Clandestino - Esperando La Ultima Ola

Amazon.com
As one of the driving forces in the French-Spanish ethno-punk band Mano Negra, songwriter-guitarist Chao delivers a surprising solo endeavor. Centered around a simple editorial writing style and an acoustic guitar, this album chronicles his political and personal travels around the world, studying the foibles of life in Latin America and the Caribbean, through Africa and back to Europe. He quotes but never actually plays salsa, son, reggae, Latin pop, and African folk music, all to the service of his songs (written and sung in English, French, and Spanish). The backing is a deceptive hodgepodge of guest artists and collected sounds he has pasted together to service the simple songs he sings. There is a circuslike feel to the whole project, a childlike sense of wonder coupled with a cynical and sometimes sly glance at the "real world." This is a single piece of work, each song bleeding into the next without stopping, a train ride that slows at each station along the way but never stops. It has charm, wit, and depth--a rare and potent combination of virtues for a pop musician. --Louis Gibson

Product Description
The first solo album released by the former frontman of Mano Negra, 'Clandestino' (released in 1998) is an enchanting trip through Latin-flavored world-beat rock, reliant on a potpourri of musical styles from traditional Latin & salsa to dub to rock & roll to French pop to experimental rock to techno. 16 tracks. Virgin.

Clandestino - Esperando La Ultima Ola,Manu Chao,Ark 21,Latin,Latin Music,Latin Pop/Rock,Rock

Average customer rating: Callas in Turandot Despite fine singing, mono sound disappoints If , and only if, you are a Callas fan: Get this! The best Liu on disc A great moment - a revelation

Puccini: Turandot (Complete Opera) Maria Callas; Elisabeth Schwarzkopf: Eugenio Fernandi; Tullio Serafin Eugenio Fernandi , Giuseppe Nessi , Nicola Zaccaria , Giulio Mauri , Mario Borriello , and Milan Chorus & Orchestra of La Scala Theatre Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music 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 Callas, Maria | Divas | Opera & Vocal | Styles | Music Similar Items: Puccini: La Boheme (complete opera) with Maria Callas, Giuseppe di Stefano, Anna Moffo, Antonino Votto, Chorus & Orchestra of La Scala, Milan Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra Puccini: Madama Butterfly (complete opera) with Maria Callas, Lucia Danieli, Nicolai Gedda, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan Puccini: Manon Lescaut (complete opera) with Maria Callas, Giuseppe di Stefano, Tullio Serafin, Chorus & Orchestra of La Scala, Milan ASIN: B000002RY0 Release Date: 1997-08-19

Tracks:

1. Turandot: Act One: Popolo di Pekino!
2. Turandot: Act One: Padre! Mio padre!
3. Turandot: Act One: Perduta la battaglia
4. Turandot: Act One: Gira la cote! Gira!
5. Turandot: Act One: Perche tarda la luna?
6. Turandot: Act One: La, sui monti dell'est
7. Turandot: Act One: O giovinetto!
8. Turandot: Act One: Figlio, che fai?
9. Turandot: Act One: Fermo! che fai? T'arresta!
10. Turandot: Act One: Silenzio, ola!
11. Turandot: Act One: Guardalo, Pong!
12. Turandot: Act One: Non indugiare!
13. Turandot: Act One: Signore, ascolta!
14. Turandot: Act One: Non piangere, Liu!
15. Turandot: Act One: Ah! per l'ultima volta!
16. Turandot: Act Two: Scene One: Ola, Pang! Ola, Pong!
17. Turandot: Act Two: Scene One: O Cina, o Cina
18. Turandot: Act Two: Scene One: Ho una casa nell'Honan
19. Turandot: Act Two: Scene One: O mondo, pieno di pazzi innamorati!
20. Turandot: Act Two: Scene One: Addio, amore!
21. Turandot: Act Two: Scene One: Noi si sogna
22. Turandot: Act Two: Scene Two: Gravi, enormi ed imponenti
23. Turandot: Act Two: Scene Two: Un giuramento atroce mi costringe
24. Turandot: Act Two: Scene Two: Diecimila anni ai nostro Imperatore!
25. Turandot: Act Two: Scene Two: In questa reggia
26. Turandot: Act Two: Scene Two: Straniero, ascolta! Nella cupa notte
27. Turandot: Act Two: Scene Two: Guizza al pari di fiamma
28. Turandot: Act Two: Scene Two: Gelo che ti da foco
29. Turandot: Act Two: Scene Two: Gloria, o vincitore!
30. Turandot: Act Two: Scene Two: Figlio del cielo!
31. Turandot: Act Two: Scene Two: Tre enigmi m'Hai proposto!
32. Turandot: Act Two: Scene Two: Ai tuoi piedi ci prostriam

