantas Despedidas
4. Exagerado
5. Te Vas
6. Cupido
7. Por Si Volvieras
8. Me Enamore de un Imposible
9. Por Ti Prenda del Alma
10. Si Fueras Mi Reina

Cupido,Los Carlos,Fonovisa Inc.,Latin,Mexican

Puccini: Turandot
Average customer rating: 4 out of 5 stars
  • WONDERFULL PERFORMANCE BUT WITHOUT SATISFYING TITLE ROLE
  • Una Turandot interesante con reservas
  • Likable, satisfying "Turandot"
  • Likable, satisfying "Turandot"
  • Caballe "Turandot" a mixed blessing
 Puccini: Turandot

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by PucciniAll Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
Cassinelli, RicardoCassinelli, Ricardo | ( C ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
Puccini, GiacomoPuccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
Caballe, MontserratCaballe, Montserrat | Divas | Opera & Vocal | Styles | Music
Freni, MirellaFreni, Mirella | Divas | Opera & Vocal | Styles | Music
Similar Items:
  1. Turandot
  2. Puccini: Turandot
  3. Puccini: Turandot
  4. Giordano - Andrea Chenier / Jose Carreras, Eva Marton, Piero Cappuccilli, Silvana Mazzieri, Riccardo Chailly, La Scala Opera

ASIN: B000002S5U
Release Date: 1994-09-13

Tracks:

  1. Turandot: Popolo di Pekino!
  2. Turandot: Padre! mio padre!
  3. Turandot: Perduta la battaglia
  4. Turandot: Gira la cote! Gira!
  5. Turandot: Percharda la luna?
  6. Turandot: Lsui monti dell'est
  7. Turandot: O giovinetto! Grazia! Grazia!
  8. Turandot: Figlio, che fai?
  9. Turandot: Fermo! che fai? T'arresta!
  10. Turandot: Silenzio, ol
  11. Turandot: Guardalo, Pong!
  12. Turandot: Non indugiare!
  13. Turandot: Signore, ascolta!
  14. Turandot: Non piangere, Li
  15. Turandot: Ah! per l'ultima volta!
  16. Turandot: OlPang! OlPong!
  17. Turandot: O China, O China
  18. Turandot: Ho una casa nell'Honan
  19. Turandot: O mondo, pieno di pazzi innamorati!
  20. Turandot: Addio, amore!
  21. Turandot: Noi si sogna
  22. Turandot: Gravi, enormi ed imponenti
  23. Turandot: Un giuramento atroce mi costringe
  24. Turandot: Diecimila anni al nostro Imperatore!

Tracks:

  1. Turandot: In questa reggia
  2. Turandot: Straniero, ascolta!
  3. Turandot: Giuzza al pari di fiamma
  4. Turandot: Gelo che ti doco
  5. Turandot: Gloria, o vincitore!
  6. Turandot: Figlio del cielo!
  7. Turandot: Tre enigmi m'hai proposto
  8. Turandot: Ai tuoi piedi ci prostriam
  9. Turandot: Cosomanda Turandot
  10. Turandot: Nessun dorma!
  11. Turandot: Tu che guardi le stelle
  12. Turandot: Principessa divina!
  13. Turandot: Quel nome!
  14. Turandot: L'amore?...Tanto amore, segreto e inconfessato
  15. Turandot: Tu, che di gel sei cinta
  16. Turandot: Liont
  17. Turandot: Principessa di motre!
  18. Turandot: Che ai di me?
  19. Turandot: Del primo pianto...Ah...
  20. Turandot: La mi gloria l tuo amplesso!
  21. Turandot: Diecimila anni al nostro Imperatore!

Customer Reviews:

4 out of 5 stars WONDERFULL PERFORMANCE BUT WITHOUT SATISFYING TITLE ROLE.......2004-08-20

This performance under Lombardo is a successfull one.Carreras(Calaf)sings very well his role,he is very expressive,though sometimes his voice is under pressure.Freni is an excellent Liu and the Ping Pang Pong trio is also very satisfying.The orchestra,full of straussian and gamelan like colours,gives a magnificent performance and the chorus,though sometimes producing an unpleasant sound,is great.The problem is Caballe.She does all this messa di voce stuff and the results are pretty cool,BUT her top register is harsh and acid.Turandot is a very demanding role full of high notes,and under these circumstances,Caballe is a kind of dissapointment.I enjoyed all the thing except of her thirty minute performance.Sorry, my english are not very fluent but I think my review will help.

4 out of 5 stars Una Turandot interesante con reservas.......2004-03-27

Lo mejor de esta version de la 'Turandot' pucciniana es sin duda la soberbia creacion de Liu que realiza Mirella Freni: voz bellisima y tecnica fantastica la convierten en una de las mejores Lius grabadas en disco. La Turandot de Montserrat Caballe une momentos de gloria con otros momentos gritados donde el papel la supera. Jose Carreras es un Calaf entregado y notable, aunque en la zona alta el papel le viene algo grande. Esplendido el Timur de Paul Plishka y notables los secundarios entre los que encontramos por ejemplo a Vicente Sardinero.
La orquesta y el coro estan bien dirigidos por Alain Lombard, y el sonido es algo lejano, lo cual se puede arreglar subiendo el volumen de su cadena de musica.

