Lorenzo

Track Listings

1. Real Love

2. Saving My Love

3. Make Love 2 Me

4. I Can't Stand the Pain

5. Kiss You, Please You

6. Walk With You

7. I Can't Believe It

8. Natasha

9. My Love

10. Tic Tok

11. Real Love [Block Radio Mix]

Lorenzo,Lorenzo,Alpha International,Pop,R&B,Soul,Soul/Reggae/Rhythm & Blues

Lorenzo

Tracks:

Sinfonia
Aggiorna Appena...
O Di Capellio, Generosi Amici
E Serbata A Questo Acciaro
Si: M'abbraccia
L'amo Tanto, E M'e Si Cara
Vanne Lorenzo
Lieto Del Dolce Incarno
Ascolta. Se Romeo T'uccise Un Figlio
Riedi Al Campo
La Tremenda Ultrice Spada
Eccomi In Lieta Vesta...
Oh! Quante Volte
Propizia E L'ora
Si, Fuggire: A Noi Non Resta
Odi Tu? L'altar Funesto
Vieni, Ah! Vieni

Tracks:

Lieta Notte, Avventurosa
Deh! Per Pieta, T'arresta
Tace Il Fragor
Che Miro?
Soccorso, Sostegno Accordagli
Accorriam...Romeo!
Ne Alcun Ritorna!
Morte Io Non Temo Il Sai
Prendi, Gl'istanti Volano
Deh! Padre Mio, Deh Padre Mio!
Deserto E Il Luogo
Chi Sei Tu?
Qua' Voci! Oh Dio!
Ella E Morta, O Sciagurato
Siam Giunti
Ecco La Tomba
Tu Sola, O Mia Giulietta
O Tu, Mia Sola Speme
Ah! Crudel! Che Mai Facesti?

Customer Reviews:

Highest Level of Artistry Displayed .......2007-02-13

This isn't the Shakespearean version, in case you get disappointed, but is based on an Italian source. In spite of the obvious fact the Sills and Gedda were already past their prime by the time of this recording, they still have plenty to give us, and their musical insight makes this recording better than other well-sung performances recorded in the studio. Baker is absolutely fantastic throughout and gave a very satisfying performance both musically and artistically.

Now coming to the comparison made by a reviewer between Bellini and Verdi. Well, even if Bellini had lived to 80, it would not be his aim to write like Verdi. Bellini stood alone amongst the great opera composers of Italy. Even his contemporaries recognized it and called his music 'filosofico'. Bellini's aim was not to create dramas with music like Donizetti or Verdi, but rather music drama - a fact which Wagner recognized. Only that Bellini's aim was to realize it via the voice (think Norma), while Wagner did it with the orchestra. It is note-worthy that Wagner spared Bellini the usual bashing he gave to the Italians. Not only that - he admitted to Cosima that the love duet from Capuleti was the source of his inspiration for his own in Tristan. In his old age, he was proud to say that he learned from 'these pages' what Messrs Brahms etc had failed to learn. One should approach a Bellini opera as one does a Chopin Ballade or Wagner's Tristan, not Verdi. That is not to say that Verdi is inferior, but just different.

And regarding Bellini's orchestration, Wagner and Bizet were on separate occasions, were tasked to 'improve' the orchestration of Norma. Both eventually gave up the job as impossible and concluded that the orchestration written by Bellini was the most suitable. Comparing the orchestration between the early Il Pirata (with its almost Wagnerian finale!) with Norma, it dawns upon one that the decision to thin out the orchestra by Bellini was deliberate, in line with his purpose of using the voice as the primary tool to express the drama.

"Behold the Tomb".......2006-09-30

I find it difficult to evaluate Bellini's work because it depends so heavily on performance. Never a connoiseur of performances, I leave it to others to tell one bel canto aria from another. It is discouraging to realize that Bellini, who died young, never took much interest in orchestral music, making him a lesser counterpart to Verdi, who combines the Italian devotion to the voice with powerful dramatic effects from the orchestra. Even the cover of the EMI CD is disappointing because it slaps a mod-erotic photograph on an opera where the lovers are too traumatised to make love. The libretto is so poor that the recording does not bother to supply it, confirming the view that Bellini's operas are for connoiseurs of vocal sound only.

I have downoaded the text from Karadar Classical Music as well as a synopsis from Opera japonica. We learn that the Capuleti and Montecchi are local versions of the Guelph and Ghilbelline parties respectively. The Ghibelline Dante would have been allied with the Montecchi, Romeo's party. Capellio, Juliet's father, seeks to avenge the death of a son at the hands of Romeo. Romeo's part is sung by a mezzo-soprano, adding further to the absurdity of the EMI cover photo. Although Romeo and Juliet are already lovers, she refuses to elope with him out of loyalty to her father. These lovers really seem more interested in dying than in making love. Juliet does manage to declare that she breathes easier when she learns that Romeo has survived a fight. We know that Romeo has reached his appointed place when he sings, "Ecco la tomba." Janet Baker, as Romeo, shines in the slow, heart-broken singing that follows, interspersed with sympathetic passages by the chorus of Montecchi. There is no doubt that Bellini's operas allow top performers to sing as beautifully as they can. The instrumental accompaniment in this concluding scene is reduced to a bare minimum.

Well-sung Shakespearean travesty.......2005-10-15

Source: Studio recording made at Abbey Road Studio, London, June 16-25, 1975.

Sound: Analog stereo. The engineering is competent, I suppose, but as a matter of personal taste I do not care for the distant and echo-y soundscape. It sounds as though the opera were taking place at the far end of a Gothic cathedral.

Documentation: No printed libretto, although there is a reference to an on-line libretto available at the EMI Classics website, (which failed to download in five tries over two days) just in case I want to listen to this opera while I am working at my computer. The accompanying essay by James Harding is the most useless I have ever found in a CD case--and that is by no means an easily earned distinction. Harding is vitally interested in Bellini's lame love life but indifferent to such trifles as the plot of the opera he is supposed to be writing about.

Format: Disk 1, Act I, Scenes 1 and 2; 60:42. Disk 2, Act I, Scene 3; Act II, Scenes 1-3; 74:23.

Bellini premiered "I Capuleti e i Montecchi" at Teatro La Fenice in Venice exactly one month before his twenty-ninth birthday. It was a success but it was not without critics. In his essay, Harding writes, "It was unfair of Berlioz to denounce I Capuleti e i Montecchi as a travesty of Shakespeare." Berlioz clearly had a point, for where the Bard had twenty characters, the librettist "Romani made do with only five. You will look in vain," Harding gushes on, "for the Nurse and Friar Laurence" and, I must add, for Mercutio, Benvolio and Paris, too. In the opera, Paris and Tybalt become a single character, Tebaldo, to the great detriment of the plot.

"I Capuleti e i Montecchi" came about midway in Bellini's too short career. The really big hits on which his fame rests were yet to come. The music is competent but somehow lacking that indefinable ping that makes "La Sonnambula," "Norma" and "I Puritani" extraordinary.

Overall, the performance is good. Best by far in the cast is Janet Baker. She does not generate overt excitement but she offers an overwhelming sense of rightness when she essays any part in the narrow range that she made her own. This recording is a little late for the best of Sills but she is still very bright and amazingly agile. As always, I feel that her voice is just a little too cool and too thin, but that is purely a matter of personal taste. It is also late for Nicolai Gedda, who sounds unexpectedly baritonal as Tebaldo, a part that any other 19th Century composer would surely have written for a baritone. (I know, I know, Gounod's Tybalt is a tenor. I sang the role, myself, back in college days. But Gounod's Tybalt is markedly different in character from Bellini's Tebaldo-Paris.) Gedda is very good, but I am not at all sure that I would have recognized him if his name had not been on the cover.

"I Capuleti e i Montecchi" is not a great opera, but three famous and very fine singers offer intelligent and entertaining performances. That's worth five stars as far as I'm concerned.