Tracks:

1. Turandot: Act Three: Scene One: Cosi comanda Turandot
2. Turandot: Act Three: Scene One: Nessun dorma!
3. Turandot: Act Three: Scene One: Tu che guardi le stelle
4. Turandot: Act Three: Scene One: Principessa divina!
5. Turandot: Act Three: Scene One: Quel nome!
6. Turandot: Act Three: Scene One: L'amore? ... Tanto amore, segreto e inconfessato
7. Turandot: Act Three: Scene One: Tu, che di gel sei cinta
8. Turandot: Act Three: Scene One: Liu...bonta!
9. Turandot: Act Three: Scene One: Principessa di morte!
10. Turandot: Act Three: Scene One: Che e mai di me? Perduta!
11. Turandot: Act Three: Scene One: Del primo pianto, si...La mia gloria e il tuo amplesso!
12. Turandot: Act Three: Scene One: Diecimilla anni al nostro Imperatore!

Amazon.com

This is a would-be classic. The younger, pudgier Maria Callas sang the role of Turandot with a hurricane force that's rarely been equaled. But by 1958--when this recording was made--the slimmer, wiser Callas had less of the vocal power required by the opera's Act II shouting match (also known as "The Riddle Scene"), and the character's simplistic motivation (beheading suitors as a way of not dealing with her sexual frigidity) offered little for her sophisticated theatrical imagination. As the suitor who breaks through her barriers, tenor Eugenio Fernandi is little better than adequate. Elsewhere, there are strong pluses: In the uncharacteristic role of Liu, Elisabeth Schwarzkopf summons the honeyed tone of her earlier years as well as the dramatic specificity of her maturity. Conductor Tullio Serafin gives one of his most individualistic, dramatically memorable interpretations. He never lets you forget this is an ugly story about barbaric people, underscoring Puccini's every dissonance and inspiring a supremely vivid performance from the La Scala chorus. --David Patrick Stearns

Customer Reviews:

Callas in Turandot.......2006-12-03

I would recommend this recording to Callas lovers. It is the only true Turandot available in full form. They claim there is one from 1949 with del Monaco, but it was only partly recorded. This is Callas's only full recording of Turandot, with Serafin conducting, so I would also recommend it to people who love Turandot. Serafin gives an exciting, insightful performance (one of those we rarely get from Serafin) and is very well-done by the Teatro alla Scala's Chorus and Orchestra. This is where the glory ends. Callas's drama is almost undectable, her '47, '48, and '49 Turandots were all about vocal glory, which is something Callas by now is on her way to... redefining. So, she is conserving her voice, something one does not do and pull off a Turandot, unless one is Callas. And here, one is. This is a very good Turandot for collectors, but don't make it your first. For that I would recommend the Turandot with Nilsson and Corelli with Molinari-Pradelli conducting. Quatre stelle!

Despite fine singing, mono sound disappoints.......2006-06-02

Callas fans will want to own this, but I cannot recommend it as a first Turandot. It is an opera of lush orchestration and complex ensembles more than of melodies, and the mono recording just can't handle it; the ear struggles to pick out the different parts, and at times it is impossible even to follow along in the libretto. The chorus in particular tends to disappear in quieter passages, of which there are many. This work cries out for a lush modern stereo recording.

If , and only if, you are a Callas fan: Get this! .......2005-04-14

This recording is only for Callas-fans. Serafin is allways good, but he does nothing spesial here. Schwarzkopf is nothing more than adequat as Liù and the Calaf of Fernandi is not even that.

Even Callas - the only reason to by this set - is in unsteady voce. Here top often gets out of control, and some times it gets really ugly. Listen to the frase "quell grido e quella morte" in "In questa regga": she lacks control here!