4 out of 5 stars Likable, satisfying "Turandot".......2002-10-23

As Turandots go, this is an eminently likable and satisfying rendition. It is certainly a recording that is buoyed by the expert performances of the singers, all of whom are perfectly cast and who rise to the occasion to pull off Puccini's most difficult and most intoxicating opera.

"Turandot" is easily one of the greatest operas ever penned and it reveals a Puccini at the height of his powers. It is one of the greatest losses to opera and to music that he did not live long enough to complete it (it was completed by Franco Alfano, who used Puccini's sketches of the final duet). If you're looking for the lyricism of "La boheme" or "Madama Butterfly" then you'll find "Turandot" a bit of a change. To be sure there are the trademark Pucciniesque arias. But it is so unlike anything else he wrote, and it stands as one of the most thrilling pieces of music ever written.

Of course, there is no opera without the ice princess herself, and I greatly enjoyed Montserrat Caballe's performance. If the voice is not quite as fresh as when she essayed the role a year earlier (caught on a remarkably good live recording from performances at the San Francisco Opera in 1977) it is still compelling. The high tessitura is managed nicely, even if Alfano's Act 3 completion, as Mme. Caballe sings it, is not as triumphant as it could be. "In quesa reggia" is masterfully deployed, with strong, ringing high notes and a steady vibrato. The silvery edge to the voice is perfect for the role. The riddle scene is also handled well. Caballe is not known as an actor, and she does not manage to make any startling psychological insights into the character, but she does plenty. And the role is more tempermentally suited to her than any I can imagine.

Jose Carreras at first seems miscast, his lighter lyric tenor seeming inapporpriate for the heaviness of Puccini's final opera. But he seems to relish the role of Calaf and it is a pleasure to hear him eat it up. His voice, as always, is techically perfect, and it is a thrill to hear a lyric tenor sail into the stratosphere of "Nessun dorma" even if I kept wondering whether he would even be heard in an opera house. But in a recording it doesn't matter. He's a wee bit wooden sounding in terms of characterization, but it's a mere quibble.

Mirella Freni as Liu is a nice luxury addition to the cast. Her lyric soprano is distinctive, and it gives the character a face on what otherwise could be just another Puccini martyr. Act 1 found her it top form, and she does nicely in the concluding ensemble. "Tuche di gel sei cinta" is passionate if not particularly beautiful.

Paul Plishka's Timur is excellent, and he does perhaps the best acting job of the bunch--a marvel considering how little Puccini developed his character. His lush, graceful bass makes for some heartbreaking moments in his small aria after Liu's suicide. Perhaps the best performance pound-for-pound on the disc.

Much has been said of Alain Lombard's conducting, and it is indeed befuddling. The stupendous finale to Act 1 (so utterly thrilling as written by Puccini) is dispatched as if the conductor wanted to get to Act 2 more quickly. But then Act 2 is conducted beautifully, as is Act 3.

All in all, this set is very recommendable, especially for the price. And it's also recommendable for the solid performances of four singers in top form.

4 out of 5 stars Likable, satisfying "Turandot".......2002-10-23

As Turandots go, this is an eminently likable and satisfying rendition. It is certainly a recording that is buoyed by the expert performances of the singers, all of whom are perfectly cast and who rise to the occasion to pull off Puccini's most difficult and most intoxicating opera.

"Turandot" is easily one of the greatest operas ever penned and it reveals a Puccini at the height of his powers. It is one of the greatest losses to opera and to music that he did not live long enough to complete it (it was completed by Franco Alfano, who used Puccini's sketches of the final duet). If you're looking for the lyricism of "La boheme" or "Madama Butterfly" then you'll find "Turandot" a bit of a change. To be sure there are the trademark Pucciniesque arias. But it is so unlike anything else he wrote, and it stands as one of the most thrilling pieces of music ever written.

Of course, there is no opera without the ice princess herself, and I greatly enjoyed Montserrat Caballe's performance. If the voice is not quite as fresh as when she essayed the role a year earlier (caught on a remarkably good live recording from performances at the San Francisco Opera in 1977) it is still compelling. The high tessitura is managed nicely, even if Alfano's Act 3 completion, as Mme. Caballe sings it, is not as triumphant as it could be. "In quesa reggia" is masterfully deployed, with strong, ringing high notes and a steady vibrato. The silvery edge to the voice is perfect for the role. The riddle scene is also handled well. Caballe is not known as an actor, and she does not manage to make any startling psychological insights into the character, but she does plenty. And the role is more tempermentally suited to her than any I can imagine.

Jose Carreras at first seems miscast, his lighter lyric tenor seeming inapporpriate for the heaviness of Puccini's final opera. But he seems to relish the role of Calaf and it is a pleasure to hear him eat it up. His voice, as always, is techically perfect, and it is a thrill to hear a lyric tenor sail into the stratosphere of "Nessun dorma" even if I kept wondering whether he would even be heard in an opera house. But in a recording it doesn't matter. He's a wee bit wooden sounding in terms of characterization, but it's a mere quibble.