FOR THE HISTORICALLY MINDED: William Shakespeare wrote his "Romeo and Juliet" in the 1590s, in the early days of his career. As was usual for him, he based his play on older materials. The first literary mention of the Montagus and the Capulets is in Dante's "Purgatorio," vi, lines 106-108. The Montagus lived in Verona and the Capulets in Cremona. They were used by Dante as examples of warring factions that had been exterminated. About 1530, Luigi da Porto mistakenly assumed that the Montagus and the Capulets had both resided in Verona and had feuded with one another. He worked up a tale that involved two young members of his warring clans, Giulietta and Romeo. In 1554, Matteo Bandello published a novella called "Romeo e Giulietta" which proved to be an international hit. A French version was adapted from Bandello by Pierre Boaistuau in 1559. This, in turn, was translated into English in 1562 by Arthur Brooke as a "tragical history" in verse form called "Romeus and Juliet," later to be pounced on by Will Shakespeare in search of a popular hit. The only major changes that Shakespeare made in Brooke's plot were to compress the time frame and to introduce Tybalt into the story at an earlier point in order to build him up as a worthy adversary for Romeo. And, oh, yes, he created an array of living characters such as had never been conceived before.

A number of commentators have taken note of the much simplified plot of "I Capuleti e i Montecchi." They have accounted for it by declaring that Shakespeare's version was not yet well-known in the world, so Romani must have based his work on an earlier version of the story, by which I presume they mean by Bandello or even by da Porto. I don't buy that explanation. By 1830, the cult of Bardolatry was firmly established. The standard German translations (that the Germans to this day hold to be superior to the English originals) were well along. Two generations earlier, the tourist industry of Stratford Upon Avon had been given a kick start by the great actor, Garrick (in a bicentennial celebration conceived by David Garrick, written by David Garrick, produced by David Garrick, directed by David Garrick and starring David Garrick--additional dialogue by W. Shakespeare.) Just seventeen years later, Verdi would write his "Macbeth" and make sketches for a "King Lear," that greatest of all operatic might-have-beens. One of the twenty or so books that Verdi kept close to himself until the day he died was an Italian translation of the works of Shakespeare.

No, I do not think that Romani dealt with any obscure 16th Century originals. I think that he exercised a hack's privilege to pillage a respectable source for his convenience. Berlioz was correct. In both the literal and the figurative senses of the word, this is a travesty.

beautiful and moving opera .......2005-08-12

One may regret that Beverly Sills and Nicolai Gedda did not
record this opera earlier in their careers (1975) yet still
be glad they did. Though there are some audible signs of vo-
cal wear their artistry and commitment are never in doubt and
they offer memorable performances. Janet Baker is on the other
hand in splendid voice and sings superbly - she portrays a
somber Romeo and is supremely moving in the tomb scene.
Robert Lloyd and Raimund Herincx offer excellent support.
Very well recorded and beautifully conducted by Maestro
Patane - a very welcome release !

Wonderful nostalgia .......2005-05-20

Back in the 1970's I was a very intense fan of both La Sills and La Baker. The very idea of both of them coming together for an opera recording sent this rapid fan into a severe swoon! Therefore, this recording sent me into a state of ecstasy! I along with other Sills and Baker fans would gather around my stereo listening to this recording with Baker and Sills weaving their vocal magic which always elicited from us many tears and bravos.
At the time Beverly was a known commodity in Bell Canto operas; however, Janet was mainly known as a song recitalist. Nevertheless, Janet Baker, in this opera, proves that she could sing opera with the best of them showing her great operatic credentials-she is up to every vocal challenge Bellini throws at her. She tackles the role with great artistry and beauty of tone. Her last scene STILL dissolves me to copious tears.
In this recording Beverly sings a little cautiously not throwing out high E's with abandon as before; however, her years of experience being a sublime singer of Bell Canto operas comes through. Her singing is gorgeous, sweet and touching to the highest degree, I truly believe that this recording was one of her best.
It truly is great to hear this recording again-ah the memories. Time has NOT diminished its appeal!

Average customer rating:

Give it a listen.
Worth a listen
This recording started a 40+ yr. love of opera for me.
fine singing but little dramatic sweep ...
Good except for miscast Rigoletto

Verdi: Rigoletto

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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The Very Best of Renata Scotto
Verdi: Don Carlos
Love Entranced: French Opera Arias
Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B00099BPP6
Release Date: 2005-06-14

Tracks:

Preludio: Scena Prima
Introduzione 'Della Mia Bella Incognita Borghese'
Ballata: 'Questa O Quella' / 'Partite?...Crudele!' / 'In Testa Che Avete, Signor Di Ceprano?' / 'Gran Nuova! Gran Nuova!' / 'Ah, Piu Di Ceprano'
'Ch'io Gli Parli'
Duetto: 'Quel Vecchio Maledivami'
Recitativo E Duetto: 'Pari Siamo!... Lo La Lingua'
'Figlia!...'...'Mio Padre!'
'Gia Da Tre Lune Son Qui Venuta' / 'Ola?' ... 'Signor?' / 'Ah! Veglia, O Donna, Questo Fiore'
Scena E Duetto: 'Giovanna, Ho Dei Rimorsi'
'E Il Sol Dell'anima'
'Che M'ami, Deh, Ripetimi' / 'Addio...Speranza Ed Anima'
Scena Ed Aria: 'Gualtier Malde...Caro Nome Che Il Mio Cor' / 'E La'...'Miratela'
Scena E Coro: 'Riedo!...Perche?'...'Silenzio...All'opra'
'Zitti, Zitti, Muoviamo A Vendetta'

Tracks:

Recitativo: 'Ella Mi Fu Rapita!'
Aria: 'Parmi Veder Le Lagrime'
Scena Con Coro: 'Duca, Duca!'...'Ebben?'
'Possente Amor Mi Chiama'
Scena Con Coro: 'Povero Rigoletto!'
Aria: 'Cortigiani, Vil Razza Dannata'
Scena Con Coro: 'Mio Padre!'...'Dio! Mia Gilda!'
'Tutte Le Feste Al Tempio'
'Ah! Solo Per Me L'infamia' / Duetto: 'Ah! Piangi, Fanciulla'...'Padre, In Voi Parla Un Angelo' / 'Schiudete...Ire Al Carcere'
'Poiche Fosti Invano Da Me Maledetto' / 'Si, Vendetta'...'O Mio Padre'
Recitativo: 'E L'ami?'...'Sempre'
Canzone: 'La Donna E Mobile'
Quartetto: 'Un Di, Se Ben Rammentomi'
'Bella Figlia Dell'amore'
Recitativo: 'M'odi, Ritorna A Casa'
Scena: 'Maddalena?'...'Aspettate'
Terzetto E Tempesta: 'E Amabile Invero Cotal Giovinotto'
Recitativo E Scena: 'Della Vendetta Alfin Giunge L'istante!'
'Chi E Mai, Chi E Qui In Sua Vece?'
Duetto Finale: 'V'ho Ingannato...Colpevole Fui'

Customer Reviews:

Give it a listen........2007-07-17

I absolutely love this recording. I used to own the LP, paid top dollar for an import CD awhile back, and am happy to see it now available at a very nice price.

I guess some people hear what they want to hear. Say "Fischer-Dieskau as Rigoletto" and the initial reaction might be "huh?" But listen to what the man does. Verdi wrote for high baritone, and Fischer-Dieskau's tenorish quality fits the music perfectly. His tender moments, and there are quite a few in this opera, are meltingly sweet and heart breaking. And don't tell me he doesn't have enough power and bite for "Cortigiani"! Others may prefer Merrill, or Milnes, or some more typical Verdi baritone. To me, compared with Fischer-Dieskau's beautifully sung, magnificently acted and nuanced performances, those other guys just sound monochromatic, ballsy and boring.

And say "Scotto" and people think of the edgy, shrill, hammy and over-the-top persona she adopted later on. Here she's just radiant, and lovely, with impeccable intonation and pinpoint accuracy. This and her Lucia are fabulous, immensely enjoyable performances.

Bergonzi is the paragon everyone says he is. Who would you rather hear as the Duke? Kraus, maybe, but he's saddled with a clunky conductor. The supporting cast on these CDs is equally fine.

The real star is Kubelik. Who'd a thunk it? But this, the earliest of Verdi's operas to have a symphonic, through-composed character (as opposed to being merely a succession of numbers) receives a powerful, dynamic reading here that is unmatched for color, flexibility and drama. Like the best recorded performances (Monteux' Traviata, Serafin's Ballo) everything here is just as it should be.

A great, great recording. Don't miss it.

Worth a listen.......2007-03-28

The consensus of reviews here seems to be that this is a pretty good recording with a miscast Fischer-Dieskau and a too-edgy Scotto. But despite that, it sounds very good to me. Bergonzi's terrific and the others do a fine job, despite limitations cited. With very fine remastered sound, it's a pleasure to hear and is certainly worth a listen at this inexpensive price.