But still: If you are - like I am - a fan of Callas, you simply must have this. She may have lost some of the brilliant voce she had before 1955 (give or take a year), but she still is an amazing acter. She colores everything so beautifully, and she gives the unhuman Turandot a human, beleveble "face".

The best Liu on disc.......2005-03-05

This may come as a surprise but I truly believe that Schwarzkopf is the most touching Liu on disc. It is also amazing to realise in this site how many people simply fail to have an opinion of their own regarding the singing and just repeat some classical reviews made by certain People in a certain Era and for certain Reasons which I care not to explain.
All you have to do is play the part where Callas sings the phrase: "Chi posa tanta forza nel tuo core?" and Elisabeth responds: "Principessa, l'amoooreeee" On the word "amore" we have one of the subtlest and most expressive pianissisimi ever made by a human throat. It can melt your heart...it is not a pianisimo made by the singer in order to sound beautiful or to sing a high note that could not be reached forte (like by Caballe whose pianissimi always served her technique and nothing else). It is a pianissimo made by the most profound musicality and the most sensitive intention towards the composer's description of Liu's character. Because Schwarzkopf as well as Callas never sang a pianissimo unless they wanted to say something with it...
This is a heart breaking Liu and I dare to say that the "Cold Diva" is a thousand times warmer and more expressive than supposedly succesful Lius on disc whose singing I find completely COLD. I also believe that this performance is the most mis-judged performance in the 20th century Anyone with a heart remains cold and unmoved by Liu when sung by Caballe or Tebaldi or Gheorghiou...but here! This is so unbelievable touching that it brings tears... The Ultimate Exmaple of Schwarzkopf's lesson in Opera: that precision, accuracy and subtle colors are sometimes enough to reveal the beauty of music.
I won;t even mention Elisabeth's "Tu che di gel" ... it is not necessairy to make my point. Just listen to that phrase:
"Principessa, l'amooooooooooooreeeeeee" and you will realise what makes the difference of a Genius singing.

Callas here sings with more passion that Nilsson did in her entire career. The only rival for this Turandot is Borkh's...

A great moment - a revelation.......2004-10-23

I read all the reviews in this page and hoped for some reason and some musical criticism but as usual with Amazon the negative "reviews" are nothing except insipid, bottom-showing crap. One even plagiarised an entire review from somebody else. One can see how much hatred great talent can provoke. Then the bashing is written in awful grammar and unmusical nonsense is sold as the "truth". If Callas' voice HAD been "weak" and "thin" she could hardly have performed Aida, Tosca, Brünnhilde, Isolde, Kundry and Turandot to great critical acclaim. This Turandor really "bursts with colour" as another reviewer wrote. Schwarzkopf, ever intelligent and idiomatic, redeemed the lovely role of Liu of all the verismo-mannerisms that had plagued it before. Callas, in 1957 her voice was in beautiful shape though not as tough as it used to be, creates the most insightful, impressive Turandot that doesn't merely blow out her guts but shows feeling and emotion to. Listen how she phrases the word "Amore" and be floored by such beauty. Fernandi might not be a Corelli but I found his Prince to be very charming and truly heart-warming. Serafin conducts Puccini to perfection, nobody ever did it as well as he, who had witnessed Puccini himself. Two thumbs up indeed!

Average customer rating: Good parts version Excellent recording of Puccini masterpiece Opera Loving Bartender Turandot of the Century

Puccini: Turandot (Highlights) / Mehta, Sutherland Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | 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 Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music Sutherland, Joan | Divas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Puccini: Tosca (Highlights) / Freni, Pavarotti Puccini - La Bohème / Freni, Pavarotti, Harwood, Berlin Phil., Karajan [Highlights] Puccini: Madama Butterfly Highlights Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti Puccini: Turandot (Highlights) / Karajan, Domingo ASIN: B000009OU9 Release Date: 1998-08-11

Tracks:

1. Atto I: Popolo di Pekino!
2. Atto I: Gira la cote!
3. Atto I: Signore, ascolta!
4. Atto I: Non piangere, Liu!
5. Atto I: Ah! Per L'ultima volta!
6. Atto II: Ola, Pang! Ola, Pong!
7. Atto II: Ho una casa nell'Honan
8. Atto II: In questa Reggia
9. Atto II: Gelo che ti da foco
10. Atto II: Figlio del Cielo!
11. Atto III: Nessum dorma!
12. Atto III: Quel norme!
13. Atto III: Tanto amore segreto
14. Atto III: Tu che di gel sei cinta
15. Atto III: Principessa di morte!
16. Atto III: Che e mai di me ?
17. Atto III: Del primo pianto
18. Atto III: So il tuo norme!
19. Atto III: Diecimila anni al nostro Imperatore!

