Innocente [CD-single] [Import]

Editorial Reviews
Product Description
Follow Up to the Successful Single 'silence', featuring Leigh Nash of Sixpence None the Richer.

Innocente,Delerium,EMI Int'l,Pop,Rock

Tracks:

Lost Witness (remix radio edit)
Deep Dish (Gladiator Remix UK edit)
DJ Tiesto (remix)
Lost Witness (remix)
Mr. Sam's (The Space Between Us remix edit)

Customer Reviews:

Innocente....another great Delerium single.......2005-07-09

I got this mini CD as a gift from a friend for my birthday, he knew I was a Delerium fan. With Delerium's latest offering 'Chimera' I was a tad disappointed with the push in which Delerium was heading. This 5 track CD is merely five remixes of some well known and some not so well known Delerium songs remixed by guest celebrities and sung by some of the most wonderful female vocalists. This will not disappoint any Delerium fan as these songs incorporate the dark ambience of early Delerium mixed with the trance techno of the modern today's Delerium. And of course my favourite DJ remixes the song 'Innocente' that sounds better than the original song.

The first song 'Lost Witness Remix' is a short edited remix but a great dance beat for any party DJ to include in his or her playlist. The weakest remix is the last song 'Mr Sam's: The Space Between Us Edit' goes for too long and loses its way. But other than that the songs are perfect to chill too or dance to. Delerium is still around and shows a tenacity to stick around.

i suppose it is the price of falling in love.......2004-08-17

I was suprised reading these reviews and not seeing too many glowing words. Then I looked at the tracklisting and realized why. Track 5 is merely Mr. Sam's The Space Between Us Remix EDIT. The full version's 10:23 in length, and breathes life into this song. It's on the other CD-Single. The placement of vocals are just right in Sam's full mix, with Leigh Nash's echoes of "darling.." lending a haunting effect. The drums and bassline are deserving of a good system as well. At about 5:20, the addition of the tribal drum's the clincher. Drives everybody wild.

One of my favorite songs.......2004-01-22

I have been a big fan of Delerium for several years now. I own a good number of the Canadian act's cds. I was first introduced to "Karma" and "Semantic Spaces" through a former roommate of mine. I immediately fell for the ethereal vocals and enchanting melodies. One of my personal favorite Delerium cds is "Poem". Granted that it was no "Karma", "Poem" certainly had its charms. My favorite single off the cd is "Innocente". Normally I am not a fan of Sixpence None the Richer's Leigh Nash. Her voice has never done anything for me. However I thought her squeaky voice matched perfectly with the music that Bill Leeb and Chris Peterson composed. What is a Delerium song without remixes? The remixes for "Innocente" were mostly excellent. My problem with the Deep Dish Gladiator remix was that it was too long. I like my remixes to be roughly around 6-8 minutes long. Plus there were too many beats and not enough vocals. The Lost Witness remix (the radio edit) didn't do much for me. It was only so-so. My favorite remixes had to be DJ Tiesto's remix. DJ Tiesto has always done excellent remixes. I loved his remix of "Silence" as well (despite the fact that I am rather tired of the song). DJ Tiesto can do no wrong in my book. Although I wasn't fond of the radi edit of Lost Witness remix, I do the full-length remix a lot. I love the piano intro. The Mr. Sam remix is enjoyable. I wouldn't say that it is my favorite but I enjoy it enough to say that it isn't my least favorite remix.

Enchanting Ambience.......2003-04-06

Delerium's Innocente are remixes by Lost Witness (Simon Paul & Simon Kemper), Deep Dish (Dubfire & Sharam), DJ Tiëto and MR SAM. All instrumentals are accompanied by the vocals of Leigh Nash from 'Sixpence None the Richer.' Nash's voice is rich and vibrant that echo with timbre tones in a hypnotizing, ambient landscape. The genius in the sound mixing with the use of piano, electronic keyboards, guitar and percussion. The original version appears on Delerium's POEM album.