This recording started a 40+ yr. love of opera for me........2006-10-22

As a 24 yr. old rock-and-roller, I checked the cassette tapes of this recording out of the library in 1966 out of curiosity. As somebody completely new to opera, I just tolerated the music enough to keep listening. Then came the Act II quartet which blew me and then my wife away. We almost wore the borrowed cassettes out.

We eventually turned into multi-decade season ticket holders and love the entire world of opera, but Rigoletto remains our favorite. In our minds Rigoletto is the operetic standard, a "perfect" balance and meshing of drama, technical fireworks, lyricism, melody, emotion, memorable characterization, solos and duets, ensemble pieces, choral and orchestral music. When this recording became available on CD, we rejoiced and bought it to add to our collection of two other Rigoletto recordings.

We were lucky starting our life-long love affair with opera with this 1964 recording. Renata Scotto is in perfect voice. Carlo Bergonzi as the Duke is warm, lyrical, and seductive. Dietrich Firsher-Dieskau as Rigoletto also has a warm, lyrical voice, unusual for Rigoletto but beautifully heartbreaking. The chorus of courtiers plays a critical starring role in Rigoletto and the La Scala chorus is superb as always, as is the direction by Rafael Kubelik. The sound quality is fuzzy by current standards, hence the 4 star rating, but is very acceptable for casual listening such as in an automobile.

If you don't have any other recordings of Rigoletto, I'd recommend the recording with Joan Sutherland, Luciano Pavarotti, Sherill Milnes, and the London Symphony Orchestra conducted by Richard Bonynge, for the excellent sound quality and poweful performances. However, you can't go wrong with this recording, especially for the price.

fine singing but little dramatic sweep ..........2006-01-02

The casting of german baritone Dietrich Fischer-Dieskau as
Rigoletto in this otherwise all italian production is a bit
odd and though he sings beautifully and eloquently ultimately
the voice is wrong for the role lacking weight, color and bite.
The young Renata Scotto sings very well and is an affecting
Gilda but even at this early stage the voice has an unpleasant
edge. Carlo Bergonzi is - as always - all elegance and refine-
ment but his Duke comes accross more gentleman than rake. In
sum a lot of talent assembled here but in the end somewhat un-
convincing dramatically.

Good except for miscast Rigoletto.......2005-12-05

Usually, I find myself in general agreement with the preceding reviewer, Armindo. And I agree with much of what he says here about this recording of Verdi's "Rigoletto." However, when it comes to Dietrich Fischer-Dieskau as Rigoletto, I can only say with genuine admiration that Armindo is truly a more forgiving and saintly soul than I shall ever be.

DF-D as Rigoletto? Gimme a break! The man was a freakin' disaster in Italian opera. He was smart and he was a good--no, he was a great singer, so all his bad decisions about Italian roles were conscious ones, and thereby the worse for it. His Falstaff all but gave me hives. His Rigoletto is worse. DF-D's smoothed out, self-consciously elegant, very Germanic vocal style and his over-intellectualized acting are the very antithesis of what Verdi requires. Rigoletto the lieder singer? No, thank you!

Watching from a hilltop as the British Light Brigade rode gallantly and catastrophically toward its fate, a French general is supposed to have said (in French, of course), "It is magnificent, but it is not war." Of Fischer-Dieskau as Rigoletto, I say that it is very nice singing, but it is not Verdi.

Average customer rating:

Focus on the Recordings
This is a fantastic deal!
Excellent, Broad Selection
$70....when was this???
$70/40... you do the math.

Vivaldi: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLHY
Release Date: 2004-11-30

Customer Reviews:

Focus on the Recordings.......2007-07-23

I've made this small review of the Vivaldi Masterworks set because it is SO difficult to find a review of such a big collection.

The price is killer and you HAVE to buy it, but be warned: these are not the best recordings, you get what you pay for.

First of all, I'm not a Vivaldi expert, but I've heard his compositions throughout my life in so many different places and recordings and have a vague idea of how some have to be played. Secondly, I'm not a classical music connoisseur, but I love it and have over 300 discs of various composers and styles. Third, I know what a good audio recording should sound like and this will influence my critique of some discs in the collection. Finally, it's easy to get lost among all the tracks contained, so in some cases I will give you my favorite tracks in a disc.

I'm sorry, but I've only reached disc 20 of the box-set, as I listen to more this review will be expanded.

DISC 1:
Why would you use an AAD recording as a first impression for a 40 disc box-set and for the "Four Seasons", which is probably Vivaldi's best know work. The concertos are played enthusiastically, but lack any additional virtuosity to put it ahead of other much better recordings out there.

DISC 2:
Same as DISC 1, played and recorded by the same people.

DISC 3:
The pieces in this disc are VERY well played, nonetheless, you can hear heavy breathing from the soloist which can be a bit annoying.

DISC 4:
Very well performed as well, heavy breathing is less present.

DISC 5:
A very good recording, excellent execution by the hapsichord and good by the recorder.
Tracks 4, 6, 7 and the whole "La Notte" are extraordinary.

DISC 6:
Exquisitely recorded and performed by the Budapest Strings.

DISC 7:
Marvelous performance on the whole disc.
Tracks 22 & 24 are non-plus-ultra.

DISC 8:
Great performance too.
Suggested tracks: 7, 12, 15, 24

DISC 9:
To have an original baroque organ playing is a plus.
Solo strings are lacking in quality (for example: tracks 6 & 7).
Suggested tracks: 1, 4, 8, 15

DISC 10:
Despite being and ADD recording, the quality is fairly good. The cello is very well played.
Suggested tracks: 3, 4, 12
Excellent track: 13

DISC 11:
Same musical group and soloist as DISC 10. The contrabass is extremely distorted sometimes, and if you take into consideration that this is an ADD recording, it can get pretty bad. Some background noise is perceived.
Suggested tracks: 3, 6, 9

DISC 12:
The compositions are somewhat boring, either way the performance is plain decent.
Suggested tracks: 10, 12

DISC 13:
Good performance and sound quality.
Suggested tracks: 1, 4, 6, 7
Excellent track: 12

DISC 14:
Good performance and sound quality too.
Suggested tracks: 10, 14, 16
Excellent track: 5

DISC 15:
Badly mixed, the basoon is blocking the whole ensamble by being in the foreground.
The playing precision is lacking.
An AWEFUL thing about this recording is that you can hear the basson key-sticking with the instrument and the saliva. It's horrible.
Such a pity, the sound of the basson with other instruments can be pretty interesting.

DISC 16:
Violins sound a bit off tempo.
Suggested tracks: 4, 8

DISC 17:
Good sound quality and performance.
Suggested tracks: 1, 7, 9

DISC 18:
Despite being an old recording, it is a very welcome one.
The performance is very well above par. Tempo is fantastic.
The quality of the recording could have been better due to some string plucking that is heard and which can become bothersome.
These are some of Vivaldi's best know tunes.
Suggested tracks: 4, 6, 13
Excellent tracks: 1, 3

DISC 19:
Lively recording.
Track 6 is the same piece found in another disc in the collection, but with a better performance.

DISC 20:
By now you've heard all of this pieces before in the other discs. Nothing new here, nor better.

This is a fantastic deal!.......2007-02-25

If you are a fan at all of the Four Seasons you should love this music. I will admit right now that I am a classical music fan. I don't write or perform it. I am a novice listener. I have never taken any music lessons(though I am leaning in that direction) and certainly have not gone through any university music training. I started out in rock and roll but found classical as I got older and fell in love with it a few years ago.

