Macbeth [Import]

Macbeth [Import]

Track Listings

1. Intro

2. Diddaining Fortune

3. The Prophecy

4. Husbandry In Heaven

5. The Dead Arise

6. Evil Speaks

7. Letters Of Blood

8. Revenge

9. Claws Of Madness

10. Demons Rising

11. Die With Your Harness On Your Back

Editorial Reviews
Product Description
2002 debut album for German power metal band. Featuring Uwe Lulis (guitar) & Tomi Goettlich (bass) (both ex-Grave Digger). Ten tracks including, 'Disdaining Fortune', 'The Prophecy', 'Husbandry In Heaven', 'The Dead Arise' & 'Evil Speaks'. Subtitled - A Tragedy In Steel.

Tracks:

Requiem: 1. Requiem & Kyrie
Requiem: 2. Dies Irae
Requiem: 3. Offertory
Requiem: 4. Sanctus

Tracks:

Requiem: 5. Agnus Dei
Requiem: 6. Lux Aeterna
Requiem: 7. Libera Me - 1. Libera Me - 2. Dies Irae - 3. Requiem Aeternam - 4. Libera Me
Requiem: Spuntato Ecco
Requiem: Patria Oppressa!
Requiem: Fuoco Di Gioia
Requiem: Va Pensiero
Requiem: Gloria All'Egitto

Amazon.com

Robert Shaw learned from Arturo Toscanini, and in his stupendous 1987 recording for Telarc he managed to surpass the master on some points. He is unerring in his pacing and staging of climaxes, and draws phrasing and dynamics from the chorus that other conductors can only dream of. Points are made with exhilarating effect throughout the account: never has the bass drum in the Dies irae been as splendidly hammered as here, and the whooping brass in the Tuba mirum is breathtaking. The all-American solo quartet sounds a bit driven, especially the light-voiced Susan Dunn and Jerry Hadley, but their contribution is a strong one nonetheless. --Ted Libbey

Customer Reviews:

A memorable album by Robert Shaw.......2007-04-16

I sometimes wonder why any top choral conductor would want to conduct, least of all record, a piece where the soloists invariably command center stage at the expense of the chorus.

Robert Shaw (1916 - 1999), of course, is practically a god in the choral world. And while he has done well as an orchestral conductor, his claim to fame to most will always be his work with choruses.

So here we have an operatic requiem written by one of history's greatest opera composers, conducted by one of history's greatest choral conductors. How does it turn out?

The Atlanta Symphony Chorus is very, very good. Their sumptuous sound becomes even more memorable thanks to the stunning reverberation of Atlanta Symphony Hall. Their Libera Me fugue was literally a wall of sound that seemed for a moment to encompass your entire world. The Dum Veneris passage following that was the best I'd ever heard: all four parts were distinct and incredibly powerful.

The four soloists, however, really stole the show for me. Susan Dunn and Diane Curry displayed a lot of passion in Recordare. They also created a wonderfully blended sound through their Agnus Dei duet, probably the best blend I'd ever heard so far.

Jerry Hadley is definitely one of my all-time favorite Verdi Requiem tenors. He reminded me of Richard Tucker in his commanding Kyrie entrance. His Ingemisco possessed a ringing power that left me breathless.

Paul Plishka was probably the "weakest" of the four. In Confutatis, it sounded like he was punching his voice. However, he sounded very good in the Offertorio.

And speaking of Offertorio, that was truly a soloist high point for me. The four singers literally turned into a mini-opera; it was quite dramatic hearing their voices trade back and forth.

The sound of the orchestra was truly a pleasure to hear. This music demands power and virtuosity, and the Atlantans provided both in spades. And drum lovers will be quite satisfied with the almost violent sound of the bass drum in Dies Irae.

The album also features five popular choruses from Verdi's operas. If, like me, you got carried away listening to the Requiem soloists, here's your chance to hear this remarkable chorus without any soloist distraction. The "Don Carlos" chorus (sung in Italian not French) was a rousing affair. "Patria oppressa" was appropriately subdued and melancholy. Fuoco di gioia proved the virtuosity of these choral masters. "Va pensiero" was smooth and rich. "Gloria all'Egitto" featured the chorus in all its mighty grandeur. The orchestra provides excellent accompaniment throughout. You will thoroughly enjoy listening to these choruses.

The recorded sound is absolutely fabulous. The four sections of the chorus are much more evenly miked than on most CDs. The great engineering makes the orchestra an audiophile's dream.

The liner notes contain texts and translations. However, a previous reviewer has found that the "Hostias" paragraph is missing the words "Fac eas, Domine, de morte transire ad vitam."

The tracks use an index system which I suspect is not available on most DVD players, the result being that the Dies Irae is put on a single 36 minute track.

This CD was recorded in April 1987 in Atlanta Symphony Hall, Atlanta, GA. The Requiem duration is 84'23", so the tempos are about average for this piece.

Great version.......2007-02-26

There are version of Verdi's Requiems in that market. I consider this to be onre the best ones I have heard. What adds to this perfomance is the quality of the manufacturer's transfer.

Superb.......2005-10-20

I don't have anything to add to the excellent reviews, I just want to chime in with my vote. This was rated as the top recording of this piece when I bought it on recomendation of a tenor friend back in 1990 or so and it is probably the best sustained operatic performace I have found thus far. The power and the majesty of this piece needs to be heard to be believed. So... Buy it, make sure the neighbors are out, turn the lights out, it in your best listening spot, turn up the volume and press play.

Don't miss the final track on the second disk!

Brings back memories.......2001-05-04

How could I possibly top the splendid review by Dominic Grant below? And his later graceful apology for a mere typo? Well, I just cannot. But I'd like to share my own thoughts, anyway.

With all the flap over the recently released Gergiev recording of the Verdi Requiem on Philips, with its unfortunate choice of Andrea Bocelli - a pop singer masquerading as an operatic singer - as tenor soloist, it is once again - and always - a pleasure to turn to a truly definitive recorded performance, that of Robert Shaw. As points of reference whenever I turn to this performance, I always have in mind earlier recordings by Giulini and Solti, among others. (I include a truly visceral one by Karel Ancerl and the Czech Philharmonic, featuring Galina Vishnevskaya with a "Libera me" to die for, and the type of Slavic excitement that Gergiev tries for but fails.)

Verdi's Requiem is, without doubt, the most operatic of such works as have become part of the liturgical canon. But it doesn't necessarily follow from this that the best recordings are the ones which utilize operatic superstars. Were that the case, Solti's recording, with Joan Sutherland, Marilyn Horne, Luciano Pavarotti and Martti Talvela, would be unchallenged (particularly when one throws in the Vienna Philharmonic, as well as the typically excellent mid-60's sound that Decca was so good at). But, true to form, Solti just couldn't find the proper sensitivity and balance to make his performance the definitive one.

Shaw does what Solti could not do. In a work that requires efforts of equal quality by orchestra, soloists and chorus, there simply is no better chorus than a Shaw chorus. Shaw's four soloists, while perhaps not of the marquee value of the ones on the Solti recording, are outstanding. A previous customer reviewer certainly got it right when he said that Susan Dunn was a Verdi soprano to be reckoned with. And Diane Curry, Jerry Hadley and Paul Plishka are equally excellent. (Plishka, as I mention later, is one of my "memories.") Moreover, in a work which demands that the cataclysms of the Dies Irae and the tenderly supplicant closing pages of the Libera me be captured in proper proportions, none are better than Telarc at this challenge.

The personal friendship between Robert Shaw and the Cleveland-based Telarc team of Bob Woods and Jack Renner goes back to the days when Shaw was George Szell's assistant at the Cleveland Orchestra. Thus it was, when Woods and Renner introduced the "all-digital" Telarc label in the late 70's, that they turned to Shaw and his Atlantans as an enduring source for the recording of choral masterpieces. With the passing of Shaw some two years ago, it is now time that someone sum up his recorded legacy, which, under the aegis of Telarc, exceeds three dozen recordings. In my humble opinion, he will be remembered for a long, long time for three works that Telarc recorded with his forces: The Bach B Minor Mass, the Brahms German Requiem, and this Verdi Requiem.