Mirella Freni as Liu is a nice luxury addition to the cast. Her lyric soprano is distinctive, and it gives the character a face on what otherwise could be just another Puccini martyr. Act 1 found her it top form, and she does nicely in the concluding ensemble. "Tuche di gel sei cinta" is passionate if not particularly beautiful.

Paul Plishka's Timur is excellent, and he does perhaps the best acting job of the bunch--a marvel considering how little Puccini developed his character. His lush, graceful bass makes for some heartbreaking moments in his small aria after Liu's suicide. Perhaps the best performance pound-for-pound on the disc.

Much has been said of Alain Lombard's conducting, and it is indeed befuddling. The stupendous finale to Act 1 (so utterly thrilling as written by Puccini) is dispatched as if the conductor wanted to get to Act 2 more quickly. But then Act 2 is conducted beautifully, as is Act 3.

All in all, this set is very recommendable, especially for the price. And it's also recommendable for the solid performances of four singers in top form.

3 out of 5 stars Caballe "Turandot" a mixed blessing.......2000-09-20

"Turandot" has fared well on recordings with versions from Mehta, Leinsdorf, Erede, and Molinari-Pradelli. Then there are the others - qualified successes in varying degrees, including versions lead by Karajan, Maazel, Serafin, and Abaddo. This recording clearly belongs in the latter camp. It has much in its favor but it is impossible to genuinely recommend.

Its chief assets are the three principle singers. Montserat Caballe (Liu on the Mehta recording) sings Turandot here. Though a small voice for the title role, she gives a fantastic performance. She is steely, cool, and regal, and later unmistakably softened by love. The role of Calaf is perfectly suited to the young Jose Carreras, whose golden tone and smooth legato are ideal for Puccini's score. Mirella Freni makes a lovely Liu, with her full, warm, lycic soprano, and moving characterization. The work of these three is consistently top-notch.

Alain Lombard's conducting is the major weekness of this set, and a really big weakness at that. Some of his tempi are woefully ill conceived. Despite fine singing from Carreras, "Non piangere Liu" is destroyed by the ridiculously slow and labored pace. In other places, Lombard does not give the score the sparkle and excitement that it needs, and he does not seem terribly aware of the scores many subtleties and complexities.

Devotees of the stars will find great pleasure in this recording. But for those purchasing their first "Turandot", look elsewhere; start with Mehta (DECCA/LONDON) or Molinari-Pradelli (EMI).
Salieri: Falstaff
Average customer rating: 4 out of 5 stars
  • "It reeks of music"
  • Salieri was no joke
  • Near worthless!
  • FALSTAFF: a good recording of Salieri's last operas!...
  • FALSTAFF: a good recording of Salieri's last operas!...
 Salieri: Falstaff

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

All Works by SalieriAll Works by Salieri | Salieri, Antonio | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
ItalianItalian | Languages | Opera & Vocal | Styles | Music
OperettasOperettas | Opera & Vocal | Styles | Music
GeneralGeneral | Soundtracks | Styles | Music
Similar Items:
  1. Cimarosa: L'Italiana in Londra
  2. Farinelli

ASIN: B000005Z6S
Release Date: 1998-03-17

Tracks:

  1. Falstaff: Overture - Allegro di controdanza
  2. Falstaff: Act l - Scene 1 - Introduction (Falstaff, Mrs Ford, Mrs Slender, Slender, Guests) - 'Viva il comune amico' (Falstaff And Guests)
  3. Falstaff: Act l - Scene 1 - 'Sia pur l'ultimo bicchiere' (Falstaff)
  4. Falstaff: Act l - Scene 1 - 'Ma gia l'alba s'avvicina' (Mistress Ford)
  5. Falstaff: Act l - Scene 2 - 'Vedete che capriccio...' (Bardolf)
  6. Falstaff: Act l - Scene 2 - 'Non reggo piu dal sonno...' (Bardolf)
  7. Falstaff: Act l - Scene 3 - 'Mangiar da principe...' (Bardolf) - Duet (Falstaff, Bardolf) - 'Con molta degnazione' (Falstaff)
  8. Falstaff: Act l - Scene 3 - 'Da scrivere...' (Falstaff)
  9. Falstaff: Act l - Scene 4 - 'Li porto o non li porto?...' (Bardolf)
  10. Falstaff: Act l - Scene 5 - 'Vicino a rivedere' (Ford) - 'Di dubitar di lei non ho motive...' (Ford)
  11. Falstaff: Act l - Scene 6 - 'Oh, tinozzo ambulante!...' (Mistress Slender)
  12. Falstaff: Act l - Scene 6 - 'Vendetta, si vendetta' (Mistress Slender)
  13. Falstaff: Act l - Scene 6 - 'Comare, in questo punto...' (Mistress Slender)
  14. Falstaff: Act l - Scene 6 - Duet (Mistress Ford, Mistress Slender) - 'La stessa, la stessissima' (Mistress Slender)
  15. Falstaff: Act l - Scene 6 - 'Ma parlando sul serio...' (Mistress Slender)
  16. Falstaff: Act l - Scene 7 - 'Ho capito, ma spero che non sara poi vero...' (Slender)
  17. Falstaff: Act l - Scene 8 - Quartet (Mistress Ford, Mistress Slender, Ford, Slender) - 'Oh, quanto vogliam ridere' (Mistress Ford)
  18. Falstaff: Act l - Scene 9 - 'Eh! Mia moglie, compare...' (Ford)
  19. Falstaff: Act l - Scene 9 - 'Venga, venga pure il cavaliere' (Slender)
  20. Falstaff: Act l - Scene 10 - 'A un uom della mia sorte...' (Falstaff)
  21. Falstaff: Act l - Scene 11 - 'Guten morgen, mein Herr...'(Mistress Ford)
  22. Falstaff: Act l - Scene 11 - 'Oh, die Manner kenn ich schon' (Mistress Ford)
  23. Falstaff: Act l - Scene 12 - 'E che ti par, Falstaff?...' (Falstaff)
  24. Falstaff: Act l - Scene 12 - 'Nell'impero di Cupido' (Falstaff)
  25. Falstaff: Act l - Scene 12 - 'Ah, vile! Ah seduttore!...' (Ford) - 'Or degli affanni i palpiti' (Ford)
  26. Falstaff: Act l - Scene 13 - 'Restate la vicini...' (Mistress Ford)
  27. Falstaff: Act l - Scene 14 - 'Bricconcella, alfin t'ho colta' (Falstaff)