With that context in mind I do hope I am able to recognize quality and this work is of the highest. It helps when you are starting with good ingredients in the first place. You can't bake great bread without great ingredients and Vivaldi's music library has some of the greatest musical ingredients of the last 300 years. They are very much the foundation for modern western culture and music. His talent is woven through what we are

The first 26 CDs are instrumental starting with the four seasons and working through many of the Master's many popular works. I will admit the four seasons are not the best interpretation I have heard but it is definitely acceptable. The rest of the music shows us many facets of the Baroque style and you can see themes emerging through some of the pieces that give us a 'fingerprint' of Vivaldi's style and the parameters of the stylistic leanings of the genre at the time. If you want to immerse yourself in 18th century music this is your chance

This music would be ideal for someone who owns a store and is looking for background music. With over 26 CDs of instrumental music alone you could have those constantly looping and you'd probably never get bored of them(OK I may be stretching it a little there). The reason is that the music does not leave a bad 'aftertaste' in your mind. It fits into the background as easily and naturally as it is to listen to it consciously in the foreground. If you are a fan of classical Baroque you don't usually need to be in the mood for this, it will adjust your mood to itself and Vivaldi's music is almost always of an uplifting sort if this collection is any indication. If you want something to listen to at your job 8 hours per day this is good for the mind and it would take you over a week to get through it if you listened to it every minute of every work day. You will also work without the worry of the music distracting your concentration. I find it enhances it when I'm working. I don't know how well this would work on school kids but teachers might want to try playing this during school time. You may create a few geniuses, we certainly could use more!

If you are looking for something to ease your sleep and oil your dreams I have put these CD's on in the background. Not only can I easily fall asleep when they are playing quietly in the background but it helps you sleep and you wake up in a very pleasant atmosphere if the music is still playing quietly when you wake(you probably would need to rip them to your MP3 player to do that). It's like napping at a classical music concert without the worry of being nudged by your spouse or offending the other concert goers with your snoring. That will be quite a unique experience for you and possibly give you some real sweet dreams. It has for me

So to wrap it up this is very intelligent, uplifting music that is great for your mind and your soul. It is definitely worth the purchase if you are a fan of the Four Seasons and the Baroque genre in my novice classical music fan's opinion

Excellent, Broad Selection.......2007-01-25

This 40-cd collection affords me a rare pleasure almost daily: the thrill of hearing something new by Vivaldi. Despite my best efforts over the years, I've managed to miss hearing a lot of great works by the master. Listening to a single CD now and then, catching tunes on the radio... you can't possibly get a comprehensive understanding of Vivaldi's output that way.

But when you work your way systematically from CD 1 through 40, you're sure to find many pleasant surprises. I've been skipping through everything I already know -- in some cases, it has only taken me about a minute to get through a whole CD (first 3 seconds of each track is usually enough). But then I stop and listen carefully three or four times to anything that's new.

Ah, what a pleasure. I've already acquired some new favorites. And some old standbys have proved even more rewarding, e.g. at first I thought RV 127 (CD 7, tracks 10-12) was performed too slowly (Naxos No: 8.553742 is much faster), but now I'm not sure; maybe it's BETTER that way! I can't recommend this set highly enough.

$70....when was this???.......2006-11-25

Wish the cost was $70 now. Guess the record producer (or Amazon) got tired of making less than $2 per CD.

$70/40... you do the math........2006-04-07

No, I don't own this collection...yet. However, the price of the collection compels me to review it beforehand. Never have I seen such a complete collection of Vivaldi compositions at such an incredibly low price. At $1.75 dollars a CD, the record producer (Brilliant Classics) isn't making much of a profit. The compilation pulls some of its works from DG Achiv Produktion's vault (see Standage), such as the violin concertos, as well as from unknown producers (the Poland Philharmonic Chamber Orchestra is heavily featured). The collection is so complete that it is academic, and I would not be surprised if music libraries quickly emptied it from Amazon's shelves. The collection is simply worth it for the incredible price (English Concert's recording of the violin concertos cost nearly 30 bucks, and is exactly featured here). Overall, the price alone makes this collection exceptionally attractive, and the ensembles featured aren't bad either.

Average customer rating:

A Favorite
An Unheralded Vivaldi Masterwork Given a First-Class Production
Delightful singers make this recording a joy
Superlative Vocalism in Vivaldi's Best-Known Opera

Vivaldi: Orlando Furioso
Antonio Vivaldi , Marie-Nicole Lemieux , Jennifer Larmore , Philippe Jaroussky , Lorenzo Regazzo , Ann Hallenberg , and Jean-Christophe Spinosi & Ensemble Mateus Blandine Staskiewicz
Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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ASIN: B00061ZKP8
Release Date: 2005-01-18

Customer Reviews:

A Favorite.......2006-06-24

This is the opera that turned me on to Vivaldi, and started my interest in mining his music. Not only does his music have a unique and distinguishable style, but also an inimitable energy that is purely musical and pleasing to the senses. To enjoy this opera, one only needs just to listen to it.

Orlando Furioso is very characteristic by its mood arias and temperamental swings from madness to melancholy such as in "Andero, chiamero, dal profondo" and "Sol da te". Because this opera was written in the "disco years" of baroque bel canto, the singing is rich, florid, and very demanding. Most of the arias sharing these "disco-like" qualities are sung by the character of Orlando. Taking this role is a tall order for a singer that is not Marilyn Horne. She made "Nel Profondo", and "Sorge L'irato Nembo" her signature "hits" in a time when Vivaldi Opera performances were rare, and before the years when Bartoli elevated singing of Vivaldi arias to a new art form. Though refreshing, the execution of these arias in the album can't escape to be overshadowed by Horne's.

"Sol da te" is one of Vivaldi's most beautiful mood arias, and no doubt that Philippe Jaroussky its best interpreter to date. The aria is bewitching, hypnotizing, and its performance so flawless that his voice blends with the flute into one single musical instrument.

Veronica Cangemi sings superbly "Chiara al pari", accomplishing very technically difficult note transitions, and doing so magnificently on the ornamentation of the da capo section. She is again very amazing in La Griselda, another Vivaldi Opera.

Jennifer Larmore's lung capacity and jet-propulsion speed are phenomenal and super-human in "Andero, chiamero, dal profondo". If I ever thought that "Andero, volero, gridero" from Orlando Finto Pazzo required high octanage to be sung, Larmore proves that she's got the turbo power in her throat, and vocal pyrotechnics to command the explosive high note at the end of the run.

An Unheralded Vivaldi Masterwork Given a First-Class Production.......2006-02-08

Composer Antonio Vivaldi may always stand in the shadow of his contemporary Handel when it comes to Baroque compositions, and the distinction between the two is further blurred by the fact that both composed operas based on the same epic poem, Ludovico Ariosto's "Orlando furioso". Vivaldi's 1727 opera came about eight years prior to Handel's "Alcina". Unsurprisingly, while several recordings of "Alcina" have been produced (including a particularly strong one of the 1999 William Christie-conducted Paris Opera production with Renee Fleming and Susan Graham released in 2000), this is the first full recording of Vivaldi's work, part of the Naive label's commitment to bring Vivaldi's largely unknown but beautifully composed operas to light.

Based on this stellar ensemble performance, I would argue that "Orlando furioso" is the stronger of the two works based on the recitatives, which are far more dramatically gripping, and the arias which not only showcase splendid voices but provide an intractable context for the intense drama of the story. The lush performance here captures Vivaldi's insinuating melodies which are full of voluptuous ornamentation. The shimmering orchestral passages are complemented by vibrant choruses that mirror the dramatic shifts in Grazio Braccioli's treatment of Ariosto's eventful poem. His libretto manages to keep the essence of the story but deepens the humanity in blending epic history with the supernatural. Similar to Handel's "Alcina", Vivaldi depicts a set of lively gallery of characters with individualistic personalities in a fanciful plot that moves at a breakneck pace.

At the center are two storylines that complement each other, the grand sweep of Orlando's madness and the tragedy of Alcina's downfall. In the title role as Charlemagne's nephew who falls deeply in love with Angelica, arguably the most dramatically challenging of the ensemble, Marie-Nicole Lemieux, a young contralto from Quebec, must make sense of the lovesick knight, and she does it with passionate delivery and a superb lower register. The richness of her tone is necessary to reflect Orlando's decline into dementia at the end of Act II and the series of "mad scene" monologues in Act III. As Alcina, mezzo-soprano Jennifer Larmore brings an imperious tone and supple edge to the powerful but doomed sorceress, who suffers for her love of Astolfo and then of Ruggiero. Soprano Veronica Cangemi brings a lovely, ethereal quality to the role of Orlando's beloved Angelica.

Bass-baritone Lorenzo Regazzo brings a palpable lushness to his vocally powerful characterization of Astolfo, and the proud female warrior Bradamante is sung by mezzo soprano Ann Hallenberg with stunning verve. As the valiant Ruggiero, rising countertenor Philippe Jaroussky is outstanding, and his arias provide the most poignant moments of this production He is particularly adept at blending his ethereal sound with all the very different voices of the other singers. Under the fluent direction of Baroque specialist Jean-Christophe Spinosi, the Ensemble Mateus proves expert in accommodating the variety of voices with instrumental nuance. If nothing else, this superb recording will introduce Vivaldi to a new generation unfamiliar with his dexterity in the Baroque genre.