If you are a first time listener of ambient and trance music I'm sure you will be a Delerium fan with their intelligent colaboration of mixing guest vocals like Sarah McLachlan on their 'Semantic Spaces' album. I recommend this as a leap into the genre without being to overpowered. As it's spiritual Gregorian chants will mesmerize you. The same transition over to this album with new mixes and format along with the vocal talents of Nash. If you like listening to Enigma and Mythos then you'll like Delerium.

Entrancing.......2002-08-03

This is one of the most amazing Delerium singles ever. The first few seconds were enough to give me an impression, as it begins with a medieval Frensh style, with a mild beat and calm instrumental strings. Then of course, Leigh Nash comes in with her magical voice, giving the song a fairy-tale glow and adding a fine tune to the background piano and spanish guitar. The lyrics are overwhelming as with all delerium songs, not to mention the allocation of the chorus and the ending. The Remixes were amazing in their own way, and added a fine beat without ruining the essence of the songs. Buy this without a second thought.

Average customer rating:

SILLS GOES FOR BROKE -------- AND SHE TRIUMPHS
Enough!
The best set available - wonderful
A great Anna
I've had it!

Donizetti: Anna Bolena
G. Donizetti , and Beverly Sills
Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Donizetti: Roberto Devereux (Elizabeth and Essex)
Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)
Rossini: L'Assedio di Corinto
Bellini: I Capuleti e i Montecchi
Massenet: Manon

ASIN: B00005AWIL
Release Date: 2001-04-10

Tracks:

Anna Bolena: Sinfonia
Anna Bolena: Act One, Scene One - Introduzione
Anna Bolena: Act One, Scene One - Ella di me, sollecita
Anna Bolena: Act One, Scene One - Si taciturna e mesta
Anna Bolena: Act One, Scene One - Deh! Non voler costringere
Anna Bolena: Act One, Scene One - Copme, innocente giovane
Anna Bolena: Act One, Scene One - Legger potessi in me! Non v'ha sguardo
Anna Bolena: Act One, Scene One - O! qual parlar fu il suo!
Anna Bolena: Act One, Scene One - Si: l'avrete
Anna Bolena: Act One, Scene One - la mia fama e a pie dell'ara
Anna Bolena: Act One, Scene One - Ella pure amor m offria
Anna Bolena: Act One, Scene One - Ah! qual sia cercar non oso
Anna Bolena: Act One, Scene Two - Chi veggo?...in Inghilterra
Anna Bolena: Act One, Scene Two - Da quel di che, lei perduta
Anna Bolena: Act One, Scene Two - Ah! cosi nei di ridenti
Anna Bolena: Act One, Scene Two - Desta si tosto
Anna Bolena: Act One, Scene Two - Io sentii sulla mio mano
Anna Bolena: Act One, Scene Two - or che reso ai patri i lidi
Anna Bolena: Act One, Scene Two - Questo di per noi spuntato

Tracks:

Anna Bolena: Act One, Scene Three - E'sgombro il loco...
Anna Bolena: Act One, Scene Three - Ah! parea che per incanto
Anna Bolena: Act One, Scene Three - Basta...basta...tropp'oltre vai...
Anna Bolena: Act One, Scene Three - Anna! - Riccardo!
Anna Bolena: Act One, Scene Three - S'ei t'aborre, io t'amo ancora
Anna Bolena: Act One, Scene Three - Ah!...per pieta del mio spavento
Anna Bolena: Act One, Scene Three - Alcun potria ascoltarti
Anna Bolena: Act One, Scene Three - Tace ognuno
Anna Bolena: Act One, Scene Three - Il quegli sgardi impresso
Anna Bolena: Act One, Scene Three - In separato carcere
Anna Bolena: Act Two, Scene One - O! Dove mai ne andarono
Anna Bolena: Act Two, Scene One - O mie fedeli
Anna Bolena: Act Two, Scene One - Dio, che mi vedi in core
Anna Bolena: Act Two, Scene One - Sul suo capo aggravi un Dio
Anna Bolena: Act Two, Scene One - Dal mio cor punita io sono
Anna Bolena: Act Two, Scene One - Va, infelice, e teco reca