Tracks:

  1. Falstaff: Act l - Scene 14 - 'Si. Son geloso a torto' (Ford)
  2. Falstaff: Act ll - Scene 1 - 'Sentite pure...' (Betty)
  3. Falstaff: Act ll - Scene 1 - Trio (Betty, Mistress Ford, Mistress Slender) - 'Nell'acqua il buzzone' (Betty) - 'Questa a buon conto...' (Mistress Ford)
  4. Falstaff: Act ll - Scene 2 - 'Ehi! Bardolfo! A chi dico?...' (Falstaff) - Scene 3 - 'Corpo di Satanasso!...' (Falstaff)
  5. Falstaff: Act ll - Scene 4 - 'E preparato?...' (Falstaff) - Duet (Betty, Falstaff) - 'Ah, Signore, se sapesse' (Betty)
  6. Falstaff: Act ll - Scene 4 - 'Si degni almen di legger questo foglio...' (Betty)
  7. Falstaff: Act ll - Scene 4 - Trio (Betty, falstaff, Bardolf) - 'Si mi vedeste il core' (Falstaff)
  8. Falstaff: Act ll - Scene 5 - 'E il nostro Signor Broch...' (Falstaff) - Scene 6 - 'Il Signor Broch vi attende...' (Bardolf)
  9. Falstaff: Act ll - Scene 7 - 'Se un pranzo non vi basta...' (Ford)
  10. Falstaff: Act ll - Scene 7 - 'Che sento!... E quando ei venne...' (Ford) - 'Or dunque quella bestia...' (Falstaff)
  11. Falstaff: Act ll - Scene 7 - Cavatina (Falstaff, Ford) - 'Nella stanza in un cantone' (Falstaff) - 'Or, quando fui nel cesto...' (Falstaff)
  12. Falstaff: Act ll - Scene 7 - 'Io, sotto titolo di roba sudicia' (Falstaff)
  13. Falstaff: Act ll - Scene 7 - 'Signor, son penetrato del piu vivo dolor...' (Ford)
  14. Falstaff: Act ll - Scene 8 - 'Stelle sogno o son desto?...' (Falstaff) - 'Furie che mi agitate' (Falstaff)
  15. Falstaff: Act ll - Scene 9 - 'Presto Betty, che torna gia l'amico...' (Mistress Ford) - Duet (Mistress Ford, Falstaff) - 'Su, mio core, a gioir ti prepara!' (Mistress Ford)
  16. Falstaff: Act ll - Scene 10 - 'Ma siam sicuri?...' (Falstaff) - Scene 11 - 'Ehi, comare presto!...' (Mistress Slender) - Duettino (Mistress Ford, Falstaff) - 'Pre carita, celatevi' (Mistress Ford)
  17. Falstaff: Act ll - Scene 11 - 'Siete sola?...' (Mistress Slender)
  18. Falstaff: Act ll - Scene 11 - Trio (Mistress Ford, Mistress Slender, Falstaff) - 'Primo ancor che Mastro venga' (Falstaff)
  19. Falstaff: Act ll - Scene 11 - 'Ma dunque, care amiche?...' (Falstaff) - Scene 12 - 'Ha, ha! Sarebbe bella se cosi travestito...' (Mistress Ford)
  20. Falstaff: Act ll - Scene 13 - 'Ecco, amici! Ah! Ribaldo!...' (Ford)
  21. Falstaff: Act ll - Scene 13 - Ensemble (Betty, Mistress Ford, Mistress Slender, Ford, Slender, Friends) - 'Che vedo! Oh, me infelice!' (Mrs Ford)
  22. Falstaff: Act ll - Scene 13 - 'Orben, colui che cerco...' (Ford)
  23. Falstaff: Act ll - Scene 13 - Duet (Mistress Ford, Mistress Slender) - 'Benedetto quel bastone' (Tutti)
  24. Falstaff: Act ll - Scene 14 - 'Sorte pettegola, meco la vuoi' (Falstaff)
  25. Falstaff: Act ll - Scene 15 - 'Se in Londra si sapessero le mie delusioni...' (Falstaff)
  26. Falstaff: Act ll - Scene 15 - 'La sua fede si gradita' (Ford)
  27. Falstaff: Act ll - Scene 15 - 'Sorte pettegola, meco la vuoi' (Falstaff) - 'Chi dite mai?...' (Ford) - 'Sorte pettegola, meco la vuoi' (Falstaff)
  28. Falstaff: Act ll - Scene 16 - 'Che dici?...' (Falstaff)
  29. Falstaff: Act ll - Scene 16 - 'Consolatevi amico...' (Falstaff)
  30. Falstaff: Act ll - Scene 17 - Aria (Slender, Echo) - 'reca in amor la gelosia' (Slender) - 'Zitto: vien qualchedun...' (Slender)
  31. Falstaff: Act ll - Scene 17 - Finale (Mistress Ford, Mistress Slender, Falstaff, Ford, Slender, Spirits) - 'Siete gia qui' (Slender)
  32. Falstaff: Act ll - Scene 17 - 'Fate verdi, turchine e bianche e nere' (Mistress Ford)