Delightful singers make this recording a joy.......2005-04-03

It is thrilling to see more of Vivaldi's operas being recorded. However, this recording of Orlando Furioso may not be for everyone. Jean-Christophe Spinosi's style of conducting is described in the liner notes as "physical;" and this is certainly true. He asks the Ensemble Matheus to `punch' Vivaldi's openings and to accent each phrase with sharp articulations. The singers soar through their runs at break-neck speed, which makes for exciting listening. But Spinosi pushes the tempo of every aria, so much so that many of them clock in at under three minutes. Even the adagio arias move along at a quick pace. For listeners accustomed to the heart-wrenching, gentle interpretations of Baroque opera offered by Rene Jacob and John Elliot Gardner, Spinosi's interpretation may seem blunt and over-done. Spinosi is a young conductor leading youthful singers, and all are clearly excited by Vivaldi's music. However, this recording lacks the mature guidance and interpretation of more experienced musicians, and thus may bother some veteran connoisseurs of Baroque opera.
The quality of the singers on this recording is astounding. Canadian Marie-Nicole Lemieux evokes memories of Marilyn Horne, although her phrasing and vibrato is often more pleasant than Ms. Horne's. Jennifer Larmore is a delight, and sings the part of the sorceress Alcina with great skill and passion. Veronica Cangemi, Ann Hallenberg and Blandine Staskiewicz all have fine voices, and are destined for exciting careers and great acclaim. Of particular interest are the male singers: Venetian bass-baritone Lorenzo Regazzo (who sounds like a combination of Samuel Ramey and Bryn Terfel!) and the young counter-tenor Philippe Jaroussky. Often, male singers are `tacked on' to Baroque opera recordings and lack the skill and quality of their female counter-parts who enjoy the leading roles. Not so in this recording: both men demonstrate voices and training of the highest quality, and sing Vivaldi's music with great skill, enjoyment, and intellectual depth. Buy the opera just to hear the singers demonstrate their talents!

Superlative Vocalism in Vivaldi's Best-Known Opera.......2005-01-27

This review cannot be definitive as I am far from being an expert on Baroque opera. But I have long loved the recording of this opera, 'Orlando Furioso,' made many years ago, but drastically cut, by Claudio Scimone with the Solisti Veneti and featuring the almost superhuman singing of Marilyn Horne as Orlando. Add to that the Angelica of Victoria de los Angeles, Lucia Valentini-Terrani as Alcina, and Sesto Bruscantini as Ruggiero and you have a nigh-unbeatable combination. But this set not only gives us an uncut version of Vivaldi's opera (with some additions suggested by musicologist Frédéric Delaméa, additions which fill in gaps in the original materials from which this performance was produced), it features, amazingly, voices that are fully the equal of those in the fabled Scimone recording. Some roles have been re-assigned: Ruggiero is sung by a counter-tenor here (as opposed to Bruscantini's baritone); Medoro is sung by a mezzo, rather than a tenor.

One quibble I have about the Horne performance is that she made the role of Orlando, with all its vocal gymnastics, almost a caricature (forgive me, Horne fans! I'm one, too, after all). In the present recording Canadian mezzo Marie-Nicole Lemieux not only sings as well as Horne, but limns the character with greater sensitivity. Her ornamentation is not quite as spectacular, but it's also not as, how shall I say?, show-offy. And the ornaments are more in keeping with practice of 1727 when the opera was premièred, I believe. Lemieux is fully capable of Horne's acrobatics, so it's not a matter of lack of technique, it's more a matter of (gasp!) taste. A larger question arises about the replacement of the role of Ruggiero sung by a baritone (Bruscantini) with a counter-tenor (the sweet-voiced Philippe Jarrousky). In fact, though, at the first performance Ruggiero was sung by a mezzo who specialized in pants roles, so perhaps using a counter-tenor is more appropriate. In any event, Jarrousky is superb, bringing an appropriate delicacy to the role. Angelica, sung ravishingly by the Argentine soprano Veronica Cangemi, does not make us forget the late, beloved Victoria de los Angeles, but her performance does not suffer in comparison either. Jennifer Larmore has a complete triumph in her performance of Alcina which is, I feel, actually superior to that of Valentini-Terrani.

Instrumental support by Jean-Christophe Spinosi and his Ensemble Matheus is lively, sensitive and brilliant. Special mention must be made of the lovely flute obbligato in Ruggiero's aria, 'Sol da te, mio dolce amore,' played radiantly by Jean-Marc Goujon. Supporting roles are also well sung, in some instances better than on the Scimone set. I think this set heralds the real arrival of Marie-Nicole Lemieux on the international scene, at least on records. She has made some wonderful CDs, mostly on smaller labels; I raved about her recording with Tafelmusik on Analekta but was less taken with her Brahms lieder recital on the same label. I suspect this recording will bring her appropriate acclaim.

Strongly recommended for lovers of superb singing.

3CDs: 181 mins

Scott Morrison

Average customer rating:

A superb interpretation of Llobet's music
EXCITING MUSIC

Miguel Llobet: Guitar Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001Z65EY
Release Date: 2004-06-15

Tracks:

Scherzo - Vals
Estudio Capricho
Mazurka
L'Hereu Riera
El Testament D'Amelia
La Nit De Nadal (El Desembre Congelat)
El Mestre
La Preco De Lleida
La Pastoreta
La Filla Del Marxant
Lo Rossinyol
Plany
El Noi De La Mare
La Filadora
Lo Fill Del Rey
Canco Del Lladre
Respuesta (Impromptu)
Preludio (A Rosita Lloret)
Preludio En Mi Mayor
Preludio (A Maria Luisa Anido)
Preludio En La Mayor
Prelude - Original
Mazurka Por Federico Bufaletti
Estilo Popular Argentino (En Mi Menor)
Estilo Popular Argentino (En Re Mayor)
Estilo Popular Argentino (En Fa Sharp Menor)
Leonesa
Estudio En Mi Mayor
Romanza
Tema
Variation I (Sor)
Variation II (Sor)
Variation III
Variation IV
Variation V
Variation VI
Intermezzo. Andante Molto Espressivo
Variation VII
Variation VIII - Toda Esta Variacion En Sonidos Harmonicos
Variation IX - Toda Esta Variacion Con La Mano Izquierda Sola
Variation X

Customer Reviews:

A superb interpretation of Llobet's music.......2006-10-30

I had come across L. Micheli almost accidentally by watching one of the Guitar Foundation of America videos when I was amazed by the breathtaking performance of the Variaciones sobre un tema de Sor! This CD is worth every penny. I would also recommend the M Castelnuovo Tedesco one as well. Very expressive, accurate, clean performance - I had the feeling I am watching Glenn Gould playing guitar.

EXCITING MUSIC.......2006-03-25

I have found this CD at the Naxos website catalogue.I was just looking around the CD's and the word LLOBET got my attention because it was hard to find a complete collection of the composer.I was lucky that it caught my attention!
Let's come to the inside of it.It has all kind of music forms composed by llobet such as;Catalan Folksongs,Preludes,Folksongs,Etudes,Mazurkas,Romanzas and even Variations which I liked most.They have really been arranged nicely and the Llobet himself composed beautifuly(they say Llobet opened a new period for the guitar music at the early 1900's; they are right.)
You can't find most of the pieces on other CD's they are really "rare" pieces and the affordible price makes the CD even more nice.
Most of the tracks are short about 1 or 2 minutes but the total playing time is OK that means there's a lot of track in it(41 tracks).
What about the guitarist.Lorenzo Micheli.I know much guitarist but I have heard Micheli with this CD.It's good to be me that I heard Micheli.He plays the guitar with his soul,so sweet guitar really.And also the technique is one of the factors that makes this CD amazing because without a good technique you can't hand over most of the tracks such as Repuesta.
It is certain that this music gives us a joy and "also" I didn't know Llobet composed such great works I means the listener gets informed about it.
1)GOOD COLLECTION
2)PRICE
3)GOOD GUITAR PLAYING
4)EXCITING AND ORIGINAL WORKS FOR GUITAR
...they are the reasons you should buy this CD.