Customer Reviews:

Good parts version.......2005-08-22

This is the "good parts version" of this wonderful opera. Pavarotti & Sutherland are so splendid, so powerful, so suited to each other. The best songs on this cd bring me to tears (and my husband too!). The only thing that would be better is the entire opera. But this is half the price and 80% of the wonderfulness.

Excellent recording of Puccini masterpiece.......2002-12-10

Congrats all the way around for this excellent recording of "Turandot." Many cite this as the best on the market and I can see why. It boasts a stellar cast and conductor who really seems to understand the opera and Puccini's style.

The singers are in top form. Leading the charge is Joan Sutherland in the wholly uncharacteristic role of Turandot. I would not have thought of her in the role, and I imagine I am not alone on that one. But she acquits herself spendidly, lending a golden tone and pitch perfect sureness to this demanding role. The Act III duet with Pavarotti is particularly superb. Her acting is a touch underpowered but sufficient. However, the role is sung with great care and beauty.

Montserrat Caballe makes for luxury casting as Liu, considering that she would go on to record the title role. Rarely is a voice of her heft and richness cast in this very lyric soprano role. Her account of "Tanto amore segreto" is smashing. Her contribution to the Act I finale is also fantastic.

Pavarotti is also perfectly cast as Calaf, a role he would later sing on stage with Caballe as his Turandot (available in a live recording on the Gala label, well worth checking out). Pavarotti's voice just oozes heroism, and his spot-on technique (a little 'scooping' notwithstanding) is phenomenal. In a role that has attracted the most accomplished tenors of the century (Bjoerling, di Stefano, Domingo, Carreras, Corelli) Pavarotti more than holds his own. Outstanding.

Nicolai Ghiaurov's account of Timur is tonally lovely. His bass is pliant, with an affecting lightness in this role.

Conductor Zubin Mehta paces the opera beautifully. It is so refreshing to hear a conductor give the piece the "oomph" it needs in order to be the gripping tale that it is. After slogging through both Karajan and Maazel, I have to thank Mehta for understanding Puccini's style. Puccini is not Wagner and should not be treated as such. Puccini's operas tug at the heart because they take the hearer along with them for the ride. His style is not heady or academic and neither is Mehta's. Instead we get a rich and emotional account of this exquisite piece of music. Bravo!

The John Alldis Choir and London Philharmonic Orchestra also shine here, with some of the best work I have heard on an opera recording.

Excellent. A must have for Puccini enthusiasts. Of course, consider buying the entire set, which is reasonably priced. But if you just want the highlights, this is a perfect choice.

Opera Loving Bartender.......2002-05-09

Living in San Francisco for 30 years afforded me many great nights at the opera,and I was very fortunate to hear and see singers who today are mostly retired or deceased and now fall into the category of legendary,phenomonal,and unsurpassed to several new generations of young lovers of fine singing.It did not matter that Luciano Pavarotti, in full costume, resembeled a Mardi Gras float,or little Carlo Bergonzi went up on tiptoes for all those perfect high notes, the sound of their voices will forever ring in my ears.Two operas in particular were unforgetable.PAVAROTTI/CABALLE in TURANDOT,with Prince Charles in the audience for added luster, and CABALLE/HORNE in Semeramide. One would be hard pressed to ever hear finer singing. The Sutherland-Pavarotti disc is probably the best in modern sound[30yrs old]with the highlight being the Liu of Caballe,but in 1959,one year before his untimely death,Jussi Bjorling with the great Birgit Nilsson gave us an early stereo Swedish tour de force, recently remastered,that still stands at the top ,where it rightfully belongs.
Louis S Davis