Tracks:

Anna Bolena: Act Two, Scene Two - Ebben? dinanzi ai giudici
Anna Bolena: Act Two, Scene Two - Scostatevi...il Re giunge...
Anna Bolena: Act Two, Scene Two - Ambo morrete
Anna Bolena: Act Two, Scene Two - Al Consiglio sien tratti
Anna Bolena: Act Two, Scene Two - Sposa a Percy
Anna Bolena: Act Two, Scene Two - Per questa fiamma indomita
Anna Bolena: Act Two, Scene Two - Stolta! non sai...
Anna Bolena: Act Two, Scene Two - Ah! pensate che rivolti
Anna Bolena: Act Two, Scene Three - Tu pur dannato a morte
Anna Bolena: Act Two, Scene Three - Vive tu, te ne scongiuro
Anna Bolena: Act Two, Scene Three - Nel veder la tua costanza
Anna Bolena: Act Two, Scene Three - Chi puo vederla
Anna Bolena: Act Two, Scene Three - Piangete voi?
Anna Bolena: Act Two, Scene Three - Al dolce guidami castel natio
Anna Bolena: Act Two, Scene Three - Qual mesto suon?...
Anna Bolena: Act Two, Scene Three - Cielo, a'miei lunghi spasimi
Anna Bolena: Act Two, Scene Three - Coppia iniqua

Customer Reviews:

SILLS GOES FOR BROKE -------- AND SHE TRIUMPHS.......2006-04-17

I, being a great admirer of Callas, Caballe', Sutherland, and Sills, cannot understand why people so vehemently bash one of them in favor of the other. This does nothing to further the interest of music, and it reduces great operatic singing to the level of ice hockey. "Anna Bolena" is an opera that requires a very special type of soprano. It is, essentially, a florid bel canto opera for a considerably heavier voice than that associated with such bel canto heroines such as those encountered in "Puritani", "Sonnambula", and "Lucia". A great "Anna Bolena" should also be able to command Norma and Rossini's "Semiramide". Beverly Sills had a basically small voice, and she herself has admitted repeatedly that her undertaking Donizetti's Three Queens (Anna Bolena, Maria Stuarda, and Elizabeth in "Roberto Devereux) probably shortened her career by a decade. She was, of course, right. She certainly makes Anna Bolena a convincing vocal creation, and she sings with great conviction and involvement. But even so, there are moments when you know that she's pushing her resources to the virtual end of their endurance. She manufactures low chest tones that are completely out of allignment with the rest of her voice, and some of her top notes are nothing more than pitched screams. Of course, her passion and sincerity compensates for a lot of these deficiencies, and she emerges with a great success. I respect Sills, and have always felt that she was a little undone by her publicity machine, as well as the constant shadows of Callas, Sutherland, and Caballe. Truth to tell, all three had voices far more suited to these heavier bel canto roles. I'm not going to enter any fray and state any opinions here. Beverly Sills put forth a tremendous amount of skill and effort into roles like Anna Bolena, and she paid a vocal price, as one can hear on this recording. Still, I wouldn't be without this performance. Shirley Verrett is an outstanding Jane Seymour (she certainly could have sung Anna Bolena!), though I'm not sure that she and Sills blend all that well together. Whatever the case, let's give all these great sopranos a break and stop bashing them. My message to the bashers is: Callas, Sills, Caballe' & Sutherland have BEEN there and made it. What have YOU accomplished?

Enough!.......2006-01-25

Will this awfully mellow coloratura chirper ever stop shrieking? Sills couldn't fit the role of Anna less! Maria Callas, La Divina, has always been, and will always remain the role's owner.
Incidentally, how can some people blatantly dare show their absolute ignorance? How can somebody call -and get away with it- Callas' soloists Nicola Rossi-Lemeni, Giulietta Simionato, and Gianni Raimondi "second rate"??? I guess you've neither listened to any of them nor heard of their superb and much acclaimed qualities as musicians!!!