Average customer rating:

Love This!
Love This!
4th in the Pavarotti and Friends charity concerts
Great album, worthy cause.
Master Class, but still too stuffy

Together for the Children of Bosnia

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000004297
Release Date: 1996-04-02

Tracks:

Per colpa di chi?
Serenata rap-Mattinata
Can We Go Higher?
Ordinary World
Clap Clap (The Clapping Song)
Miss Sarajevo
Cosi celeste
Linger
Come Back To Sorrento
Penso positivo
Vesti la giubba - Pagliacci
Heaven Can Wait
Ave Maria
One
The Long Black Veil (Medley)
Funiculi , funicula
Nessun dorma - Turandot

Customer Reviews:

Love This!.......2001-10-01

I finally got the Cd after wearing out two tapes. There are so many different artist on this, it's amazing. It is almost worth it just to hear Michael Bolton do opera! I don't like the man but he was good. Get this, it is worth a listen.

Love This!.......2001-10-01

4th in the Pavarotti and Friends charity concerts.......2001-01-09

Live from the Parco Novi Sad, Modena, on 12 September 1995, in the presence of Diana, Princess of Wales, Pavarotti brings us his fourth spectacular charity concert, this time in aid of a music therapy centre being built in Mostar by War Child. As is usual with these concerts, Pavarotti brings together artists from all musical genres, and even does duets with some of them including Meat Loaf, Michael Bolton and Dolores O'Riordan. Track #2 is an astonishing blend of opera and rap...who woulda thunk it! The finale is Pavarotti's calling-card "Nessun Dorma" in which he is joined by the many other guests. Rap, folk, rock, opera, gospel and sacred music build a musical bridge in aid of a worthy cause.

Great album, worthy cause........2001-01-04

A wonderful concert for a wonderful cause. The previous reviewer only gave it 4 stars because he said there were too many different styles of music. Well, that's the whole point. It is the music community, regardless of genre, getting together to raise funds to build a Music Centre in Bosnia-Hercegovina, which will provide music therapy, tuition and a space where music will be used to enable young people to learn, to grow and to be healed. Music is for everyone, and all these different artists getting together for the common good, regardless of genre, is wonderful. And on this album are a number of suprises. Dolores O'Riordan of The Cranberries singing with Pavorotti on "Ave Maria", Meat Loaf and Pavarotti duetting on "Come back to Sorrento", to name just two. A must have for music fans in general.

Master Class, but still too stuffy.......2000-03-01

A brilliant idea of Maestro Pavarotti, these concerts, and especially this one. I enjoyed the Ave Maria, where Dolores (one of my favourite pop-stars) clearly shows that she had some profit from canto classes she took in youth. But the "Linger" version was not alike, listening more to Simon Le Bon than the original voice...

Strange, but interesting and cool combination between rap and opera ("Serenata Rap/Mattinata"). Well, such things could never be seen before, eh?

A good bunch of masters packed in to make a great record for a good deal. But.. aren't there too many styles? Yhat's the missing star...

Mozart - Le nozze di Figaro / Gens · Ciofi · Kirchschlager · Regazzo · Keenlyside · McLaughlin · van Rensburg · Abete · Rial · Concerto Köln · René Jacobs
Average customer rating:

A masterpiece heard anew

Strong ensemble work, some excellent singer, generally strong and even cast.

Good Recording But Not The Best There Is!

Modern...Young...Fresh...

A very effective, if totally unsmiling Figaro, in the period style

Mozart - Le nozze di Figaro / Gens · Ciofi · Kirchschlager · Regazzo · Keenlyside · McLaughlin · van Rensburg · Abete · Rial · Concerto Köln · René Jacobs
Wolfgang Amadeus Mozart , Véronique Gens , Patrizia Ciofi , Angelika Kirchschlager , Lorenzo Regazzo , Simon Keenlyside , Kobie van Rensburg , Antonio Abete , Nuria Rial , Concerto Köln , and René Jacobs
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Haydn: The Seasons

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ASIN: B0001HZ728
Release Date: 2004-05-11

Tracks:

Sinfonia
Cinque...Dieci...Venti
Cosa Stai Misurando
Se A Caso Madama
Or Bene Ascolta, E Taci
Se Vuol Ballare
Ed Aspettate Il Giorno
La Vendetta, Oh, La Vendetta
Tutto Ancor Non Ho Perso
Via, Resti Servita
Va La, Vecchia Pedante
Non So Piu Cosa Son
Ah, Son Perduto!
Cosa Sento! Tosto Andante
Basilio, In Traccia Tosto
Giovani Liete
Cose Questa Commedia?
Giovani Liete
Evviva!
Non Piu Andrai

Tracks:

Porgi, Amor
Vieni, Cara Susanna
Quanto Duomi, Susanna
Voi Che Sapete
Bravo! Che Bella Vove!
Venite Inginocchiatevi...
Quante Buffonerie!
Che Novita! Non Fu Mai
Susanna, Or Via, Sortite
Dunque, Voi Non Aprite
Aprite, Presto, Aprite
Or Guarda Il Demonietto!
Tutto E Come Io Lasciai
Esci, Ormai, Garzon Malnato
Signori, Di Fuori
Ah, Signor...Signor
Voi Signor, Che Giusto Siete
Che Imbarazzo E Mai Questo!
Crudel! Perche Finora
E Perche Fosti Meco
Hai Gia Vinta La Causa!

Tracks:

E Decisa La Lite
Riconosci In Questo Amplesso
Eccovi, O Caro Amico
E Susanna Non Vien!
Io Vi Dico, Signor
Su L'aria...
Ricevete, O Padroncina
Queste Sono, Madama
Ecco La Marcia
L'ho Perduta...Me Meschinaa!
Barbarina, Cos' Hai
Il Capro E La Capretta
Nel Padiglione A Manca
In Quegl'anni In Cui Val Poco
Tutto E Disposto
Signora, Ella Mi Disse
Giunse Alfin Il Momento
Perfida! E In Quella Forma
Pian Pianin Le Anfro
Non La Trovo
Gente, Gente

Amazon.com

René Jacobs has done it again. Following on the heels of his superb Cosi fan tutte, he now offers a Nozze di Figaro which is alive and vibrant; it seems to be happening in real time. There's so little artifice in the characters' recitatives and the rhythm is so conversational that we get the impression of real people, in a real pickle of a situation. The singing/acting is stunning, with Simon Keenlyside's Count the best on CD (a dangerous man just in control of his anger), Veronique Gens' Countess girlish and womanly in equal measure, the Cherubino of Angelika Kirchschlager extraordinarily well sung and properly boyish, Patrizia Ciofi's Susanna witty and wise and Lorenzo Regazzo's Figaro slightly darker than others, but all the more interesting for it. Throughout, the pianoforte not only accompanies but acts as commentator on the action. I don't find it intrusive but some might. Jacobs' instrumentalists play with real energy and brightness. This is a performance which feels as if it's being seen as well as heard. Just grand. --Robert Levine

Customer Reviews:

A masterpiece heard anew.......2007-07-31

I found this recording a revelation. I'll simply never hear "Figaro" the same way again. The quick tempos, the sprightly recitative, the delicate embellishments all bring a new sense of life to this great score.

Should this be one's first "Figaro"? Hmm. Probably not. I'd suggest the venerable Kleiber or the luxury-cast Solti for that. And who could only want one recording of this wonderful opera? In short, if you love this opera, get this record.