Oh! The memories! For several years, at a time when Shaw's Atlanta forces were as good as they were to get, in the early 80's, I was fortunate to live in the Atlanta area, and to attend many of his concerts. And, in the fall of 1965, when Paul Plishka had just won a "young artist" award that was to lead to his Metropolitan Opera career, I was fortunate to have been a member of an amateur chorus which performed this work with a semi-pro orchestra and four young soloists. The names of the other three soloists were long ago relegated to the dustbin of history. But the bass soloist at that 1965 performance was none other than Paul Plishka. He's still banging the boards at the Met. One durable dude!

Once again, kudos to Mr. Grant for his superb review, and for his reminding me that I had some "unfinished business" to attend to.

Bob Zeidler

Apologies to Puccini........2000-12-04

Further to my review of the 18th of June below,it's just been brought to my attention by a kind reader that I have inadvertently ascribed the composition of the famous aria,"Nessun Dorma" from Turandot to Verdi himself.First of all,my sincere apologies to Puccini (probably still revolving in his grave !),and my apologies to you for grossly offending your musical sensibilities as you pass this way.That will teach me to spend a little longer editing my reviews before submitting them !

Average customer rating:

Music that calms me
Interesting Choices
Great for non experts
On-Point
For Those so Engrossed by the Film, Here are the Excerpts that Molded It

Match Point
Various Artists
Manufacturer: Milan Records
ProductGroup: Music
Binding: Audio CD

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Woody Allen Classics
The Legendary Enrico Caruso: 21 Favorite Arias
Woody's Winners: 20 Classic Tracks from the Films
Match Point
Casanova

ASIN: B000BU0C7K
Release Date: 2005-12-20

Tracks:

'Mal Reggendo All'aspro Assalto' From 'Il Trovatore'
'Un Di, Felice' From 'La Traviata'
'Mia Piccirella' From 'Salvatore Rosa'
'Gualtier Malde!...Caro Nome' From 'Rigoletto'
'Mi Par D'udir Ancora' From I Pescatori Di Perle'
'Arresta ... Quali Sguardi!' From 'Guillaume Tell'
'O Figli, O Figli Miei!' From 'Macbeth'
'Desdemona Rea, Si, Per Ciel' From 'Otello'
'Una Furtiva Lagrima' From L'elisir D'amore'

Album Description

Match Point tells the story of social-status climber Chris, a modest tennis instructor. His marriage to Chloe gains him comfort and prestige in society, but his passion leads his astray into the arms of his soon-to-be sister-in-law, the very sexy American, Nola. In Match Point, which deals with luck, ambition and guilt, writer/director Woody Allen draws on the talent of actors Jonathan Rhys-Meyers, Emily Mortimer, and in the role of Nola, Scarlett Johannson.

Customer Reviews:

Music that calms me.......2007-02-08

I am no expert. I just like listening to arias that have the capacity to bring me into the music. For me, the songs are like oxygen and taking deep breaths lowers my heart rate and helps me get my mind off everything but the soulfullnes and beauty of the human voice instument.

Interesting Choices.......2007-01-05

Very interesting choices for this soundtrack. Very evocative. Understood that these are old recordings, so sound quality is not fabulous.

Great for non experts.......2006-10-05

I really have no knoledge about opera or I had never had an interest for it but when I saw the movie I just loved the music. The CD is not a disappointment at all. It is only opera and a great selection of songs I would say. If you liked what you heard on the movie you should have it.

On-Point.......2006-05-12

I love everything that has to do with this film at the moment, and the soundtrack is NO exception. Woody Allen has a knack for picking just the right songs to compliment his films, and while watching the WONDERFUL Match Point you can't help but be drawn into the music that laces each scene like delicate embrodery placed only to embelish each frame and make it all the more impressive. This is a soundtrack to enjoy OVER AND OVER again. Each track, although there aren't many, is a joy in itself, but the best track is 'Una Furtive Lagrima' which serves as the theme song of sorts. Seriously though, even though I'm reviewing the soundtrack and not the film, I can't stress enough how brilliant this film really is, and the soundtrack is the perfect companion to the film. They go together hand in hand and should be enjoyed time and time again.

For Those so Engrossed by the Film, Here are the Excerpts that Molded It.......2006-04-28

This soundtrack is a fun little exercise in discovery for those who loved the film MATCH POINT and want to know more about the music that accompanied the story in such an integrated way. It is also a terrific souvenir for opera fans who do not yet own the recordings of the legendary Enrico Caruso!

Woody Allen created his character Chris as a lover of opera and integrated that love for opera into the family of wealth he 'enters'. The story is so well written and Allen is so well versed in opera that his selections for excerpts greatly added to the depth of the film.

Here are the old recordings of Enrico Caruso singing arias from 'Il Trovatore', 'Salvator Rosa', 'Les Pecheurs de perles', 'Macbeth', and 'L'elisir d'amore'. In addition to these are excerpts from contemporary singers performing arias form 'La Traviata' (performed by Monika Krause and Georg Tichy), 'Rigoletto' (sung by Alida Ferrarini with Alexander Rahbari conducting), 'William Tell' and 'Otello' (performed by Igor Morozov and Janez Lotric with Johannes Wildner conducting the Slovak Radio Symphony Orchestra). Probably copyright laws prevented the use of the 'live performances' at Covent Garden we heard in the film with very fine young singers, here substituted with Slovak recording artists. But the mood is still there.

This soundtrack recording makes for nice reminiscing about a fine film while adding a bit of flavor to the usual classical music collection! Grady Harp, April 06

Average customer rating:

A Marvelous Performance of Adeste Fideles
Bocelli never disappoints!
Worst C.D Ever...But still a great artist
the Perry Como of operatic tenors
Absolutely lovely!

Viaggio Italiano / Andrea Bocelli

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Romanza
Andrea Bocelli - The Opera Album ~ Aria
Cieli di Toscana
Sogno
Andrea Bocelli - Amore

ASIN: B0000041OA
Release Date: 1997-11-18

Tracks:

Turandot: Nessun dorma
L' Arlesiana: Lamento di Federico
Macbeth: Ah, la paterna mano
Rigoletto: La donna e mobile
Elisir d'amore: Una furtiva Iagrima
Panis Angelicus
Ava Maria
O Sole Mio
Core n'grato
Santa Lucia luntana
I' te vurria vasa
Tu, 'ca nun chiagne!
Marinarello
Piscatore 'e Pusilleco
Message Bocelli
Adeste Fideles (bonus track)

Amazon.com essential recording

Opera is in fashion, and the woods are full of pop vocalists who think they have the chops to sing arias. The best contender so far is Andrea Bocelli, who at least has a real voice, if a small one, and sometimes manages a really exciting tenor sound. Unfortunately, he is inconsistent in his tone and production, and, despite the fact that he's singing in his native language, he often sounds as though he has only the barest idea of what the words mean. The Moscow Radio Symphony Orchestra, conducted by Vladimir Fedoseyev, plays stodgily. Anyone with a real interest in tenor arias would be much better advised to check out recordings by the young Luciano Pavarotti. --Sarah Bryan Miller

Customer Reviews:

A Marvelous Performance of Adeste Fideles.......2006-11-13

Andrea Bocelli sings magnificently on this CD. Never have I heard Adeste Fidelis sung with such energy, joy, and understanding.