The best set available - wonderful.......2005-03-27

This is one of my favourite operas. I have heard the Callas, Sunderland (CD and DVD performances) and Gruberova (not to mention some live recordings).

Callas was breathtaking in her live performance from the 50's (especially in Act 3) BUT the sound quality is very poor indeed and the other soloists are second rate. The performance was also heavily cut. I only wish she had recorded the whole opera in the studio, instead of one or two arias.

Sunderland was well past her prime by the time she recorded her performance on CD. Her diction, never a strong point for her, is particularly 'woolly' and she has problems sustaining the higher register without strain. It is a pity she didn't record it much earlier in her career. Boynage conducts in a pedestrian manner too (compare the overture from Boynage and Rudel, Rudel makes the overture exciting and vibrant. Boynage conducts a somewhat flat and one dimensional rendition).

Gruberova's recording on CD is from a live performance and is truly aweful in places. I actually think it is one of the worst performances of anything I have ever heard 'recorded'. Don't touch it with a barge pole.

Then there is Sills performance. OK, I wish the voice was a little heavier at times but her singing is, as usual, beautiful. You feel that Anna Bolena is a role she loved, she conveys dramatic sincerity throughout. Rudel conducts his orchestral forces with such energy. Indeed, he is a major selling point of this set for me. He injects the performance with flair and gusto. Verrett, Burrows and Plishka don't put a foot wrong. A wonderful performance. I love this recording above all the others. Buy it. This set leaves the competition standing, (although, if you can tolerate the appalling sound, Callas' performance is fantastic too, however overall this set is far superior).

A great Anna.......2004-05-20

I'm sorry if I hurt anyone. I was just so mad and angry because Callas got bashed so many times by a Sills-Fanatic. I deeply apologise. Sills has a very beautiful voice, one of the best lyric coloratura voices out there. I hope Bev's fans will forgive me. This is one of the best Annas ever.

I've had it!.......2004-05-20

A Sills-Fanatic keeps bashing Callas with one star reviews in a row! I warned him that our patience is at its end! Now we'll retaliate! Sills is AWFUL as Anna Bolena, thin, sour, glassy and fake with no middle. A stupid coloratura chirper. Stop singing, Sills! My ears hurt, stop shrieking!

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Maria Callas 100 Best Classics
Maria Callas: The Platinum Collection
Maria Callas - Passion / A Film by Gerard Caillat
Callas: La Divina [Limited Edition]
Lyric & Coloratura Arias by Maria Callas (EMI's Great Recordings of the Century)

ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

Enthusiasm, characterization, but rough edges. . . .
Absolutely Wonderful!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Bel Canto Heroine
Queen of Pirates

Leyla Gencer, Vol. 1

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

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Leyla Gencer, Vol. 2
Donizetti: Roberto Devereux
Donizetti: Anna Bolena
Rarities: Donizetti, Rossini, Verdi
Pacini: Saffo

ASIN: B00004UDE5
Release Date: 2000-10-17

Tracks:

Medea: 'E Che? Io Sono Medea'
Norma: 'Sediziose Voce... Casta Diva'
Norma: 'Deh! Non Volerli Vittime'
Belisario: 'Egli E Spento'
Maria Stuarda: 'Figlia Impura Di Bolena'
Maria Stuarda: 'Di Un Cor Che More... Ah! Se Un Giorno'
Anna Bolena: 'Come Innocente Giovane'
Anna Bolena: 'Piangete Voi?... Al Dolce Guidami (Finale)'

Customer Reviews:

Enthusiasm, characterization, but rough edges. . . ........2007-04-25

The liner notes to this CD observe that Leyla Gencer has "a cadre of fans [who have] always rooted for her devotedly." The notes go on to say that "Her voice was not large, nor her production absolutely even; but she compensated for these liabilities with many other talents."

Uneven is a good term to describe her singing. . . . Let's take a look at a couple "cuts" from this CD. From Bellini's "Norma," she sings "Sediziose voce. . .Casta diva." Hers is not a lovely voice, although there is a richness to it. She has a heavier tone than other singing the repertoire. There are harsh edges to her voice. She does transmit a sense of the character.