Strong ensemble work, some excellent singer, generally strong and even cast. .......2007-02-06

Some say the best recorded Figaro is Levine's, some say Boehm's, some say E. Kleiber's.
Some claim that the best Countess Rosina came from Te Kanawa, some say Schwarzkopf, now some say Veronique Gens.
Well, the foregoings are all very good.
Neverthelss, Rene Jacobs' account in this recording is good in an unique sense.
I could not remember correctly if the Levine version is the one with Anne Sofie von Otter and Barbara Bonney. If that's the case, well, that one is also good in that it has an outstanding ensemble.
Jacobs' version is also strong in emsemble work. The long Act II of Le Nozze di Figaro, if not rehearsed adequately with an even cast of musicians (orchestra and singers alike), could drive audiences mad (or 'up the wall' as some say here). It was recorded that this session alone containes over 900 non-stop measures of music. Jacobs succeeded admirably with his cast in delivering a crystalline piece, rich in harmonies with floating melodies continuously. It was almost like a Wagnerian continuation of unending melodies.
Well, Gens and Ciofi are all more than adequate, though I would hesitate to put them right on top ahead of predecessors like Schwarzkopf, Janowitz, Della Casa, Gueden and Popp and Bonney.
Lorenzo Regazzo did an almost perfect Figaro, just a little bit less in the all-famous 'Non piu andrai', but then only less than Siepi on Kleiber.
The real standout in the cast in my view is Simon Keenlyside's Count di Almaviva.
He has the right tone, the right nuances, the right mood. Don't suppose Almaviva is an out-and-out rogue. This s a conceited, spoilt, calculating yet naive character. Portrayal of such a character is never easy. Keenlyside did just right - no more, no less. You can catch the aristocratic pride from his singing, at the same time his calculating and suspicious nature. Not even George London did it better on Karajan's recording in 1954.

Good Recording But Not The Best There Is!.......2006-05-31

I give this recording 4 stars mainly because of the vocal quality of the soloists. Ciofi, although lacking expressiveness, has a superb voice worth being credited for. She performed better emotionally in the DVD recording of 'The Abduction From the Seraglio' with Zubin Mehta. Rene Jacob's tempo is compatible enough, but I feel that there is a lack of excitement in this version, and it does not reflect the mood of a 'comedy bufa'. Most customers refer to this recording as the best they have heard so far, after comparing it to Giulini, Kleiber, and Bohm's versions. I'm surprised to see that no one has mentioned the recording done by James Levine and the Metropolitan Opera Orchestra. Now, THAT is the BEST version of Figaro there is, and believe me I have heard quite a few. Levine's tempo is state of the art, the string section of the orchestra played their notes with superb clarity, and the sound recording is flawless. Even the Met's chorus deserves extra mentioning in that recording! So hurry up and buy that set! It's from Deutche Gramophone.

Modern...Young...Fresh..........2006-03-21

Mostly we see the modernization at opera on stage directing, stage design and costumes...To realize that, you have to watch the videos of the operas...This recording gives you that feeling by listening...This is a Young and fresh interpretation of Le nozze di Figaro...Sometimes you feel like you are listening a baroque piece while you are listening to this recording...Thats because the orchestra is using the authentic period instruments...But the way they are playing and the way they are singing is absolutely modern and young...I loved the harpsichord player who accompanies the recitativos...He is just like a cast in le nozze...he is acting with his fingers...Singers are at their top...Jacobs conducting is marvellous...Nice Tempos suited to the performance...And the orchestra makes everything brighter...

The style is young and dynamic...A youthened mature Figaro recording...If you are a figaro collector this must be in your shopping basket...

A very effective, if totally unsmiling Figaro, in the period style.......2006-02-20

It's a shame that Rene Jacobs, who is such a skillful opera conductor in the period style, doesn't see Le Nozze di Figaro as a comedy. I'm pretty sure Da Ponte and Mozart did, but Jacobs brings out the class resentment more than I like. Beaumarchais's point, after all, was that the servants in this topsy-turvy household are wiser and wittier than their masters. A great Figaro gives us a smiling, knowing Susanna with a soft heart but more than a touch of the minx--I hear none of those qualities in the serious, efficient portrayl by Patrizia Ciofi, appealing as she is musically.

Her partner, Figaro, needs to be charming, a bit of a rogue and a hothead, sly, and always a mental step ahead of the Count. He is the lovable underdog who controls the whole scheme right under his master's nose. Lorenzo Ragazzo mildly suggests these qualities without really embodying them; he comes off as a good singer making nice points rather than a natural-born comedian, leader, or scamp.

The strength of this Figaro is the ensemble, since there's not a weak voice or lame actor in the bunch. Jacobs has totally overcome the technical weakness that usually plagues period performances--I felt a confident hand at the helm all the time, eliciting alert, if not deeply felt playing from the orchestra. Of course, deeply felt is the opposite of what period performances aim at in Mozart, sadly. This Figaro sparkles and skips along, which is satisfying in a different way.

Mascagni - Cavalleria Rusticana & Leoncavallo - Pagliacci / Pavarotti, Freni, Varady, Cappuccilli, Gavazzeni, Patanè

Average customer rating:

Outstanding
I'm lucky to own this!

Mascagni - Cavalleria Rusticana & Leoncavallo - Pagliacci / Pavarotti, Freni, Varady, Cappuccilli, Gavazzeni, Patanè
Pietro Mascagni , Ruggero Leoncavallo , National Philharmonic Orchestra , Gianandrea Gavazzeni , Giuseppe Patanè , Luciano Pavarotti , Julia Varady , Mirella Freni , London Opera Chorus , Piero Cappuccilli , Carmen Gonzales , Vincenzo Bello , Finchley Children's Music Group , Ingvar Wixell , Lorenzo Saccomani , and Ida Bormida
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Freni, Mirella | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan
Verdi - Rigoletto / Sutherland, Pavarotti, Milnes, LSO, Bonynge
Puccini - Turandot / Sutherland · Pavarotti · Caballé · Ghiaurov · Krause · Pears · LPO · Mehta
Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti

ASIN: B0000041QR
Release Date: 1990-10-25

Tracks:

Cavalleria Rusticana: Preludio
Cavalleria Rusticana: O Lola ch'hai di latti la cammisa
Cavalleria Rusticana: Ah!... Gli aranci olezzano
Cavalleria Rusticana: Dite, mamma Lucia
Cavalleria Rusticana: Il cavallo scalpita
Cavalleria Rusticana: Beato voi, compar Alfio
Cavalleria Rusticana: Voi lo sapete, o mamma
Cavalleria Rusticana: Tu qui, Santuzza?
Cavalleria Rusticana: Fior di giaggiola
Cavalleria Rusticana: Ah! lo vedi
Cavalleria Rusticana: Oh! il Signore vi manda
Cavalleria Rusticana: Intermezzo
Cavalleria Rusticana: A casa, a casa
Cavalleria Rusticana: Viva il vino spumeggiante
Cavalleria Rusticana: A voi tutti salute!
Cavalleria Rusticana: Mamma, quel vino e generoso
Cavalleria Rusticana: Prologo: Si puo? Si puo?

Tracks:

Cavalleria Rusticana: Act I: Son qua!
Cavalleria Rusticana: Act I: Un grande spettacolo
Cavalleria Rusticana: Act I: Un tal gioco, credetemi
Cavalleria Rusticana: Act I: I zampognari!
Cavalleria Rusticana: Act I: Qual fiamma avea nel guardo!... Stridono lassu
Cavalleria Rusticana: Act I: Sei la!
Cavalleria Rusticana: Act I: Nedda! Silvio, a quest'ora
Cavalleria Rusticana: Act I: Cammina adagio
Cavalleria Rusticana: Act I: Recitar!... Vesti la giubba
Cavalleria Rusticana: Act I: Intermezzo
Cavalleria Rusticana: Act II: Ohe!... Ohe!
Cavalleria Rusticana: Act II: Pagliaccio, mio marito
Cavalleria Rusticana: Act II: E dessa!
Cavalleria Rusticana: Act II: Arlecchin! Colombina!
Cavalleria Rusticana: Act II: Versa il filtro ne la tazza sua
Cavalleria Rusticana: Act II: No, Pagliaccio non son

Amazon.com essential recording

This may not be the most dramatically charged of all Cav/Pag combos, but it does star the golden-voiced, sincere, in-his- prime Luciano Pavarotti in both operas, and that's enough for some people. Add to this the lovely Mirella Freni as Nedda in I Pagliacci, and the exciting, underrecorded Julia Var´dy in Cavalleria Rusticana, and quite the dramatic evening unfolds. Giuseppe Patané leads I Pagliacci with vigor and sensitivity to the tenor, who turns in a stunning "Vesti la giubba," and Gianandrea Gavazzeni takes a big approach to the earlier scenes in Cavalleria Rusticana, while keeping the one-on-ones intimately intense. Ingvar Wixell is overparted as Tonio, but Piero Cappuccilli's Alfio is a fine, snarling portrait. A first choice for Cavalleria Rusticana alone might be the recording with Domingo and Baltsa or that with Bjorling and Milanov; for I Pagliacci alone, try Björling and de los Angeles. But if it's The Large One you want, here's the right place. --Robert Levine

Customer Reviews:

Outstanding.......2004-06-20

This CD-Box is outstanding. Here you will find Pavarotti at his best, surrounded by other great artists. The few minutes of "Ridi pagliaccio", by itself, is worth more than the full price. When I listen to this CD, or to "La Boheme", or "Turandot", by the same label (Decca), all sung by Pavarotti during his peak years, I cannot avoid finding myself, at some point, with tears in my eyes. If you love opera, you should own all Puccini sung by Pavarotti in his best years. I think that whatever Pavarotti did or sung in his latest years cannot stain a life of wonderful achievements. And it's beautiful that his achievements will be available for everybody to listen for ages to come.
But beware... After listening to these wonderful Decca-Pavarotti recordings, most live performances of Puccini operas will end up being very disappointing...