Bocelli never disappoints!.......2006-07-07

I hate to admit it but it has only been fairly recent that I "discovered" Andrea Bocelli, when he appeared on Oprah Winfrey(or was it Dr. Phil?), and American Idol. His voice mezmorized and touched me so much that I HAD to find out more. Over the last few weeks I have purchased apx. 6 of his CD's, and I can honestly say I love them all, including this one. Bocelli does not disappoint, and it doesnt seem to matter if he is singing in french, english, spanish or italian...as the purity, honesty and richness of his voice goes above and beyond various cultures and ethnicities. From a technical level, there are other well-knows (past and present) who are equal to or above Bocelli. However, what makes Andrea stand alone is a certain something that is hard to place your finger on, or put in to words, but all who appreciate him SEE and FEEL this. Some say he sings like an angel, or if God had a voice, it would sound like Bocelli. My own hypothesis is that Bocelli sings with his heart because his eyes cannot see the words. As such, along with his beautiful vocals pours forth his very spirit. It is this very essense that makes him so unique, and has caused so many people from all around the world to love him.

Worst C.D Ever...But still a great artist.......2006-06-22

Reviewed By D. J.P Vergaleto

I just had to write this review. I recently purchesed 3 Bocelli C.Ds and was rewarded with 1 Very good , 1 not bad, n this one that STINKS...IF THE REVIEWERS WERE HONEST I COULD HAVE SAVED SOME MONEY.... I buy a lot from Amazon, ITs a great site, and 99 percent of the time when i read reviews they are on the money and help me out a great deal....With that said

Let me say that this cd entices you with all the big name italian songs, BUT DONT LET IT FOOL YOU..It sounds like it was made in 1 day. Who ever mixed the album has Bocellis voice so loud it sounds like he is SCREAMING ( I THINK HE IS) AND the
orchestra sounds like it is made of 3 pieces as you can only faintly hear it. There is not 1 song on this C.D ID recommend.

But dont worry , if you like Bocelli and dont know what to buy
let me tell you that I Enjoyed (Cieli Di Toscana) The first song Melodramma Rivals Bocellis Con Te Partiro Which is on his ROMANZA C.D AND HIGHLY Recomended, Also Sogno is Another very good C.D. So save yourself money and stay away from this one.
Also his Verdi CD IS VERY well made, not as strong a voice as Caruso , but once you hear Bocelli you wont care. Great Great voice that is very Hypnotic and when you hear him you wont care if he is as good as Caruso because he is Different , totally different and there both great Tenors. Peace

the Perry Como of operatic tenors.......2006-03-25

I found this to be a wonderful cd. This was my first sustained exposure to Mr. Bocelli's art (I first heard his wonderful singing on the Charlotte Church cd "Time To Say Goodbye" -- also strongly recommended) and, on the whole, I enjoyed his singing very much. I also love Perry Como so the comparison above is not meant to be disparaging in any way, but merely to indicate that he's perhaps better in slower tempo pieces where the line of the melody naturally accentuates the richness of his voice. But if anyone doubts his chops, the first selection on this cd should put those doubts to rest -- his rendition of Puccini's "Nessun dorma" is both powerful and dramatic and stands up (dare I say it?) even to Pavarotti's.

Absolutely lovely!.......2006-02-25

Even though it was Andre Bocelli's Romanza CD that introduced me to his wonderful voice, I have to admit that I enjoy his opera offerings more than his popular works. I still enjoy Romanza and his other pop CD's, but it is his opera selections that seem to show the full beauty of his voice.

I am not an opera expert by any means, so I don't get hung up on whether or not someone is techically perfect or not. If I like it, that's good enough for me!

My teenage sons and I were in a pizza place the other day and above the noise, I heard a beautiful song- a male singer- and was shushing the boys, trying to determine who it was. With great patience, my 17 year old son said, "Mom, that's Andre Bocelli. Can't you tell?"

Enough said.

Average customer rating:

OKAY, TAKE ME AWAY.
Great music...stunning recording quality
Incredible
Just Stunning!

Essential Verdi

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The #1 Opera Album
The Most Famous Opera Arias

ASIN: B000056JSW
Release Date: 2001-02-13

Tracks:

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

Tracks:

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

Customer Reviews:

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

I don't know opera.

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

Is this how its supposed to be...

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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
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Binding: Audio CD

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The Very Best of Victoria de los Angeles
The Very Best of Lucia Popp

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.

All in all, minor quibbles aside, this is a great introduction to those not familiar with Caballe's grand art.

Lady Macbeth of Mtsensk
Average customer rating:

Stunning

Still the top recording of this opera beyond all doubt!!!

Very Moving

A beautiful recording!!

Stalin Didn't Like It Much!

Lady Macbeth of Mtsensk
Shostakovich , Vishnevskaya , Gedda , and Rostropovich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
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London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
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Shostakovich: Piano Concertos; 3 Fantastic Dances; 5 Preludes & Fugues, Op. 87

R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan

Shostakovich: 24 Preludes and Fugues, Op. 87

Mozart: Don Giovanni

ASIN: B000063UM3
Release Date: 2002-04-09

Tracks:

Act One, Scene One: Akh, Nye Spitsa Bol'she, Poprobuyu - Galina Vishnevskaya
Act One, Scene One: V Dyevkakh Luchshe Bylo - Galina Vishnevskaya
Act One, Scene One: Gribki Sevodnya Budut? - Galina Vishnevskaya
Act One, Scene One: Prigotov Otravu Dlya Krys - Galina Vishnevskaya
Act One, Scene One: Govori!... Plotinu-to Na - Leslie Fyson
Act One, Scene One: Proshchay, Katerina - WErner Krenn
Act One, Scene One: Chevo Vstal? Chevo Ostanovilsa? - Dimiter Petkov
Act One, Scene One: Interlude - London Philharmonic Orchestra
Act One, Scene Two: A! Ay! Ay! - John McCarthy
Act One, Scene Two: Barynya!... Ay!... Shto S Toboyu? - Robert Tear
Act One, Scene Two: A Nu-s, Pozvol'te Ruku-s - Robert Tear
Act One, Scene Two: Interlude - London Philharmonic Orchestra
Act One, Scene Three: Spat' Pora. Dyen Proshol - Galina Vishnevskaya
Act One, Scene Three: Zherebyonok K Kobylke Toropitsa - Galina Vishnevskaya
Act One, Scene Three: Kto Eto, Kto, Kto Stuchit? - Nicolai Gedda
Act One, Scene Three: Ya Poydu... Proshchay - Nicolai Gedda
Act Two, Scene Four: Shto Znachit Starost' - Dimiter Petkov
Act Two, Scene Four: Pod Oknami U Chzuhikh - Dimiter Petkov
Act Two, Scene Four: Proshchay, Katya, Proshchay! - John McCarthy
Act Two, Scene Four: Ustal... Prikazhete Mnye Postegat'? - Galina Vishnevskaya
Act Two, Scene Four: V Kladovuyu Sergeya Zaperli - Galina Vishnevskaya
Act Two, Scene Four: Vidno, Skoro Uzh Zarya - John McCarthy
Act Two, Scene Four: Batya, Ispovyedatsa - Dimiter Petkov
Act Two, Scene Four: Akh, Boris Timofeyevich - Galina Vishnevskaya
Act Two, Scene Four: Interlude - London Philharmonic Orchestra

Tracks:

Act Two, Scene Five: Sergey, Seryozha! - Nicolai Gedda
Act Two, Scene Five: Katya, Prikhodit Konyets Lyubvi Nashey - Nicolai Gedda
Act Two, Scene Five: Nye Pechal'sa, Sergey - Nicolai Gedda
Act Two, Scene Five: Opyat Usnul - Galina Vishnevskaya
Act Two, Scene Five: Nu? Chevo Tebye? - Nicolai Gedda
Act Two, Scene Five: Slushay, Sergey, Sergey! - Nicolai Gedda
Act Two, Scene Five: Katerina!... Kto Tam? - WErner Krenn
Act Two, Scene Five: Tepyer Shabash - Nicolai Gedda
Act Three, Scene Six: Shto Ty Tut Shoish? - Nicolai Gedda
Act Three, Scene Six: U Menya Byla Kuma - Robert Tear
Act Three, Scene Six: Interlude - London Philharmonic Orchestra
Act Three, Scene Six: Sozdan Politseysky Byl Vo Vremya Ono - Leslie Fyson
Act Three, Scene Six: U Izmaylovoy Seychas Pir Goroy - Martyn Hill
Act Three, Scene Six: Vashe Blagorodie!... Chevo Tebye? - Leslie Fyson
Act Three, Scene Six: Intelrude - London Philharmonic Orchestra
Act Three: Scene Eight: Slava Suprugam - John McCarthy
Act Three: Scene Eight: Shto Takoe?... Zamok Sorvan - John McCarthy
Act Three: Scene Eight: Shto Takoe? Pozdno! - Leslie Fyson
Act Four: Scene Nine: Vyorsty Odna Za Drugoy - John McCarthy
Act Four: Scene Nine: Stepanych! Propusti Menya - Nicolai Gedda
Act Four: Scene Nine: Nye Lekhko Posle Pochota Da Poklonov - Galina Vishnevskaya
Act Four: Scene Nine: Moyo Pochtyenye! - Birgit Finnila
Act Four: Scene Nine: Ladno Dostanu! - Nicolai Gedda
Act Four: Scene Nine: Na Chulki! Idyom, Tepyer Ty Moya! - John McCarthy
Act Four: Scene Nine: V Lesu, V Samoy Chashche Yest' Ozero - Galina Vishnevskaya
Act Four: Scene Nine: Znaesh Li, Sonyetka - Birgit Finnila
Act Four: Scene Nine: Vstavay! Po Mestam! Zhivo - Leslie Fyson
Act Four: Scene Nine: Akh!... Bozhe Moy! Shto Takoe? - Leslie Fyson

Amazon.com

Written between 1930 and 1932, Lady Macbeth of Mtsensk was one of the most brilliant achievements of Shostakovich's long career. It was also the work that got him into trouble with Stalin. When the Soviet leader attended a performance in Moscow in 1936, almost two years after the opera's acclaimed Leningrad premiere, he personally ordered the publication of a scathing article in Pravda ("Muddle Instead of Music"), unleashing a ruthless campaign to reduce the arts in Soviet Russia to a state of dogmatic subservience to the regime. Lady Macbeth would disappear from the repertory for 30 years, and Shostakovich, despite his great gifts for opera, would focus his attention on symphonic and chamber music instead.

But what an opera this one was! Notwithstanding its title, it has nothing to do with Shakespeare's Macbeth and quite a lot to do with Dostoevsky (even though it's based on a story by another 19th-century writer, Nikolai Leskov). The plot has all the elements of a Russian epic--boredom, need, irresistible sexual longing, infidelity, murder, suicide--and the music is vintage Shostakovich, swinging between farce and tragedy with astonishing sureness, magnificently intense, deeply absorbing, yet approachable. The opera's climactic scenes are driven by music of incredible power, and there are pages of haunting lyric beauty as well, such as Katarina's aria in scene 3, or the extraordinary music that begins the love scene between Katarina and Sergey--mysterious, edgy, sensuous, and vast. It's all brought home on this recording, a labor of love from two of the composer's closest friends and greatest champions. Vishnevskaya, the great exponent of the role of Katarina, sings with untrammeled splendor, while Rostropovich, the supreme interpreter of the music of Shostakovich in our time, conducts a characterful, white-hot performance by the London Philharmonic. --Ted Libbey

Customer Reviews:

Stunning.......2006-02-25

Ensemble work is superb, score is brilliant, vocal performances truly "Russian" in style and quality. I'm no expert, but I truly loved this recording.

Still the top recording of this opera beyond all doubt!!!.......2005-06-04

Since other people have already described the opera's content quite reasonably well cumulatively, I'll simply re-affirm their recommendations especially relative to the other two recordings I've heard of this piece: Gjórgijev (on www.gmn.com with his Kiróv-Mariínskiy Opera Company - NB, this recording of a live performance at London's Barbican Hall is not for commercial sale and needs a good internet connection to be properly appreciated) and Chung (on Deutsche Grammophon Gesellschaft).

Those who don't like Vishñévskaja's voice, in my opinion, will still find her much more classy and appealing - as well as orthodox in treating her part - compared to Ewing on the Chung recording. Although both take a few liberties with the occasional note and/or rhythm, there's no question that Vishñévskaja is far more convincing, respectful of the composer's intentions and tasteful (that she studied the part with Shostakóvich himself {they were very close friends!} is so obvious as to defy any attempt at refutation). The same applies to Rostropóvich, even though brass-haters might gravitate to Chung on that basis (here the brass really let rip, though nobody is slighted all the same!): the seal of authenticity is impossible to shake from this recording even though DGG has a somewhat clearer sound allowing more detail to come across at times (and Chung has to also get credit no doubt too for that extra-transparent sound there). No question that I find Petkov much more sinister compared to Haugland with Chung as the evil, incestuously lecherous father-in-law Borís (quite aside from Chung encouraging all his singers to think more along the lines of "Sprechstimme" to the point of abuse!) - and here Haugland is more in his element as the Police Sergeant. All in all, although some details occasionally get muddied up (e.g., Borís's first entry in ghost-form obliterating the woodwinds on this recording), this reading is far more compelling in every way (and it shows just how every bit of Shostakóvich's vocal writing is eminently singable - contrasted to the complaints of his first singers before Stáljin banned the opera outright, as Vishñévskaja relates in her autobiography).

Don't hesitate, anybody who reads this and wants to explore this opera (especially for the first time!!!): THIS is the recording to get!!!! Afterwards you can also check out the other two or more that may be around; but even a seasoned Lady-Macbeth "lover" like me gravitates back to this recording each and every time without fail!

Very Moving.......2004-02-16

Unlike most of the reviewers, it took me a while to enjoy this opera, and not because of the music (which is truly wonderful, and very melodic, so don't be afraid of it if you are uncertain of modern opera, which is often never melodic at all). I found the sound of the Russian very annoying. That will sound strange, but it wasn't the language itself so much as how it was sung. I had heard Russian opera before, and though it is rather "twangy" compared to Italian, German, or French, I was never disturbed by it. There was just something in the singers' voices that took me a while to appreciate. The lead soprano is still not my favorite by any means, even in other recordings of her I have. Still, what came through loud and clear was the drama and the intensity of the work. It is so terrible that such a fine composer was so neglected all because of a very oppressive regime. The characterizations created in the music are frightfully real. I am sure that this opera created such a stir with ruling leaders because it was more than true to form when commenting on their own failings.

For me, and this is only my opinion, the music is wonderful and very easily appreciated, and the men sound far Freer and natural while singing. Personally, I have never found Russian sopranos very exciting. To my ear, most of them, especially the lighter ones, sound strained, pushed, "hooty", and whinny. This dramatic soprano (the conductor's real life wife) is less like all that, but still has all those qualities. I find the Slavic voice sounds better when in lower ranges. Russian Mezzos are thrilling, and most of them have fabulous high C's and even D's, and in this case, I think the opera would be better served having a high Mezzo sing the lead female role. That, however, is just me, as I don't like the Russian Soprano sound.

All in all, though, this is an extremely wonderful recording of a very vital work. I would recommend it to anyone. And for those who are not sure of Russian opera, or even modern opera (and this falls into both catagories), don't worry, you won't be scared off by it in any way.

A beautiful recording!!.......2003-12-15

You don't have to be an advanced opera fan, (or fanatic!) to enjoy this one, as I am an opera newbie. The music is wonderful. Don't reject this opera because it isn't in Italian or German! It is not difficult to follow the libretto in the booklet with the Russian written in transliteration rather than the Cyrillic alphabet, along with the English translation. So get ready for a wild ride! Shostakovich suffered greatly at the hands of the Soviet leadership for writing this opera, but you can enjoy it for a lifetime without fear of persecution, with your only risk being that you will become addicted to this one!