Turandot of the Century.......2000-03-31

Dame Joan Sutherland has previously been referred to as the 'Voice of the Century' along with many other titles attesting the the magnificence of her singing and the sheer beauty of her voice. However at first thought, the prospect of her singing the role of Turandot, a role she did not sing on stage, might not ring true to most operaphiles. Her reputation as the finest, if not the only, dramatic coloratura would not seem to be compatible with this role. Fortunately one only has to hear a few bars to understand that this recording represents not only a beautifully sung Turandot but also has all the dramatic vocalization required (and not only by Miss Sutherland, but the entire cast as well). This is not a strident Turandot, but a heroic one with stunning tones that soar over the orchestra and chorus. The stellar cast also includes Caballe, among others, and frankly a more vocally desirable Liu could not be imagined. Any recording of opera that I have heard conducted by Zubin Mehta has always been a revelation; his genius in bringing otherwise hidden instrumentation foward into appropriate context, use of correct tempi and dynamics is invariably correct and results in stunning interpretation. This is a Turandot (get the complete version!) to be cherished for a century! We are not likely to hear the likes of another in this lifetime.

Average customer rating: One of the best opera recordings ever Totally brilliant Vivaldi Requiem for a dead son

Antonio Vivaldi: Farnace Manufacturer: Alia Vox Spain ProductGroup: Music Binding: Audio CD All Works by Vivaldi | Vivaldi, Antonio | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Vivaldi Edition: L'Olimpiade Vivaldi: Bajazet [Includes Bonus DVD] Vivaldi Edition: Orlando finto pazzo Vivaldi: Il Giustino Motezuma ASIN: B0000634VT Release Date: 2002-09-10

Amazon.com

For all Vivaldi's current popularity, his nearly 50 operas continue to languish in undeserved obscurity. This live performance of his 1727 hit, Farnace, should help rectify posterity's oversight, for the music is compelling and the spirited singing and conducting are irresistible. The plot is a typical 18th-century opera narrative concerning people in ancient times whose confusing doings resist concise summary, but combine family discord, high politics, hate, love, and forgiveness. Jordi Savall leads his crack period instrument ensemble in a spirited rendition that stresses dramatic values. His sterling cast has no discernible weak links and several especially strong ones, such as baritone Furio Zanasi in the title role, contralto Sara Mingardo as his wife, and the daughter of the villainess of the opera, Farnace's arch-rival, Queen Berenice, soprano Adriana Fernandez. In fact, everybody sings with dramatic abandon and uses stunning coloratura effects. Savall also interpolates about 20 minutes of music from another Farnace opera written a dozen years later by Francesco Corselli, emulating the period practice of inserting materials by other contemporary composers. The fluent singing and dynamic drive of the orchestra make this among the best recordings of Baroque Italian opera. The format is a book-style packaging, with lavish illustrations, full text, and translations. --Dan Davis

Customer Reviews:

One of the best opera recordings ever.......2004-08-15

I agree wholeheartedly with the reviewers below. I am relatively new to vocal music and I tend to respond on a wholly emotional level.
Some Baroque operas with lenghty recitives tend to bore me. But Savall and his cast have brought to life even those passages of the opera. The cast was recorded live in a Madrid opera house. Not all live recordings of operas are successful. But Savall and company have left me all atingle an hour after I finished listening.
I realize that two other reviewers have given much more lucid, analytical reviews, but I was just wowed by this recording so much.
I recommend this not just to baroque opera or Vivaldi lovers but as a CD that belongs in every classical music lover's collection.

Totally brilliant Vivaldi.......2004-06-23

I agree wholeheartedly with reviewer Glidden's very expert review with the sole exception that I am madly in love with Sara Mingardo and although I am basically a soprano-lover, Sara is my absolute favorite Vivaldi singer. You should also purchase La Verità in Cimento, L'Olimpiade and Vespri per l'Assunzione di Maria Vergine. You will be totally convinced of her tremendous ability. The CDs come with an absolutely superb libretto. There is one minor flaw in this whole thing but by no means should you permit it to deter you from purchasing this work. The CDs are actually stored in slip-in jackets which are pages in the libretto. It cannot possibly be beneficial for the CDs to be put in and pulled out of these very tight jackets. Very definitely buy this work and then do yourself a big favor by buying a couple of empty jewel cases and storing the CDs in them as CDs should be stored. It will be well worth the small price (I buy them 3 for about $5).