She also sings ""Egli e spento" from Donizetti's "Belisario." Again, there are genuinely rough edges to her singing, although she does serviceable work. She just does not seem "ready for prime time." Coloratura technique is minimal across the various cuts--including this one. She does hit a nice high note at the end of this aria.

From "Maria Stuarda," by Donizetti, she sings "Figlia impure di Bolena." She shows the emotions of Maria Stuarda nicely. Still, vocal qualities are not very attractive. Her voice is also overwhelmed by the orchestra at times. Once more, little coloratura technique. Nice high note at the end, but her voice does not soar.

From Donizetti's "Anna Bolena," Gencer sings "Come innocente giovane." Her singing here is animated, but vocal qualities a bit uneven. Finally, from the same opera, she sings "Piangete voi?. . .Al dolce guidami." There is some coloratura technique here, although not outstanding.

So, what to make of Leyla Gencer? She sings enthusiastically; she provides a sense of the character. But somehow, from what I hear, her voice and technique are not up to the task of providing excellent renderings of the works selected for this CD.

Absolutely Wonderful!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!.......2005-04-06

I can't say enough about Leyla Gencer. A star who was exciting as Callas yet easier to listen to. Enjoy what recordings you can find. They are sparse! Though we can delight in some wonderful voices in 2005, this lady can't be beat. Don't know anyone like her today.

Bel Canto Heroine.......2004-07-09

Gencer's story is one of the most interesting of opera during the 20th century. How is it possible that, during the "bel canto revival" of the 50's and 60's, one of its very few specialists was never offered a recording contract? As Gencer states in an interview given recently, the reason may be that the American recording companies only wanted a "voce pura." Although technically speaking, Gencer ranks with the very best, she did have some peculiarities in her voice that you have to develop a taste for. In this regard, she reminds me much of Raina Kabaivanska, a celebrated Butterfly with a cult following in Italy who barely made a splash here in the U.S.

A little known fact is that, had Gencer been available when Marilyn Horne pulled out of the AOS production of Lucrezia Borgia, Montserrat Caballe would have been denied her overnight rise to international stardom (though it is safe to say it would have come sooner or later).

Here, on Disc 1, you have a sampling of some of Gencer's bel canto forays. Unfortunately, most were recorded in the late sixties, when she was moving past her prime. To have an idea of the youthful Gencer, listen to the two selections from Anna Bolena that appear at the end of the CD. However, even a little past her prime, Gencer enthralls you with her varied gifts. Like Callas, she had a fiery temperment, best captured on the finale to Medea, included here, as well as "Deh, non volerli" from Norma, which is truly heart-rending. However, unlike Callas, she knew that fire-and-brimstone should not be turned on all the time, which is why she also developed a wonderful pianissimo, like Caballe. Just listen to the long, long pianissimo she floats at the end of "Sediziosi voci."

Although never allowed to rise to the level of fame of Callas, Sutherland, Caballe, and Sills, Gencer was and is an integral part of bel canto singing, and the current interest in live recordings will ensure that her legacy is not forgotten.

Queen of Pirates.......2004-06-02

Leyla Gencer is a lesser known soprano who was often compared to maria callas and able to not only hold her own during an era of Tebaldi and Caballe but to excell. You will find with Gencer the full diva package. Here we have a voice which is distinctive and expressive. Gencer makes full use of all the shades and power of her instrument to bring her charcters to life. She is a coluratura dramatic in the truest sense. Though she didn't possess the well rounded and full beauty of tone that tebaldi did.. her sound is pleasant and can be quite beautiful. Especially in her piani and pianissimo we are treated to exceptionally beautiful notes. Her style of singing is quite similar to Caballe, though gencer did come first and single handedly caused the return of many Donizetti and other bel canto composers back to the forefront of opera. Before there was Sills great queens- we had Gencer. We are treated to a Norma, Macbeth, and Medea all in the same league as Callas with a less flawed sound. Although Gencer was never able to match callas' expressive nuances or acting genius.. fans will no doubt come to hold gencer in their hearts as well. This inexpensive disc provides a good intro to one of the greatest and least known divas of our times. Gencer remains the queen of the Pirates- no commercial recordings yet able to be one of the best represented singers on disc thanks to her pirated performances.