Stalin Didn't Like It Much!.......2003-04-12

Fewer works of opera have had such a troubled history and ruinous effect on a composer than Lady Macbeth of Mtsensk. Anyone familiar with the life of the composer knows the story. Shostakovitch was a brilliant young Leningrad based composer who was deeply involved with the radical intellectual movements of his time, particularly the theatrical work of Mayakovsky. He had scored an early brilliant success with his student project, the Symphony No. 1 and his raucous operatic treatment of Gogol's The Nose. The prospects looked bright and when Lady Macbeth premiered it was wildly successful....until Stalin say it! The next day an article appeared in Pravda entitled :Chaos Instead of Music" and Shostakovitch was officially in disgrace...a state that cause the composer to withdraw his dark and compelling 4th symphony and which didn't really ease until the war years and the success of his Lenigrad Symphony. (And of course was repeated again after the war.) The real shame of this is that Lady Macbeth is arguably one of the greatest modern works of the operatic stage, along with Wozzeck, Peter Grimes, and maybe a few other works by Britten and Janacek.

The plot is primarily what angered Stalin...Lady Macbeth is a rather dark and erotic melodrama, which probably offended the former seminarian's latent puritanical sensibilities. Katerina, the opera's main character, is caught in a dull and lifeless marriage to a petty merchant. When she falls in love with a young worker, she first kills her father in law and then her husband. When discovered by the police, both she and her lover are sent to Siberia, where he abandons Katerina for another woman. Driven mad with jealousy and despair, Katerina pushes the other woman into a river, jumps in after her and both are drowned. The bare bones of the plot do not do justice to the power of the work. No character in the opera is virtuous...the murdered father-in-law secretly lusts after Katerina, the husband is a whimpering whiner, the lover is shallow and a real brute, and Katerina herself is vicious in the extreme. However, Shostakovitch garners real sympathy for Katerina in the marvelous musical depiction of the utter despair and boredom of her life...the almost helplessness of her seduction, and the barbarity of both her father-in-law and her husband. The work can almost be read as a proto-feminist tragedy, except that Shostakovitch still clearly abhors all of this characters' behavior.

It is also not a long stretch to see in the trauma of Katerina a portrait of Stalinist society. Repressed, held back by convention and ultimately crushing boredom (a trait familiar from much Russian literature) Katerina is almost a symbol for the sickness that artists saw eating away Russian society at it's core.

The work moves dizzyingly from tragedy to satire to pathos. Scenes involving the peasants are broadly ribald...almost shockingly so. The scenes of the police station are really a thinly veiled satire on the state of Soviet justice and the petty nature of officialdom. Katerina's mad scene, when her dead father-in-law haunts her has the drama of Mussorgsky. And in the final scene, as the prisoners trudge to Siberia, you know that everyone in the audience must have felt the resonance with the political events of the time. This scene has a depth that goes beyond the story on the stage and is clearly projected in the music. It is as powerful as the end of Janacek's House of the Dead or the Forest Scene in Boris. All of the composer's talent is employed in this work...this is Shostakovitch at his highest and most impressive. It's a work that burns itself into your brain, much like the work of Dostoevsky or Bulgakov.

This performance can only be considered a classic. Recorded by Rostropovitch after the revival of the work in the 70s in it's original form (as opposed to the reworking the opera recieved in the 50s at the hands of the composer....a reworking that cut much of the political bite of the original) The opera stars Rostrapovitch's wife Galina Vishnevskaya as the heroine. Though I am not an unbridled fan of the singer...her slavic "hoot" sometimes gets on my nerves...she is marvelous in this role and a really talented vocal actress. She is by turns, pathetic, bathetic, sarcastic, cruel and finally tragic. Also impressive in the cast is Nicolai Gedda, who looses just a bit of his customary honeyed tone in his turn as the shallow Sergey. Rostropovitch is a conductor I generally don't care for. He is a marvelous cellist, but I've heard too many National Symphony Orchestra concerts where he had no control over balances and let the brass and percussion drowned out everything else. But in Shostakovitch and Prokofiev...(and Britten actually) he is superlative on the whole. This is a great example of that. Rostrapovitch has lived everything in this music and it shows.

This is a must-have CD for any opera fan or any fan of Shostakovitch. And if you count yourself as neither, it is still a powerful artistic statement on the effects of repression on the human soul. Certainly, it stands with the very finest in the Russian operatic tradition.

Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan
Average customer rating:

Verdi: Macbeth

The Goddess

An Observation of Gino Penno's Macduff!

MARIA ONCE AGAIN

Bone-chilling and Evil

Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan
Giuseppe Verdi , Victor De Sabata , Maria Callas , Enzo Mascherini , Orchestra e coro del Teatro alla Scala , Italo Tajo , Gino Penno , Andrea Maffei , Dario Caselli , and Attilio Barbesi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bellini: I Puritani

Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B00000630X
Release Date: 1998-03-17

Tracks:

Macbeth: Preludio
Macbeth: Act One: Scene One - Che faceste? Dite su!
Macbeth: Act One: Scene One - Giorno non vidi mai (Macbeth - Banco)
Macbeth: Act One: Scene One - Pro Macbetto! Il tuo signore
Macbeth: Act One: Scene One - Due vaticini compiuti or sono (Macbeth - Banco)
Macbeth: Act One: Scene One - S'allontanarono!
Macbeth: Act One: Scene Two - Nel di della vittoria io le incontrai
Macbeth: Act One: Scene Two - Vien! t'affretta! (Lady Macbeth)
Macbeth: Act One: Scene Two - Al cader della sera il re qui giunge (Lady Macbeth)
Macbeth: Act One: Scene Two - Or tutti sorgete, ministri infernali (Lady Macbeth)
Macbeth: Act One: Scene Two - Oh, donna mia! (Macbeth - Lady Macbeth)
Macbeth: Act One: Scene Two - Sappia la sposa mia (Macbeth)
Macbeth: Act One: Scene Two - Regna il sonno su tutti
Macbeth: Act One: Scene Two - Fatal mia donna! un murmure
Macbeth: Act One: Scene Two - Allor questa voce m'intesi nel petto
Macbeth: Act One: Scene Two - Il pugnal la riportate (Lady Macbeth - Macbeth)
Macbeth: Act One: Scene Two - Di destarlo per tempo il re m'impose
Macbeth: Act One: Scene Two - Schiudi, inferno (Macduff - Banco - Lady Macbeth - Macbeth)
Macbeth: Act Two: Scene One - Perche mi sfuggi (Lady Macbeth - Macbeth)
Macbeth: Act Two: Scene One - La luce langue (Lady Macbeth)
Macbeth: Act Two: Scene Two - Chi v'impose unirvi a noi?
Macbeth: Act Two: Scene Two - Studia il passo, o mio figlio!
Macbeth: Act Two: Scene Two - Come dal ciel precipita (Banco)
Macbeth: Act Two: Scene Three - Salve, o re! (Macbeth - Lady Macbeth)
Macbeth: Act Two: Scene Three - Si colmi il calice (Lady Macbeth - Macduff)
Macbeth: Act Two: Scene Three - Tu di sangue hai brutto il volto (Macbeth)
Macbeth: Act Two: Scene Three - Che ti scosta, o re mio sposo (Lady Macbeth - Macbeth)
Macbeth: Act Two: Scene Three - Si colmi il calice
Macbeth: Act Two: Scene Three - Sangue a me quell'ombra chiede (Lady Macbeth - Macduff - Macbeth)

Tracks:

Macbeth: Act Three - Tre volte miagola la gatta in fregola
Macbeth: Act Three - Ballo
Macbeth: Act Three - Finche appelli (Macbeth)
Macbeth: Act Three - Fuggi, regal fantasima (Macbeth)
Macbeth: Act Three - Ondine e silfidi dall'ali candide
Macbeth: Act Three - Ove son io? (Macbeth - Lady Macbeth)
Macbeth: Act Four: Scene One - Patria oppressa!
Macbeth: Act Four: Scene One - O figli miei!
Macbeth: Act Four: Scene One - Ah, la paterna mano (Macduff)
Macbeth: Act Four: Scene One - Dove siam? che bosco e quello? (Macduff)
Macbeth: Act Four: Scene Two - Vegliammo invan due notti
Macbeth: Act Four: Scene Two - Una macchia e qui tuttora (Lady Macbeth)
Macbeth: Act Four: Scene Three - Perfidi! All'Anglo contro me v'unite!
Macbeth: Act Four: Scene Three - Pieta, rispetto, amore (Macbeth)
Macbeth: Act Four: Scene Three - Ella e morta!
Macbeth: Act Four: Scene Four - All'armi! all'armi! (Macduff - Macbeth)
Macbeth: Act Four: Scene Four - Vittoria! (Macduff)

Customer Reviews:

Verdi: Macbeth.......2007-03-11

While not on the level on the level of the sound quality of a recent digital recording, it is good, and its historic value makes up for the sound quality. I am glad I bought it.