Requiem for a dead son.......2003-06-27

Vivaldi's vocal music will, I believe, eventually be adulated on a level approaching Bach's. For those who have labored through the rocky trails of bizarre, overpriced, and obscure recordings of his sacred music, recently revitalized by Robert King and Rinaldo Alessandrini, to name two, his operatic repertoire is a godsend, all the more so since these latter CD's have been favored by truly excellent singers. And no wonder. Who, other than Bach (and, to lesser extent, Handel), forges the indissassociable link between instrumental and vocal writing, giving us wind instruments that sigh and weep and cadenzas that soar like violins (or, in the case of our altos, like violas)? Jordi Savall's Farnace is bold. The more-or-less incomprehensible plot, with its gratuitious secondary love story, is simply the occasion for the music. This is the forgiveness we have to extend to these Venetian operas in order to enter them. When they are graced with such singers as these, the music opens our ear, heart, and mind and lets the trumpet call in. I bought this recording, (full-price!), for its three contralti, Sara Mingardo, Gloria Banditelli, and, my current favorite, Sonia Prina. Ms Mingardo and Ms. Banditelli are long-time heralds of the true contralto in baroque music, but only Ms. Prina, at the ripe old age of 29, makes my heart both thrill and melt. Perhaps less so in this recording than her Aristea in Alessandrini's Olympiade with her incomparably languid force, than here with her Marilyn Horne-worthy coloratura, but as part of this ensemble her major talent announces a great work. I will confess another miscasting in the role of the "Amazone d'Oriente" Berenice in Ms. Fernandez (too sweet for a murderous, tyranical queen! Her photo belies the role 100%) but the blame lies elsewhere than in her voice. The surprises came with Cinzi Forte, aptly named indeed, and her wind-swept mastery, and even more so, Furio Zanasi, whom I have not heard since Rene Jacob's legendary Guilio Cesare (Achilla). His full-throated approach to singing can leave one overwhelmed, but that is desireable here in a man bent with grief for his dead son. His 9:09 minute long aria "Gelido in ogni vena" is beyond the pale, metaphor intended.
There is much to discover in these three disks and Savall's additions from Corselli's version are ultimately enriching. Final note: the set photos are dramatic, baroque, and utterly splendid, making you regret having missed the performance and hoping fervently for its revival.

Average customer rating: unsubtle live perfomance Dimitrovapalooza

Puccini - Turandot / Dimitrova · Martinucci · Gasdia · Scandiuzzi · Opera di Genova · D. Oren Giacomo Puccini , Daniel Oren , Ghena Dimitrova , Nicola Martinucci , Orchestra e Coro del Teatro Comunale dell'Opera di Genova , Cecilia Gasdia , Roberto Scandiuzzi , Giancarlo Ceccarini , Tullio Pane , Piero De Palma , Angelo Casertano , Alfredo Giacomotti , and Ivan Del Manto Manufacturer: Arts Music ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Giacomotti, Alfredo | ( G ) | Featured Performers, A-Z | 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 ASIN: B000005APR Release Date: 1997-11-18

Tracks:

1. Act I: Popolo Di Pekino! - Alfredo Giacomotti/Cecilia Gasdia/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
2. Act I: Indietro Cani! - Tullio Boni/Cecilia Gasdia/Nicola Martinucci/Roberto Scandiuzzi/Chor Del Teatro Comunale Dell'Opr...
3. Act I: Gira La Cote! - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni/Nicola Martinucci/Cecilia Gasdia
4. Act I: Perche Tarda La Luna? - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
5. Act I: O Giovinetto! Grazia, Grazia! - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni/Nicola Martinucci
6. Act I: Figlio, Che Fai? - Roberto Scandiuzzi/Nicola Martinucci/Cecilia Gasdia
7. Act I: Fermo! Che Fai? T'Arresta - Giancarlo Ceccarini/Piero De Palma/Tullio Pane/Nicola Martinucci
8. Act I: Non Indugiare - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni/Nicola Martinucci/Giancarlo Ceccarini...
9. Act I: Signore, Ascolta! - Cecilia Gasdia
10. Act I: Non Piangere, Liu - Nicola Martinucci/Cecilia Gasdia/Roberto Scandiuzzi
11. Act I: Ah! Per L'Ultima Volta! - Robert Scandiuzzi/Cecilia Gasdia/Giancarlo Ceccarini/Piero De Palma/Tullio Pane/Nicola Martinucci...
12. Act II, Scene I: Ola, Pang! Ola, Pong - Giancarlo Ceccarini/Piero De Palma/Tullio Pane
13. Act II, Scene I: Ho Una Casa Nell'Honan - Giancarlo Ceccarini/Piero De Palma/Tullio Pane
14. Act II, Scene I: O Mondo, O Mondo - Giancarlo Ceccarini/Piero De Palma/Tullio Pane/Chor Del Teatro Comunale Dell'Opr Di Genova...
15. Act II, Scene II: Intro - Orch Del Teatro Comunale Dell'Opr Di Genova/Daniel Oren
16. Act II, Scene II: Gravi, Enormi Ed Imponenti - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
17. Act II, Scene II: Un Giuramento Atroce Mi Costringe - Angelo Casertano/Nicola Martinucci/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
18. Act II, Scene II: Popolo Di Pekino! - Alfredo Giacomotti/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni

Tracks:

1. Act II, Scene II: In Questa Reggia - Ghena Dimitrova/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni/Nicola Martinucci
2. Act II, Scene II: Straniero, Ascolta - Ghena Dimitrova/Nicola Martinucci/Angelo Casertano
3. Act II, Scene II: Gloria, Gloria, O Vincitore! - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
4. Act II, Scene II: Figlio Del Cielo! Padre Augusto! - Ghena Dimitrova/Angelo Casertano/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
5. Act II, Scene II: Tre Enigmi M'Hai Proposto - Nicola Martinucci/Angelo Casertano/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
6. Act III, Scene I: Intro: Cosi Comanda Turandot - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
7. Act III, Scene I: Nessun Dorma! - Nicola Martinucci/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
8. Act III, Scene I: Tu Che Guardi Le Stelle - Giancarlo Ceccarini/Piero De Palma/Tullio Pane/Chor Del Teatro Comunale Dell'Opr Di Genova...
9. Act III, Scene I: Principessa Divina! - Giancarlo Ceccarini/Ghena Dimitrova/Nicola Martinucci/Cecilia Gasdia/Chor Del Teatro Comunale...
10. Act III, Scene I: Tanto Amore Segreto - Cecilia Gasdia/Ghena Dimitrova/Giancarlo Ceccarini/Nicola Martinucci/Chor Del Teatro Comunale...
11. Act III, Scene I: Tu Che Di Gel Sei Cinta - Cecilia Gasdia/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni/Nicola Martinucci
12. Act III, Scene I: Liu! Liu! Sorgi! - Roberto Scandiuzzi/Giancarlo Ceccarini/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni...
13. Act III, Scene I: Principessa Di Morte - Nicola Martinucci/Ghena Dimitrova
14. Act III, Scene I: Che E Mai Di Me? - Ghena Dimitrova/Nicola Martinucci/Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni
15. Act III, Scene I: So Il Tuo Nome - Ghena Dimitrova/Nicola Martinucci
16. Act III, Scene II: Diecimila Anni Al Nostro Imperatore! - Chor Del Teatro Comunale Dell'Opr Di Genova/Tullio Boni/Ghena Dimitrova

Customer Reviews:

unsubtle live perfomance.......2001-12-30

Unsubtle performance with to much irritating background noises from the live performance. And its not remarked on the cover that its here a live recording.
There are some nice vocal performances, but also one of the protagonists is the choir. And this choir is unacceptable in this recording. I know that also a provincial theatre can bring splendid performances. But if they want to release them on a CD, they have to take there come to make a good recording with a good balance. This CD is good for some fans from the singers but not for everybody. In that way is the 1959 recording of RCA with Nilsson an outstanding example.

Dimitrovapalooza.......2000-02-25

This is a rough, unsubtle performance. I'd recommend it for fans of Dimitrova (among whom I count myself). Otherwise, Martinucci strains a lot to match his leading lady in the shouting match this most Olympian of Italian operas generally reverts to. Cecilia Gasdia is an imaginative, touching Liu, although her voice is rather starved of tone and body. Oren's conducting is red-blooded, hurried, and generally pedestrian. As for the great lady herself, she's gloriously unsubtle (although next to Marton, she's a picture of refinement); one would not have thought such stentorian tones humanly possible. There's something monstrous about Dimitrova's voice, in the sheer heft and roundness of her timbre, in the prominent vibrato of her head voice, that is perfect for Turandot and the other malevolent ladies she's sung, such as Lady Macbeth and Abigaille, but is all wrong for conventionally feminine heroines, such as her valiant but miscast Giselda. All in all, a valuable document of the reigning Turandot of her day--a day which, alas, has passed.