Nelly Miricioiu - Bel Canto Portrait ~ Scenes from Emma d'Antiochia, L'assedio di Corinto, Belisario, Parisina

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Miricioiu at her most amazing level
Who can compare?
Stunning

Nelly Miricioiu - Bel Canto Portrait ~ Scenes from Emma d'Antiochia, L'assedio di Corinto, Belisario, Parisina
Nelly Miricioiu , Ildebrando D'Arcangelo , and Alice Coote
Manufacturer: Opera Rara UK
ProductGroup: Music
Binding: Audio CD

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Bravura Diva
Nelly Miricioiu - Rossini Gala
Au Jardin de Mon Cur

ASIN: B00005AG5B
Release Date: 2001-08-14

Customer Reviews:

Miricioiu at her most amazing level.......2003-06-14

Nelly Miricioiu is a cult soprano with a devoted following, but not a household name in the average Met broadcast/U.S. opera house subscribing household. 'Tis a pity!

At 50 years plus, one now often aware of the wear on her voice, but this album catches her at her bel cantista best. And, at her best, she is one of the greatest singers of the past century. If anyone who has heard her needs confirmation of that, this CD confirms it. The rich, covered tones and the coloratura technique are astounding and moving.

Too bad that she is not better know, though that is probably a result of her choice of performing venues and her devotion to Opera Rara's bel canto revival projects. Then again, if she sang standard operas for the largest labels, she would be more popular but there would be no way we would hear treats like rare Mercadante, obscure Donizetti or Sir Michael Costa.

She is at her best here and so is the music. The Mercadante makes you want to hear and see his operas in the house, the seldom-heard Donizetti titles, also, and one must wonder what else Costa wrote and how we can get to hear it. Not only the singing but the rich orchestration in the Costa left me drooling for more.

So, thanks to Opera Rara and to the miraculous Miracioiu for these treats. If you don't yet own this CD, buy it!

Who can compare?.......2002-02-17

Who indeed. What La Nelly does here is pure magic. At the same time her devotion to music of lesser known sources shines through as well as her starquality. The openingsequence is stunning. It is and remains unbelievable that this singer is not the megastar she deserves to be. Just compare her depth, pure singing and 'Callas-like' vocal acting powers with some other singers that are promoted these days.

Stunning.......2001-08-15

International star Nelly Miricioiu, whose Callas-like voice has been featured on many Opera Rara sets in the past, outdoes herself in these four scenes, all taken from operas from the 1830's. Her interpretations are a tasteful and nearly perfect marriage of vocal agility and dramatic acumen.