The Goddess.......2006-01-17

I have to say that Callas, for me, despite all her versatility, has a voice that reminds me of these kinds of roles- Lady Macbeth, Abigaila or Tosca. "Hard and shouting roles". This recording proves me right, because rarely her voice sounds so adequately casted. She is absolutely brilliant. Baritone Macbeth is very expressive vocally as well, and the tenor is of a very interesting dramatic voice color. The quality of sound can be disapointing for those who are looking for an opportunity to enjoy the grand energy of "Macbeth", but that is not the prime purpose of this recording. Value it as a fantastic opportunity to expirience atmosphere in which a real diva and real opera lovers spent a wonderful and memorable night.

An Observation of Gino Penno's Macduff!.......2005-09-16

A great historical Macduff, Penno is available on two recordings in this role; very rare for this role and even more rare that his career lasted less then 8 years. I never "got" the role of Macduff, even though many famous tenors have spoken of its importance, they never have seemed to imbue this character with the excruciating pain and bereavement he endures. That was before I heard Gino Penno.

Penno's sound had been a mystery to me because it seemed too vacuous and throaty. I did not like it then, but I found out that he had one of the largest voices, if not the THE largest voice on the stage at that time, not just among tenors but all voices. Gruadually, I understood the unique timbre and grew to respect his tendency to hold back his voice and protect his musicality, which is quite careful and delicate.

In this performance, he brings Macduff to a Shakespearean level. His "innigkeit" is a surpassing experience. His plea "O figli, miei" is a sympathetic outpouring of pure pity and affection. He says it the way a real man and father would do. It is touching, of course, as it should be.

Penno is easy to ignore, especially when the Callasian volcano is erupting about him, but listen intently with a libretto in one hand and a hankerchief in the other ... to dry your tears.

MARIA ONCE AGAIN.......2005-08-26

I fell under Maria Callas' "spell" very early in my teens which coincided with the conclusion of her performing career. It was a time long before she was the legend that she is today. In fact, at that time (late 50's early 60's) for a person to even state in public that they liked (or in my case adored) Maria Callas put that person at risk of receiving a lot of ridicule which could very easily turn to scorn. At the time, she was either loved or hated. I'm afraid that during my teen years I, alas, seemed to find more hate than love for her. Therefore, being the nerdy kid that I was I retreated into my own private world which consisted mainly of my record player and the recordings of Maria Callas. I eventually succeeded in procuring all of her commercial recordings-which were my prized possessions. However, I avoided (mainly due to their poor sound quality) the (what was known at that time as) "pirated" recordings.
Now that I, again, have reached a time in my life that I am, sort of, retreating into my own private world, I find myself turning, once again, to Maria Callas and to her singing for some solace. This time, my emphasis is (and will be) her "live" recordings--what used to be called the "pirated" recordings. After all, the technology restoring these live recordings has advanced unbelievably far. This recording of Maria's complete Lady Macbeth is a prime example. It is stupendous to hear Maria tackle the entire opera and to hear it in reasonably good sound. This performance catches her at her vocal peak! There is nothing Verdi throws at her that she can't do. In addition, even at the young age that she was during these La Scala performances, she was a very mature artist and was dramatically awesome-no wonder she became a legend. At this time she was vocally able to do anything. WOW, what a performance!!
Do yourself a favor by purchasing this recording to hear WHY Maria Callas is the operatic legend that she is today

Bone-chilling and Evil.......2005-01-26

When Arturo Toscanini was making plans to conduct a performance of Verdi's Macbeth at La Scala, he had one singer in mind--Maria Meneghini Callas. For more than a hundred years, this Verdi opera was much neglected by hundreds of great artist because of the composer's demands for the voice--choked, evil, not even singing. Of course, with the passing of time, a great artist with the genius of bel canto singing, the ability to color each and every phrase accurately, and with the most powerful stage and dramatic presence, came along the scene. Such a soprano was Maria Callas. Of course, because of her disputes with the damned Antonio Ghirangelli, the head of La Scala at the time, the Toscanini Macbeth never took place. How fortunate we truly are, however, to have Callas sing the role in La Scala a few years later with the great Victor de Sabata conducting. Here, we hear a totally different Callas, an antiheroine bent on achieving her goals without care for moral justice. No other soprano or mezzo for that matter could have captured the Lady Macbeth that Callas poured out on La Scala for the audiences that she mesmerized with her ability to portray such a despicable character. What a brilliant artist she truly was! Her letter scene is undoubtedly the benchmark for any other letter scene read by successive ladies after her career. Her La Luce Langue is simply amazing. Her sleepwalking scene caused only her to gain more legions of fans. Her colleagues weren't too bad either. Enzo Mascherini was evil yet cowardly as Macbeth. Truly a great performance that night. Do not miss out on this recording.

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Another supeb tenor.
The one.
A New Star voice
Quite Good
Promising debut by new lyric tenor

Italian Opera Arias

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Rolando Villazon - Gounod · Massenet Arias
Rolando Villazon: Opera Recital
Opera Recital [Includes Bonus DVD]
Verdi: La Traviata
Gitano

ASIN: B00018TIOA
Release Date: 2004-02-10

Tracks:

Lamento: E La Solita Storia
Recitativo E Romanza: Inosservato...Angelo Casto E Bel
Aria: Quanto E Bella
Aria: Una Furtiva Lagrima
Recitativo Ed Aria: Tombe Degli Avi Miei...Fra Poco
Aria: Il L'ho Perduta...Io La Vidi
Aria: Io L'ho Perduta...Io La Vidi
Aria: O Figli...Ah! La Paterna Mano
Scena Ed Aria: Ella Mi Fu Rapita...Parmi Veder
Canzone: La Donna E Mobile
Scena, Aria E Cabaletta: Lunge De Iei...De' Miei Bollenti...O Mio Rimorso
Aria: Che Gelida Manina
Aria: E Lucevan Le Stelle
Aria: Anche Tu Beppe Giungi...O Amore
Aria: Vergini, Muse...Quando Al Soave Anelito

Amazon.com

This is a glorious debut recital by a tenor, from whom, if he sings the right roles and keeps way from jet-setting and too much singing, might just be the lyrico-spinto tenor we've been waiting for. He has the class of Carlo Bergonzi and a ringing tone which is somewhere between Domingo's big, dark sound and Pavarotti's brightness; he sings with a true mezza voce (not a falsetto); he always obeys the composer's markings and delineates character. He seems incapable of vulgarity, refusing to gulp or sob when a musically expressive gesture will do. The opening aria here--from L'Arlesiana--is so beautifully, touchingly sung that it's a heartbreaker; he doesn't take the usually opted-for high note near the end, but never fear: in the Traviata and Bohème excerpts, Villazon offers big, whopping high Cs. This CD is a knockout; let's hope it's only the beginning of an illustrious career, both recorded and live. --Robert Levine

Customer Reviews:

Another supeb tenor........2007-05-13

We can be thankful that the old guard of the opera stage has been replaced by a trio of youthful artists. Villazon along with Calleja and Florez makes a great addition to the world of opera.

The one........2006-06-24

He's the real deal. Domingo-like burnished voice, great actor. Not just hype, he's genuinely worthy of all the praise.