Average customer rating:

Puccini: Turandot [Highlights] Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music ASIN: B0000041U5 Release Date: 1989-05-09

Average customer rating: I wish I could Hear Real Rejoicing from Alfano's Ending Eva Marton Beats Other Sopranos(Even Sutherland and Nilsson)

Puccini - Turandot / Marton · Carreras · Ricciarelli · Maazel [Highlights] Giacomo Puccini , Kurt Rydl , and Helmut Wildhaber Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Maazel, Lorin | ( M ) | Featured Performers, A-Z | Classical | Styles | Music 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 General | Broadway & Vocalists | Styles | Music ASIN: B0000026ET Release Date: 1990-10-25

Tracks:

1. Turandot: Act I: Popolo Di Pekino!
2. Turandot: Act I: Gira La Cote, Gira, Gira!
3. Turandot: Act I: Perche` Tarda La Luna?
4. Turandot: Act I: Signore, Ascolta!
5. Turandot: Act I: Non Piangere, Liu`!
6. Turandot: Act I: Ah! Per L'ultima Volta!
7. Turandot: Act II: Ola` Pang! Ola`, Pong!
8. Turandot: Act II: Ho Una Casa Nell'Honan
9. Turandot: Act II: In Questa Reggia
10. Turandot: Act II: Gelo Che Ti Da Foco
11. Turandot: Act II: La Mia Vittoria
12. Turandot: Act III: Nessun Dorma!
13. Turandot: Act III: Quel Nome!
14. Turandot: Act III: Tu Che Di Gel Sei Cinta
15. Turandot: Act III: Principessa Di Morte!
16. Turandot: Act III: Che E` Mai Di Me?
17. Turandot: Act III: C'era Negli Occhi Tuoi

Customer Reviews:

I wish I could Hear Real Rejoicing from Alfano's Ending.......2004-02-20

This is the only recording of Puccini's Turandot that has the new "Harold Prince Ending". That probably substitutes the "O Sole, O Vita, O Eternita" ending and is even better than the original Alfano ending. I bet it sounds very similar to that one brief theme with a five-beat thunderdrum rhythm, which happens toward the beginning of the second act(on the complete recording). It reprises itself with the chorus singing, I think, in English. The song is probably "We are Rejoicing to the Beat of the Thunderdrum". I think that song which ends this recording was written by Harold Prince and recycles that one brief theme from Act 2, Scene 2. That kind of ending is only founjd on this recording and is much better than Alfano's ending.

Eva Marton Beats Other Sopranos(Even Sutherland and Nilsson).......2004-02-20

If I'd want any highlights edition from a Puccini Turandot album, this one would be it. There is no better recording of any of these tracks, not even Zubin Mehta, and these are not "woefully sluggish" excerpts, as one of the reviewers of the complete recording said. This is how the opera should be conducted, and Puccini was a master of slow paces when writing this opera. There are no better Puccini Turandot sopranos than Eva Marton, and no better Wiener Philharmoniker performance than this one. This performance has what I call "ultimate everything:ultimate singing and ultimate orchestra, which does not miss a beat which is even louder here than on any other recording of it". I think anyt of the Eva Marton recordings of In Questa Reggia is the best one there is. Eva Marton is the ONLY Turandot out there and her singing of "In Questa Reggia" is even better than any of Giovanna Cassola's recordings, and her voice cracks just as much as Eva Marton's. Marton is the better one and the recording of "In Questa Reggia" on this highlights edition is the absolute best one out there. Marton's voice is so loud and so passionate that she is totally flawless. If I saw her today I'd give her a big hug. She's even better and louder than Birgit Nillsson or Katia Ricciarelli or Joan Sutherland and cuter than the three of them. Yes! I love Eva Marton so much that if I saw her, I'd give her that, oh, I would! Period!

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