The climax of the CD is undoubtedly the first item. Modern audiences are presented here with a unique opportunity to hear a sample from Mercadante's once-popular Emma d'Antiochia. This is an historically significant selection. So far, the only Mercadante operas revived in modern times have either been juvenalia dating from the 1820's, written in Rossinian style, or his mature `reform' operas, which radically departed from the styles of Bellini and Donizetti and heavily influenced Verdi. The operas lying between these two periods have gone completely ignored. Emma d'Antiochia was written in 1834 for none other than the great Pasta, and the angelic-voiced Eugenia Tadolini played the secondary soprano role of Adelia. The cast was rounded out by the famed tenor Domenico Donzelli and bass Orazio Cartagenova. With such illustrious artists at his disposal, one would anticipate that Mercadante's powers would have been put to good use. This scene far surpassed my wildest dreams. It reveals a Mercadante with a less individual style than he displays in his `reform' operas (i.e., beginning with Il Giuramento of 1837). Neverthless, we can already see that he possessed an unfailing sense of how to paint dramatic pictures with music-and sweep the listener off his or her feet in the process. Mercadante's music is more elegiac here, closer to Bellini or Donizetti than his later works-but he does not follow their norms slavishly and clearly was already questioning these dogmas. The opera does not end with the obligatory aria-finale, although the heroine does have a two-part solo, complete with a powerful, Verdian cabaletta with galloping string accompaniment -at the beginning of the scene. The slow movement of the aria is exquisite and incredibly moving. The orchestration for harp, horn, and cello elevates an already lovely melody to a higher emotional plane. The orchestra has a strikingly original figure before the cabaletta's second verse-a swirling and frantic string passage that keeps the energy of the piece fresh and seems, like a vortex, to suck the listener back into the cabaletta's repeat. Miricioiu milks the dramatic possibilities of this scene for all they're worth. The entrance of Adelia, Emma's rival, sung beautifully by soprano Mary Plazas, marks a point of departure from the musical norms of the day. An impassioned dialogue, starting with Adelia's hurling imprecations at Emma, and then softening when she sees her rival succumbing to the effects of self-inflicted poison, leads into a brief but tremendously effective and beautiful duet. Emma then staggers offstage to die, and a horrified Adelia and chorus (along with bass Ashley Holland as Corrado-Emma's husband) bring down the curtain in a frenzied and shattering coda. Everything in this scene, from the uncommonly subtle and ingenious orchestration to the beautiful melodies, cries out for a fully staged and well-cast revival of the complete opera, or at the very least a concert performance.

Next, a scene composed by Sir Michele Costa for a London performance of Rossini's L'Assedio di Corinto gives us a glimpse of a composer whose work has hitherto not been explored even by Opera Rara. Costa was reknowned as a conductor in early 19th-century England, but also was a composer of operas-he wrote a Don Carlos that predated Verdi's by some 25 years. This aria features a lovely introduction with a cello solo, a beautiful cavatina, and a frantic cabaletta with participation from the chorus. Miricioiu gives us an all-but-flawless performance of this extremely florid and difficult aria. Opera Rara's extraordinary knack for finding the gems buried deep in the recesses of Europe's dusty archives and polishing them to their former brightness is never more convincingly demonstrated than here.

Miricioiu rounds out the program with two more familiar (though still rarely performed) selections-Antonina's final aria from Donizetti's Belisario, and "Sogno talor di correre" from Parisina. The Belisario aria has not enjoyed a good press with critics, and I have to say that my experience of this aria-the recording with Gencer-did nothing to make me enthusiastic about hearing this scene again. But Miricioiu's masterful handling of this scene-frenetic with guilt and despair-made me completely reevaluate my thinking. I listened breathless to this scene, and couldn't believe I was hearing the same opera I thought I knew. Miricioiu is ably supported by bass Ildebrando d'Arcangelo as Emperor Guistiniano, Alice Coote as Irene, and Roland Wood as Belisario. A good deal of the credit for invigorating this piece has to go to conductor David Parry, who sets an energetic pace and shading of mood at every turn. And although all interpretations of Donizetti's Parisina will unavoidably be held up to Caballe's for comparison, Miricioiu gives Montserrat a run for her money with a lovely "Sogno talor di correre", tenderly spun from her vocal cords like fine silk thread, heavy with the wistfulness and sorrow of a forbidden love.

Tracks:

Lo Straniero: Suite - Bruno Nicolai
L'Innocente: Adagio - Dino Asciolla
L'Innocente: Adagio
L'Innocente: Adagio
L'Innocente: Adagio - Giuseppe Selmi
L'Innocente: Andante
L'Innocente: Adagio
L'Innocente: Che Faro Senza Euridice - Franco Mannino/Benedetta Pecchioli
L'Innocente: Marica Turca
L'Innocente: Giochi D' Acqua A Villa D'Estes
L'Innocente: Berceuse Op.57
L'Innocente: Valzer Op. 69 No.1/Valzer Op.70 No.1/Valzer Op.64 No.1

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Mantler: Cerco un Paese Innocente

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Ulysses' Gaze

ASIN: B0000031Z7
Release Date: 1996-06-18

Tracks:

Part I: Introduzione
Part I: Girovago
Part I: Intermezzo 1
Part I: Eterno/Stasera
Part I: Intermezzo 2
Part 2: Perche?
Part 2: Sempre Notte
Part 2: Inizio (1): Solitudine/Lontano
Part 2: Inizio (2): L'Illuminata Rugiada/Proverbi (Uno)
Part 2: Intermezzo 3
Part 2: Destino/Rilucere Inveduto/Un' Altra Notte
Part 3: Se Una Tua Mano
Part 3: Intermezzo 4
Part 3: Vanita
Part 3: Quando Un Giorno
Part 4: E Senza Fiato
Part 4: Intermezzo 5
Part 4: Non Griadte Piu
Part 4: Tutto Ho Perduto

The Hyperion Schubert Edition 33 - The Young Schubert / McLaughlin, Murray, Wyn-Rogers, Langridge, D. Norman, A. Thompson, Koningsberger, Varcoe; Graham Johnson

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The Hyperion Schubert Edition 33 - The Young Schubert / McLaughlin, Murray, Wyn-Rogers, Langridge, D. Norman, A. Thompson, Koningsberger, Varcoe; Graham Johnson
Franz Schubert , Graham Johnson , Marie McLaughlin , Ann Murray , Catherin Wyn-Rogers , Philip Langridge , Daniel Norman , Adrian Thompson , Maarten Koningsberger , and Stephen Varcoe
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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The Hyperion Schubert Edition 32 - An 1816 Shubertiad / Dawson, Schäfer, Ainsley, Langridge, et al
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The Hyperion Schubert Edition 36 ~ An 1827 Schubertiad / Banse, Finley, Schade, Dawson, G. Johnson
The Hyperion Schubert Edition 35 - Schubert, 1822-1825 / Dawson, McGreevy, Langridge, Hampson, Koningsberger, Maltman, Davies, G. Johnson
The Hyperion Schubert Edition 28 - An 1822 Schubertiad / Ainsley, Koningsberger

ASIN: B00002EIUC
Release Date: 1999-10-12

The Piano Works of Nikolai Medtner, Vol. 7

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The Piano Works of Nikolai Medtner, Vol. 7

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059LXA
Release Date: 2001-03-27

Tracks:

Three Dithyrambs, Op.10: III. Andantino Innocente
Two Fairy Tales, Op.20: I. Allegro Con Espressione
Two Fairy Tales, Op.20: II. Pesante. Minaccioso, Sempre Al Rigore Di Tempo E Sostenuto
Four Lyric Fragments, Op.23: I. Allegretto Commodamente
Four Lyric Fragments, Op.23: II. Andantino Gracile
Four Lyric Fragments, Op.23: III. Tempo Di Valse
Four Lyric Fragments, Op.23: IV. Andantino Tenebroso - Animato
Four Fairy Tales, Op.26: I. Allegretto Frescamente - Giocoso - Tempo Primo
Four Fairy Tales, Op.26: II. Molto Vivace
Four Fairy Tales, Op.26: III. Narrante A Piacere - Piu Mosso - Tempo Primo
Four Fairy Tales, Op.26: IV. Sostenuto
Theme And Vars, Op.55: Theme. Allegretto Grazioso (Tempo Di Menutto)
Theme And Vars, Op.55: Var I
Theme And Vars, Op.55: Var II. Allegro
Theme And Vars, Op.55: Var III. Allegro (Al Rigore Di Tempo)
Theme And Vars, Op.55: Var IV. Intermezzo. Allegro Leggierissimo E Giocoso - Meno Mosso - Tempo...
Theme And Vars, Op.55: Var V. Largamento, Lugubre, Ma Non Ritadare
Theme And Vars, Op.55: Var VI. Allegro Molto
Two Fairy Tales, Op.48: Elf Tale. Con Moto Flessible
Two Elegies, Op.59: Andante Largamento - Tranquillo - Andante
Two Elegies, Op.59: Andante Con Moto, Sempre Cantabile