I'm lucky to own this!.......2002-08-19

I bought this CD because I was in the choir of a production of "I Pagliacci" in the city Stjørdal, Norway in 2002. (The opera is called "Bajazzo" in Germany and Scandinavia)
I had not heard very much of the music before I got the recording, but I have listened to it several times now!
The music by leoncavallo is beautiful - it thrills with the light, soft songs but it also amazes with the powerful and dramatical songs!
My favorite songs are the choir of the bells, Silvio and Nedda's love duet, Vesti la giubba (as you might have heard) and the whole second act.

I have started to listen to "Cavalleria Rusticana" too, though I haven't heard all of it. But it seems like a great opera too - the music touches me. Actually, I'm working on a translation of Cavalleria Rusticana. I don't think it has been translated to Norwegian before, and it's a hard job!

Tracks:

The Four Seasons: (Winter): Largo
Guitar Concerto in D: Largo
Flute Concerto In D (II gardellino): Cantabile
Concerto In C For Diverse Instruments: Andante molto
String Concerto in G minor: Andante molto
Concerto in D for 2 violins & 2 cellos: Largo
Oboe & Violin Concerto in G minor: Larghetto
Guitar Concerto in A minor: Laro
Triple Violin Concerto in F: Andante
Flute Concerto in F: Largo
Viola d'amore Concerto in D minor: Largo
Violin Concerto in E (II riposo): Allegro
Oboe & Bassoon Concerto in G: Largo
Violin Concerto No. 6 in B-flat: Largo
Concerto in A for Guitar, Violin, Viola & Cello: Larghetto
Violin Concerto in E (L'amoroso): Allegro
Flute Concerto No.4 in G: Largo
Violin Concerto in A (with echo violin): Larghetto
Violin Concerto in C minor (II sospetto): Andante
Double Oboe Concerto in A minor: Largo
Concerto in G minor for the Dresden Orchestra: Largo non molto
Violin Concerto in A minor: Largo
Oboe Concerto In C: Adagio
Flue Concerto No.2 in G minor (La notte): Largo

Amazon.com

Another installment in Philips's Set Your Life to Music series (which has included Mozart for Your Mind, Baroque at Bathtime, and Rachmaninoff for Romance, among others), Vivaldi for Valentines is loosely built around the aura of romance that Venice continues to evoke. Vivaldi captured it for all time in his music, inspired by the often melancholy beauty of his native city, one that has been known through the ages as La Serenissima. Along with such ultrafamiliar pieces as the "Winter" largo movement from The Four Seasons (in which the violin sighs a rapturous melody against sounds imitating a crackling, cozy fire) and the Largo of the Guitar Concerto in D--Vivaldi's slow movements, with all their gentle dreaminess, being given the limelight in this compilation--are many gems you've likely not heard before. The list of performers and approaches is too expansive even to mention but predominantly features performances by I Musici. It's hard to believe that Vivaldi's music, having sunk into oblivion, resurfaced again only a few decades ago. This is a pleasant compilation that makes a perfect entrée if you'd like to learn more about classical music--and Vivaldi in particular--than The Four Season. And, as for setting a romantic mood, this will give your mojo all the help it needs. --Thomas May

Customer Reviews:

More of Vivaldi's great music........2001-08-24

When it comes to Vivaldi's works, the majority of people usually tend to associate him solely with composing the Four Seasons. However, this particular cd will introduce classical music lovers to other music that he composed for various stringed instruments, including the violin and cello. It does include a section from Winter of the Four Seasons, but the rest is other music that some may not be too familiar with. For a low price, you'll be getting a great selection of music.

Just great!.......2000-07-10

I don't really know a lot about classical music even though I listen to a lot of it. All I can say is that every piece on this collection evokes a tremendous amount of peace and happy emotion. I listen to it in my office, and that in combination with my new fountain.... better than Prozac. My favorite piece is "Concerto for Guitar in D major: Largo" (sample #2 above). Highly recommend!

Heard "Four Seasons"? Want more? GET THIS!.......1999-03-16

Almost everyone knows Vivaldi's "Four Seasons". If you love that gorgeous piece of music, than I say your next purchase should be this! It is a gorgeous collecton of string quartets along with flutes and very impressive classical guitar. I put it on whenever I need to be taken away from this world, or when I need some artistic inspiration.

Average customer rating:

Taste of European Rap
Jovanotti neophytes start here
Fun, but a little dated
La musica italiana è la più bella
Great cross-cultural experience

Lorenzo 1990-1995 Raccolta
Jovanotti
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Latin Music | Styles | Music

Latin Rap | Latin Music | Styles | Music

General | Pop | Styles | Music

General | Rap & Hip-Hop | Styles | Music
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Buon Sangue
Lorenzo 1997: L'Albero
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Il Quinto Mondo

ASIN: B0000015VJ
Release Date: 1995-11-11

Tracks:

L'Ombelico Del Mondo
Ragazzo Fortunato
Muoviti Muoviti
Chissa' Se Stai Dormendo
Una Tribu' Che Balla
Non M'Annoio
Libera L'Anima
Quando Sarai Lontana
Gente Della Notte
Ciao Mamma
Io No
Io Ti Cerchero'
Serenata Rap
Piove
Penso Positivo
Marco Polo

Customer Reviews:

Taste of European Rap.......2005-12-31

The rap which Jovanotti offers is a melodic alternative to the American version of the same musical style...

Jovanotti neophytes start here.......2005-11-24

One of the amazon reviews claims the album is dated. I strongly disagree. 1990-1995 RACCOLTA is a compilation CD (obviously) that excludes the very dated and very juvenile (but often amusing) earlier efforts of this phenomenally popular Italian Hip Hop singer/songwriter. In the beginning, he appeared to be merely an (even goofier) Italian Beastie Boy(s, an obvious influence). Lorenzo Cherubini, better known as "Jovanotti", is a very positive, upbeat and somewhat hippie rapper with often intelligent and politically progressive lyrics set to catchy, often unique tunes. Check out his music video clips on his official website (I don't think amazon will let me put the address in here, so do a web search; ".it" is for Italian sites). As a recent music column in an Italian weekly stated, Jovanotti often upstages all other performers even when performing a ridiculous song. One could say his voice is "bel niente", i.e. certainly not pretty or strong in a purely physical sense, but I've grown to love it and have great affection for his positive life force and what I imagine to be a lively spiritual influence on Italian music fans. And to the same reviewer mentioned above: I bought this CD in '95 and have been enjoying it for 10 years now. Lorenzo is about 40 now (2006), but the music will appeal to much younger, and quite possibly much older fans.

N.B. You can download a 4-part (Italian-language) interview with Lorenzo Cherubini from MTV Storytellers, available FREE from the iTunes store.

Fun, but a little dated.......2002-02-12

I wish I had found this CD ten years ago. I would have loved it then. Now, like fade haircuts and MC Hammer pants, it all seems out-of-date (ok, maybe it's not that bad). Worth a few listens, but I'm guessing that unless you're already a fan, it probably won't become a favorite CD.

La musica italiana è la più bella.......2001-11-12

Jovanotti's eclectic mix of rock, rap, and funky beats just gets you pumped up. There is not a single song on this album that I don't enjoy. They're all awesome, as is this great Italian rocker.

Great cross-cultural experience.......2000-09-10

It's fun to hear Italian lyrics flowing over trans-world rhythms in a funky, hip-hop manner. Jovanotti has a positive, upbeat take on the world. It's great for learning Italian. This is his best since it spans his early career; "Capo Horn" is less fun although it has a few gems. If you don't speak Italian you'll wish you did, and wonder at how well it raps.

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