Amazon.com

Amadeus, a great movie, made Antonio Salieri a sort of celebrity, but in terms of his value as a composer, it was misleading. This first recording, long overdue and very welcome, should help readjust Salieri's reputation. By far the best opera based on Shakespeare's The Merry Wives of Windsor, is Verdi's Falstaff. But the lazy, cowardly, greedy, overweight, alcohol-soaked, sexually predatory, and somehow (despite everything) endearing antihero is big enough for more than one opera. Salieri's Falstaff is much simpler and smaller in scale than Verdi's, less inventive and energetic. But this is a sophisticated, funny, brightly performed treatment of Falstaff's attempt to woo two married women with identical love notes. --Joe McLellan

Customer Reviews:

5 out of 5 stars "It reeks of music".......2002-05-03

Salieri's "Falstaff, ossia le tre burli" ("Falstaff, or the three hoaxes"), to a libretto by Carlo Prospero Gianfranceschi, was first performed in Vienna in 1799, making it one of his last operas. It is a "dramma giocoso"..., that is, an opera buffa with some serious elements. This is an interesting time in the history of Italian opera -- Mozart's great operas were almost a decade in the past, and Rossini's about a decade away. Stylistically, though, we are closer to the classical than the bel canto. The various ensembles (including extended finales to each of the two acts) are reminiscent of Mozart -- Salieri obviously learned much from his great contemporary. Some of the numbers, too, have an element of opera seria parody, just as we find, say, in Fiordiligi's aria "Come scoglio" in "Cosi fan tutte".

While it must be admitted that Salieri does not muster the depth of pscyhological insight into character that is a hallmark of Mozart's greatness, nor the effervescent sparkle which enlivens Rossini's comic operas, this is nonetheless a delightful work, which should give pleasure to anyone who enjoys the late classical Viennese style.

If you wish to sample this lovely fare, try the lively Overture, which is a rondo based on a contredanse theme, that makes prominent use of the woodwinds, and ends in a blaze of glory a la Beethoven (who was, of course, Salieri's pupil). Another highglight is Falstaff's Act I aria ("Nell'impero di Cupido"), which is somewhat reminiscent of Bartolo's Act I aria in "Figaro" and even seems to look ahead to some of Rossini's buffo patter songs (I am thinking in particular of Don Magnifico's Act III aria in "Cenerentola").

The performance here, by authentic Italian forces, does justice to the idiomatic character of classical Italian opera buffa. So much of the action takes place in secco recitatives -- those bits of quasi-sung, quasi-spoken dialogue accompanied only by basso continuo -- and it is essential, as here, that the singers impart the nuance of the Italian language to it. The wonderful ensemble is ably supported by Alberto Veronesi and his Milanese forces. (An odd feature I noticed is that the continuo instrument in the recitatives is a fortepiano, whereas in the musical numbers it is a harpsichord. Is this supposed to be an authentic touch? There is no explanation in the notes.)

I wish to single out in particular the brilliant Florentine baritone, Romano Franceschetto, who carries on the great tradition of buffo baritones such as Giuseppe Taddei, Sesto Bruscantini, and more recently Claudio Desderi, who brings an acute, agile, intelligent mind and voice to his musical numbers and who does a beautiful job in the recitatives. In fact listening to the recitatives I almost thought I was listening to Bruscantini or Taddei.