A New Star voice.......2005-09-25

Rollando Villazon can't fail to impress a listener. He is an enourmous breath of fresh air for people waiting for a new generation of Opera superstars to emerge. Those somewhat dissapointed by the somewhat ncomfortable edge to Salvator Licitra's voice, may take refuge in the freshness of Villazon.
I don't really want to ruin the magic of his singing, with caddy comparisons, but it is sufficient to say that he excellent. Many compare his to Domingo, to that I would say that Villazon has an ease to his top that Domingo never had, but perhaps lacks the focus and thickness of Domingo's lower registers.
Overall what hits you most about Villazons performance, is the induviduality of his interpretations and voice. The top of his voice has a ring and tone that sets his apart from the pack.
To my ear, he sounds at his best in the Mid Period verdi, where the cut of voice come through in the long high-lying passage, (expecially the cut from Traviata,
Enjoy this incredible singer

Quite Good.......2005-05-26

A very promising debut album with some excellent burnished tenor sound. To the reviewer who went on and on about Mr. Villazon only being in his 20's -- I hate to burst your bubble, but he was born in 1972, which makes him 33! And, by the way, the age of the singer is not a "huge" advantage; let us remember that some of our greatest singers didn't come into their element until their 40's (e.g., Flagstad, Milanov...)

Promising debut by new lyric tenor.......2005-05-05

Rolando Villazon immediately made himself a name we should all watch out for, after his appearance on a NY City Opera telecast of Boheme, as Rodolfo. Since then he has become a regular artist in leading lyric roles at the Deutsche Oper Berlin, has sung two parts at the Met already, and obviously has much ahead for him. The voice itself has a number of virtues, evenness of tone across the different registers, and the ability to encompass long lines without taking unnecessary breaths and showing the control to taper many lines off softly. It has also taken on perhaps a prematurely dark quality, in contrast with what I remember of the La Boheme telecast.

This recital of Italian opera arias presents Villazon near the alpha of his career (one appearance as the Steersman on the Barenboim Flying Dutchman before, for Teldec) and the conductor at his omega - the just deceased Marcello Viotti, at the age of 52, who suddenly replaced Sinopoli in Berlin for the second of two performances of Verdi's Aida in 2001. Sinopoli had passed away at 54 the night of the first performance that weekend in Berlin.

On first impression, Federico's lament from Cilea's L'Arlesiana is taken too slowly, and yet from repeated listening to this disc, it is one of nearly half a dozen selections that contribute the most to making this an interesting recital. The lachrymose manner and delivery here, though, sets a little too much of an overall tone for the rest of the recital, including its several or so lighter numbers. Said to also be a Caruso favorite, the aria from Donizetti's Duca d'Alba is a real highlight as close to being Schubertian in feeling as some Verdi - as late into Verdi's work as Forza and Don Carlo. Villazon's singing here is as warmly ardent as you'll find anywhere on this disc, and his personal identification with the character of Don Carlo, several tracks later, is as complete as that of its best interpreters of the recent past, Placido Domingo especially.

The two Elisir d'amore selections are pleasant vocally, but too dark, especially the start to so many phrases of "Una furtiva." The remorse felt during the opening aria of the Tomb Scene from Lucia, after a slightly uncertain start, is entirely felt. Oronte's brief aria from Verdi's Lombardi is handled with an easy, pleasant swagger from both Villazon and Viotti, leading one to expect similar lightness in selections that soon follow, and which is not entirely forthcoming; the beginning of the recitative to "Parmi veder" from Rigoletto shows a palpable anxiety in this peculiar moment for the Duke in which he finds himself. Intonation falters momentarily at the end of this aria. "Ah! la paterna mano", after good recitative, gets pushed a little too forward, robbing the crest of several lines in it their full expressive potential. Contrast of expression between Alfredo's aria and cabaletta from Traviata is so minimal, almost to have been erased altogether; Viotti here, so deft and highly musical an accompanist he is for most of the rest of this disc, is similarly disengaged. Connecting music between aria and cabaletta and repeat of the latter both get awkwardly cut.

That leaves four verismo tracks for the remainder of this disc. Most distinctively sung is "E lucevan le stelle" from Tosca, but frequently quite close to sounding a copy of Domingo's interpretation. The honeyed placement for the top of the staff, once the voice takes on the melodic line, could hardly remind you of anyone else. "Che gelida manina" is also given a fine performance here, but begins to lose all consonants on a couple of words right before the ascent to the high C in the aria. After hearing Dino Borgioli and Cesare Valletti as Fritz, each more of a benchmark than Pavarotti, it is hard to identify the villager Fritz, from how disinteresed Villazon sounds. A slight cut is taken between two portions of recitative before Fritz's Act III aria. "Quando al soave anelito" from Mascagni's Nerone, obviously a rarity, is one for which I can only find a Domingo recital before. Here, the singing is fine, but the youthful sense of wonderment for Nero, in his vision of Venus, as wordly-wise a fellow he is, gets understated. Accompaniments to these four arias are mostly as fine as the others, but all come to abrupt endings, the endings of Boheme and Amico Fritz which lose all their shimmer here.

Much criticism here, but there is also much hope felt from listening to this disc, for a bright future for Mr. Villazon still. He is only seldom a conscientious and musical performer, but as opposed to what the liner notes might say, part of being musical in singing such selections or opera in general, is being specific for each character being portrayed here. Villazon should also take note that his singing is most interesting and also most easy to distinguish from his widely celebrated mentor, when he sings lightly. First impressions are strong - I first anticipated awarding this disc five stars - but unfortunately it just barely deserves four. Sound quality, if a bit heavily miked for climaxes and a bit recessed for the orchestra, especially at closings to arias, is warm and full.

Luciano Pavarotti - Nessun dorma (Arias & Duets)

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Luciano Pavarotti - Nessun dorma (Arias & Duets)
Luciano Pavarotti , Mirella Freni , and Katia Ricciarelli
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco...
The Best of Luciano Pavarotti: 20th Century Masters/The Millennium Collection
O Sole Mio: Favorite Neapolitan Songs
Luciano Pavarotti - Passione - Neapolitan Songs
Luciano Pavarotti sings Opera Classics

ASIN: B00004Z32N
Release Date: 2001-03-27

Tracks:

La Traviata: Libiamo ne' lieti calici (Brindisi)
Werther: Pourquoi me reveiller
L'Elisir d'Amore: Una parola ... Chiedi all'aura
La Gioconda: Cielo e mar
La Traviata: Parigi, o cara
L'africana: Mi batte il cor ... O paradiso
Turandot: Nessun dorma
Petite Messe solennelle: Domine Deus
Requiem: Ingemisco
La Traviata: Lungi da lei ... De' miei bollenti spiriti
Macbeth: Ah, la paterna mano
I lombardi: La mia letizia infondere
Otello: Gia nella notte densa

Average customer rating:

A minor Shakespearean and gigantic Verdian triumph
Fantastic recording of an early Verdi masterpiece
The Definative Macbeth and Lady Macbeth
Hands Down The Best: Not Even Callas Surpasses
The Perfect Macbeth: The Best Studio Recording

Verdi: Macbeth

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado
Donizetti - La Fille du Régiment / Sutherland, Pavarotti, Malas, Sinclair, ROH Covent Garden, Bonynge
Verdi - Nabucco / Cappuccilli, Domingo, Dimitrova, Nesterenko, Valentini-Terrani, Deutschen Oper Berlin, Sinopoli
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Verdi: Macbeth (complete opera live 1952) with Maria Callas, Enzo Mascherini, Victor de Sabata, Orchestra & Chorus of La Scala, Milan

ASIN: B000001GS3
Release Date: 1997-01-28

Tracks:

Macbeth: Preludio
Macbeth: Act I: Introduzione e Coro di streghe - 'Che faceste? dite su!'
Macbeth: Act I: Scena e Duetto - 'Giorno no vidi mai' - 'due vaticini compiuti or sono' (Macbeth, Banco, Coro di streghe, Messaggeri)
Macbeth: Act I: Coro di streghe - Stretta dell'introduzione - 'S'allontanarono!'
Macbeth: Act I: Scena e Cavatina - 'Nel di della vittoria' - 'Vieni! t'affretta! ... Or tutti sorgete' (Lady Macbeth, Servo)
Macbeth: Act I: Scena e Marcia - 'Oh, donna mia!' (Macbeth, Lady Macbeth)
Macbeth: Act I: Gran Scena e Duetto - 'Sappia la sposa mia' - 'Fatal mia donna!' (Macbeth, Lady Macbeth)
Macbeth: Act I: Scena e Sestetto - Finale I - 'Di destarlo per tempo il re m'impose' - 'Schiudi, inferno, la bocca' (Macduff, Banco, Macbeth, Lady Macbeth, Dama, Malcolm, Coro)
Macbeth: Act II: Scena ed Aria - 'Perche mi sfuggi'
Macbeth: Act II: Scena ed Aria - 'La luce langue' (Lady Macbeth, Macbeth)
Macbeth: Act II: Coro di sicari - 'Chi oso mandarvi a noi?'
Macbeth: Act II: Gran Scena - 'Studia il passo...Come dal ciel precipita' (Banco)
Macbeth: Act II, Finale II: 'Salve, o Re!'
Macbeth: Act II, Finale II: 'Si colmi il calice'
Macbeth: Act II, Finale II: 'Va', spirto d'abisso!' (Coro, Macbeth, Lady Macbeth, Dama, Macduff, Sicario)

Tracks:

Macbeth: Act III: Coro d'introduzione - Incantesimo - ' Tre volte miagola
Macbeth: Act III: Ballo - Allegro vivicissimo - Un poco ritenuto - Allegro - Andante - Allegro - Valzer. Allegro vivacissimo - Poco piu mosso -
Macbeth: Act III: Gran Scena delle apparizioni - 'Finche appelli'
Macbeth: Act III: Gran Scena delle apparizioni - 'Fuggi, regal fantasima' (Macbeth, Coro di streghe, 3 Appparizioni)
Macbeth: Act III: Coro di streghe e Ballabile - 'Ondine e Silfidi'
Macbeth: Act III: Scena e Duetto - Finale III - 'Ove son io?' - 'Ora di morte' (Macbeth, Araldo, Lady Macbeth)
Macbeth: Act IV: Coro di profughi scozzesi - 'Patria oppressa!'
Macbeth: Act IV: Scena ed Aria - 'O figli, o figli miei!...Ah, la paterna mano' (Macduff)
Macbeth: Act IV: Scena ed Aria - 'Dove siam? che bosco e quello?' (Malcolm, Macduff, Coro)
Macbeth: Act IV: Gran Scena del sonnambulismo - 'Vegliammo invan due notti'
Macbeth: Act IV: Gran Scena del sonambulismo - 'Una macchia e qui tuttora' (Medico, Dama, Lady Macbeth)
Macbeth: Act IV: Scene ed Aria - 'Perfidi! All'anglo contro me v'unite!'
Macbeth: Act IV: Scene ed Aria - 'Pieta, rispetto, amore' (Macbeth)
Macbeth: Act IV: Scena e battaglia - 'Ella e morta!' (Coro, Macbeth, Dama, Macduff)
Macbeth: Act IV: Morte di Macbeth - 'Mal per me che m'affadai' (Macbeth)
Macbeth: Act IV: Inno di vittoria - Finale - 'Vittoria!' (Coro, Malcolm, Macduff)

Customer Reviews:

A minor Shakespearean and gigantic Verdian triumph.......2007-07-12

Verdi's two greatest Shakespearean operas, Otello and Falstaff, are generally ranked atop Macbeth. However, few of Verdi's works are as rich and succulent in melodic line as this dark tale of the ill-fated Scottish king driven to destruction by his own tormented conscience. Additionally, this recording is the finest available today, with four of the optimum singers and one of the most inimitable Verdian conductors, assembled with the greatest of all Italian orchestras. Claudio Abbado leads the Coro and Orchestra del Teatro alla Scala with bombast; the Prelude is jarring and unsettling, beautiful in its own misty, eerie way. The brief overture immediately sets a cold, desolate scene upon which the morose drama takes place.

Piero Cappucilli gives one of his greatest performances, not only musically (though he is sublime) but also dramatically. He captures the character of the guilt-stricken Macbeth, accentuating his timidity and moral complexity, which was the root of his downfall and insanity. His greatest moment is during "Sappia la sposa mi ache, pronta appena" ... "Sulla metà del mondo," in which his every utterance is spellbinding. This is, despite its placement in one of his earliest operas, one of Verdi's most complex and captivating monologues, which drifts from evil hallucinations to an earth-shattering cry for Duncan's murder. Shirley Verrett is the epitome of the deceptive, self-righteous Lady Macbeth, the greatest villainess of all literature. She hisses through "Vieni! t'affreta! accendere!", her great Act I aria and one of the finest Verdi ever composed for the mezzo-soprano voice; she attacks "Or tutti sorgete" like a demonic "Sempre libera." Her rendition of "La luce langue" is foggy and dense; her performance of the drinking song "Si colmi il calice" is jovial and balmy. During the Act III scene "Una macchia è qui tuttora," the greatest and most infamous scene of Shakespeare's Lady Macbeth, Verrett is genuinely deranged as the horrid woman infected by her own greed, aggrandizement, and malice.

The other roles are fairly minor, which makes the star quality invested in them even more impressive. Nicolai Ghiaurov is a glum, brooding Banquo. His Act II aria "Come dal ciel precipita" is hauntingly pitiable and doomful. His Act I trio with Cappuccilli and the chorus of messengers ("Due vaticini compiuti or sono") is steeped richly in a marvelous Verdian charm. Plácido Domingo is sublime as Macduff, lord of Fife, who carries out the Weird Sisters' prophecy. His lone Act IV aria ("Ah, la paterna mano") is presented with excellent ingenuity and valor through its mournful atmosphere.

Verdi invested most of his efforts with this opera into the various choruses, which are supported ably by the La Scala orchestra. (The sawing basses and cellos during the witches' chorus "S'allontanarono!" is singularly chilling.) The finale of Act I ("Schiudi, inferno, la bocca ed inghiotti") is a deafening chorus of fury and vengeance which melts into a heart-wrenching ensemble of sorrow and supplication ("O gran Dio, che ne' cuori penètri"). "Sparve il sol...la notte stenda il vel," the satanic Act II chorus of the murders; "Tu, rospo venefico," the immortal cauldron scene with the witches concocting their brew; "Ondine e Silfidi dall'ali candied," through which the witches conjure aerial spirits and mythological creatures; and the jubilant Act IV finale "Macbeth, Macbeth, ov'è?" are all tiny masterpieces which precede many of Verdi's more famous (and infamous) ensembles and choruses.

Overall, this 1976 recording of Macbeth is a thorough luxury, and is even more enjoyable when coupled with Abbado's 1977 recording of Simon Boccanegra, which also included Piero Cappuccilli and Nicolai Ghiaurov.

Fantastic recording of an early Verdi masterpiece.......2006-02-07

I became familiar with Shirley Verret through this recording. The team of principals are excellent and Maestro Abbado is fantastic with the orchestra. This recording shows the unique and amazing artistry of Ms Verrett in one of her signature roles. She remains unsurpassed in this account. Brava!

The Definative Macbeth and Lady Macbeth.......2005-10-22

This is probably Deutsche Grammophone's greatest release. From a 70's LP, this remastered recording stars Piero Cappucilli and Shirley Verrett as Shakespeare's most wicked couple- Macbeth and Lady Macbeth. At a bargain price, this is a real treasure. It is on the top lists of the greatest opera recordings ever made. Shirley Verrett is still hailed as the ultimate Lady Macbeth. Upon performing the role in La Scala for the first time, she was showered in jewels and carried over the shoulders of ecstatic fans to her limousine. As a bonus, this recording