Gluck is supposed to have said of a piece of Salieri's, "Puzza di musica" -- "It reeks of music" -- and if you listen to this recording you will understand why Gluck held his disciple in such esteem. It is worth noting that Salieri held the most important musical job in Europe -- court composer to the Habsburg Imperial court -- and numbered Gluck, Haydn, and Mozart as friends and colleagues, and Beethoven, Schubert, Hummel, and Liszt as pupils. If you want to get an insight into this interesting composer, who lived at such a pivotal time in the history of music and made his small but not trivial contribution to it, forget "Amadeus", try this recording. It will have you asking for more.

4 out of 5 stars Salieri was no joke.......2001-08-13

Despite our compatriot's words to the contrary, Antonio Salieri was a magnificent composer who has composed some of the most moving scenes in all of operatic music. It is unfair to compare any musician to another since each musician has his/her own way of viewing a work and approaching that work. Mozart, obviously, would have taken a different approach to Falstaff just as Handel, Bach, Beethoven, Ligeti, or even Durufle would have taken. Each composer is unique and as true music lovers we must respect this and also respect Salieri's important, yet, unfortunately, mostly forgotten gargantuan comtribution to classical music.

2 out of 5 stars Near worthless!.......2000-05-10

How can one listen to this work without comparing it to those of Mozart? I couldn't, and it's like comparing sewer water to a fine red wine- there is no comparision.

This opera is completely dull, uninspiring, unimaginitve, and just plain boring! I much prefer the classical period to that of the romantic, but i also much prefer Verdi's Falstaff to this one.

While it is true Amadeus exaggerated the rivilary between Mozart and Salieri, Salieri's jealousy was very much real. He did recognize Mozart's devine talent.

Furthermore, Salieri was not the incompetent composer Amadeus made him out to be. In fact, for that time period he was very compentent and as good as almost all the other composers of his day. The problem? Mozart far exceeded anything composers of that day, or since could put out! It always amazing me that Salieri and many composers were paid twice as much as Mozart for turning out work that was half as genious, half as brilliant, have as imaginative, and have as miraculous as Mozart's music was. Furthermore, Mozart was offered commissions (many) only after Salieri first turned them down.

The Marriage of Figaro and Don Giovanni - arguably the two greatest operas ever composeed, failed in Vienna- while the operas of Salieri were smash hits! The "musical capital" of the world was totally inept when it came to recognizing great music! Most people don't know it, but the premiere of Figaro in Prague was one of the greatest triumphs in operatic history. Mozart was thrilled and wrote in symphony in honor of the people of Prague. That led to the commission of Don Giovanni, which was a triumph as well in Prague, but failed in Vienna upon it's transfer there prompting Mozart to declare, "My Praguers, they understand me."

There is a reason why Mozart is regarded as the greatest. Mozart is simply stunning beauty and perfection with no equal.

This opera is near garbage. Salieri's Axur is quite nice- but still far from the level of Mozart.

Salieri was envious of Mozart- and with good reason. And for that reason- Salieri was a smart man. In a time when Vienna tossed their great musical gift (Mozart) by the wayside, Salieri recognized it.

If you don't have all Mozart operas- get them first!

4 out of 5 stars FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

A worthwhile issue of an opera composer whose dozens of works (i.e. Axur, re d'Ormus, Les Danaides, La Locandiera, etc.) are still little-known. A good recording of the Salieri's comedy, I enjoyed it. The arias are few, the ensembles many with complicated finales. However, I loved this recording wich embraces a remarkable teamwork, and is full of life and fun. It is very much an 18th-century opera buffa which takes liberties with Shakespeare's original (no Anne and Fenton; Mrs. Ford visits Falstaff disguised as a German woman - an excuse for comic mixture of German and Italian dialogue; only the Fords run any risk of marital separation) but which offers several enjoyable parodies of opera seria conventions. Falstaff, is one of Salieri's last operas (Vienna, 1799), and one of the first to derive its plot from Shakespeare's The Merry Wives of Windsor (later composers like Adolphe-Charles Adam, and Guisseppe Verdi composed operas on the same subject during the 19th century). The music of Salieri has remained forgotten (besides the fictional treatment of Salieri's supposed rivalry with Mozart in Peter Shaffer's study of jealousy, Amadeus), his name a foot-note in the lives of his pupils Beethoven and Schubert.

4 out of 5 stars FALSTAFF: a good recording of Salieri's last operas!..........2000-03-24

A worthwhile issue of an opera composer whose dozens of works (i.e. Axur, re d'Ormus, Les Danaides, La Locandiera, etc.) are still little-known. A good recording of the Salieri's comedy, I enjoyed it. The arias are few, the ensembles many with complicated finales. However, I loved this recording wich embraces a remarkable teamwork, and is full of life and fun. It is very much an 18th-century opera buffa which takes liberties with Shakespeare's original (no Anne and Fenton; Mrs. Ford visits Falstaff disguised as a German woman - an excuse for comic mixture of German and Italian dialogue; only the Fords run any risk of marital separation) but which offers several enjoyable parodies of opera seria conventions. Falstaff, is one of Salieri's last operas (Vienna, 1799), and one of the first to derive its plot from Shakespeare's The Merry Wives of Windsor (later composers like Adolphe-Charles Adam, and Guisseppe Verdi composed operas on the same subject during the 19th century). The music of Salieri has remained forgotten (besides the fictional treatment of Salieri's supposed rivalry with Mozart in Peter Shaffer's study of jealousy, Amadeus), his name a foot-note in the lives of his pupils Beethoven and Schubert.
Scarlatti: Il trionfo dell'Onestà, etc.
Average customer rating: Not rated
    		Scarlatti: Il trionfo dell'Onestà, etc.

    Manufacturer: Bongiovanni
    ProductGroup: Music
    Binding: Audio CD

    All Works by Alessandro ScarlattiAll Works by Alessandro Scarlatti | Scarlatti, Alessandro | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
    FluteFlute | Reeds & Winds | Instruments | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Chamber Music | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    ChorusesChoruses | Vocal Non-Opera | Opera & Vocal | Styles | Music
    ASIN: B00000JF8M
    Release Date: 1999-12-07
    Josef Strauss Edition, Vol. 20
    Average customer rating: Not rated
      		Josef Strauss Edition, Vol. 20

      Manufacturer: Marco Polo
      ProductGroup: Music
      Binding: Audio CD

      PolkasPolkas | Ballets & Dances | Classical | Styles | Music
      WaltzesWaltzes | Ballets & Dances | Classical | Styles | Music
      All Works by Josef StraussAll Works by Josef Strauss | Strauss, Josef | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
      GeneralGeneral | Symphonies | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      CDs $7 - $10CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music
      All Bargain TitlesAll Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music
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      2. Josef Strauss Edition, Vol. 19
      3. Josef Strauss Edition, Vol. 21
      4. Josef Strauss Edition, Vol. 24
      5. Josef Strauss Edition, Vol. 26

      ASIN: B00005MFGR
      Release Date: 2001-09-18

      Tracks:

      1. Liechtenstein-Marsch
      2. Delirien, Waltzer
      3. P-m, Polka Schnell
      4. Pariser-Quadrille
      5. Flattergeister, Walzer
      6. Kr-Caprice, Polka Franse
      7. Dithyrambe, Polka Mazur
      8. Velocipede, Polka Schnell
      9. Actionen, Walzer
      10. Cupido-Polka
      11. Frauenherz, Polka Mazur
      12. Wiener Bonmots, Walzer
      Literes: Júpiter y Semele
      Average customer rating: Not rated
        		Literes: Júpiter y Semele

        Manufacturer: Harmonia Mundi Fr.
        ProductGroup: Music
        Binding: Audio CD

        All Works by Domenico ScarlattiAll Works by Domenico Scarlatti | Scarlatti, Domenico | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
        GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        GeneralGeneral | Opera & Vocal | Styles | Music
        ClassicalClassical | Imports | Stores | Music
        Opera & VocalOpera & Vocal | Imports | Stores | Music
        ASIN: B00009YWA7
        Release Date: 2003-10-14
        Que Amarren a Cupido
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          		Que Amarren a Cupido
          Joan Sebastían
          Manufacturer: Balboa
          ProductGroup: Music
          Binding: Audio CD

          GeneralGeneral | Latin Music | Styles | Music
          Latin PopLatin Pop | Latin Music | Styles | Music
          TejanoTejano | Latin Music | Styles | Music
          MariachiMariachi | Latin Music | Styles | Music
          NortenoNorteno | Latin Music | Styles | Music
          MexicoMexico | International | Styles | Music
          ASIN: B0001WJN8W
          Release Date: 2004-03-16

          Tracks:

          1. Ahora Entiendo
          2. Amar Como Te Am
          3. Anoche Soontigo
          4. Que Amarren a Cupido
          5. Preciosa Criatura
          6. COlvidar
          7. Ya Lleg
          8. Margarita
          9. Ay Amor
          10. Mmo
          11. Una Dama Elegante
          12. D Estar
          Johann Hermann Schein: Secular Vocal Music [Deutsche Harmonia Mundi]
          Average customer rating: Not rated
            		Johann Hermann Schein: Secular Vocal Music [Deutsche Harmonia Mundi]

            Manufacturer: RCA
            ProductGroup: Music
            Binding: Audio CD

            GeneralGeneral | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
            LiederLieder | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
            MadrigalsMadrigals | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
            ASIN: B00000E6UZ
            Release Date: 1992-12-03
            Berlioz: Roméo et Juliette
            Average customer rating: Not rated
              		Berlioz: Roméo et Juliette

              Manufacturer: Polygram Records
              ProductGroup: Music
              Binding: Audio CD

              All Works by BerliozAll Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
              GeneralGeneral | Symphonies | Classical | Styles | Music
              GeneralGeneral | Classical | Styles | Music
              GeneralGeneral | Opera & Vocal | Styles | Music
              ASIN: B00000E38M
              Release Date: 1990-10-25
              Cupido
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                		Cupido
                Los Carlos
                Manufacturer: Fonovisa Inc.
                ProductGroup: Music
                Binding: Audio CD

                GeneralGeneral | Latin Music | Styles | Music
                MexicoMexico | International | Styles | Music
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                ASIN: B000005V5P
                Release Date: 1996-02-14

                Tracks:

                1. Bolero Falaz
                2. Carino Chiquitito
                3. Tantas Despedidas
                4. El Exagerado
                5. Te Vas
                6. Cupido
                7. Por Si Volvieras
                8. Me Enamore De Un Imposible
                9. Por Ti Prenda Del Alma
                10. Si Fueras Mi Reina
                Puccini: La Rondine / Gasdia, Cupido, Rinaldi, Scarabelli, Cosotti, Gelmetti
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                  		Puccini: La Rondine / Gasdia, Cupido, Rinaldi, Scarabelli, Cosotti, Gelmetti
                  Giacomo Puccini , Orchestra Sinfonica e Coro di Milano della Rai , Gianluigi Gelmetti , Cecilia Gasdia , Alberto Cupido , Adelina Scarabelli , Alberto Rinaldi , and Max René Cosotti
                  Manufacturer: Fonit Cetra Records
                  ProductGroup: Music
                  Binding: Audio CD

                  GeneralGeneral | Opera & Vocal | Styles | Music
                  ASIN: B0000045GG
                  Release Date: 1996-12-17

                  Tracks:

                  1. Act One: Ah! no! no! - Cecilia Gasdia/Adelina Scarabelli/Max Rene Cosotti/Alberto Rinaldi/Ivette/Ilaria Galgani/...
                  2. Act One: Chi il bel sogno di Doretta - Cecilia Gasdia/Max Rene Cosotti/Max Rene Cosotti/Vinicio Cocchieri/Gianfranco Bertagna/...
                  3. Act One: Un momento: scusi, ecco - Cecilia Gasdia/Adelina Scarabelli/Max Rene Cosotti/Alberto Rinaldi/Ilaria Galgani/...
                  4. Act One: Perche! Ore dolci e divine - Cecilia Gasdia/Ilaria Galgani
                  5. Act One: Il profumo squisito - Cecilia Gasdia/Max Rene Cosotti/Alberto Rinaldi/Ilaria Galgani
                  6. Act One: Forse, come la rondine - Cecilia Gasdia/Alberto Cupido/Max Rene Cosotti/Alberto Rinaldi/Ivette/Ilaria Galgani/ ...
                  7. Act One: La prima serata a Parigi - Cecilia Gasdia/Adelina Scarabelli/Alberto Cupido/Max Rene Cosotti/Alberto Rinaldi/...
                  8. Act One: Tamo! - Cecilia Gasdia/Adelina Scarabelli/Max Rene Cosotti

                  Tracks:

                  1. Act Two: Presto! Presto! - Cecilia Gasdia
                  2. Act Two: Scusatemi...scusate... - Cecilia Gasdia/Alberto Cupido
                  3. Act Two: Nella dolce carezza della danza - Cecilia Gasdia/Adelina Scarabelli/Alberto Cupido/Max Rene Cosotti
                  4. Act Two: Perche mai cercate di saper - Cecilia Gasdia/Adelina Scarabelli/Alberto Cupido/Max Rene Cosotti
                  5. Act Two: Bevo al tuo fresco sorriso - Cecilia Gasdia/Adelina Scarabelli/Alberto Cupido/Max Rene Cosotti/Alberto Rinaldi/...
                  6. Act Three: Senti?... anche il mare respira - Cecilia Gasdia/Alberto Cupido
                  7. Act Three: Oggi lascia che ancora - Cecilia Gasdia/Alberto Cupido
                  8. Act Three: Dimmi che vuoi seguirmi - Alberto Cupido
                  9. Act Three: Che pir dirgli? ...Che fare?... - Cecilia Gasdia/Adelina Scarabelli/Max Rene Cosotti/Lucio Folilela
                  10. Act Three: Se ne perla, a Parigi - Cecilia Gasdia/Adelina Scarabelli/Max Rene Cosotti
                  11. Act Three: Amore mio!... Mia madre!... - Cecilia Gasdia/Alberto Cupido
                  12. Act Three: Ma come poi lasciarmi - Cecilia Gasdia/Alberto Cupido

                  Mexican Music:

                  1. (De La Pelicula) Dinastia De La Muerte
                  2. Dedicado a Mis Novias
                  3. Deseo
                  4. Dominando La Salsa
                  5. Duelo de Acordeones
                  6. El Es El Premio Mayor
                  7. El Escarabajo Mas Grande De Europa [Import]
                  8. El Hombre Y Sus Merengues
                  9. El Reto
                  10. El Son de Cuba

                  Mexican Music

                  mexican music

                  Mexican Music

                  Filigree & Shadow [Import]

                  Piano Recital (Eduard Stan plays Bach, Busoni, Chopin)

                  Mule Milk 'N' Firewater [Import]

                  Music CD: If We Never Meet Again

                  Words for the Dying

                  Mama Eres Tu

                  Moonlighting

                  Lebendige Vergangenheit: Gitta Alpar

                  Legendary Dolly Parton [Import]

                  Love Notes

                  Long Division

                  Nothing But a Dream [Import]

                  Mastercuts Chilled: Mellow Vibes For Evenings In

                  Delta Momma Blues

                  Two Is Company: Complete Studio Duets, 1937-1942