Mia Musica [Import]

1. Africa (L'Ete Indien)

2. Soli

3. Sarà

4. Italiano

5. Solo Noi

6. Volo Az 504

7. Donna Donna Mia

8. Sinfonia

9. Tu Sei Mia

10. Cieli Azzurri

11. Mia Musica

12. Flash

13. Liberi

14. E.... Io Ti Amavo

15. Innamorati

16. Una Serata Como Tante

17. America

18. Serenta

Tracks:

Allegro
Andante Molto
Allegro
Recitativo: Prence Lo So: Vi Devo
Aria: Del Destin Non Dee Lagnarsi
Recitativo: Non Si Perda Di Vista
Aria: Nasce Rosa Lusinghiera
Recitativo: Principe, Or Ora I Greci
Aria: In Si Torbida Procella
Recitativo: Il Tartaro Ama Asteria
Aria: Quel Ciglio Vezzosetto
Recitativo: Or Si, Fiero Destino
Aria: Vedeste Mai Sul Prato
Recitativo: Non Ascolto Piu Nulla
Aria: Amare Un'alma Ingrata
Recitativo: Cosi La Sposa Il Tamerlano Accoglie?
Aria: Qual Querriero In Campo Aramato
Recitativo: E Bella Irene
Aria: Non Ho Nel Sen Constanza
Recitativo: Amico, Tengo Un Testimon Fedele
Recitativo: Sarete Or Ostinato
Aria: Anche Il Mar par Che Sommerga
Recitativo: Gloria, Sdegno Ed Amore
Aria: Stringi Le Mie Catene

Tracks:

Recitativo: Ah, Disperato Andronico!
Aria: La Sorte Mia Spietata
Recitativo: Signor, Vergine Illustre
Aria: Cruda Sorte, Avverso Fato!
Recitativo: Senti, Chiunque Tu Sia
Aria: La Cervetta Timidetta
Recitativo: Gran Cose Espone Asteria
Aria: Sposa, Son Disprezzata
Recitativo: Dov'e Mia Figlia, Andronico?
Aria: Dov'e La Figla?
Recitativo: Asteria, Siamo Al Soglio ...
Quartetto: Si Crudel! Questo E L'amore
Recitativo: Figlia, Siam Rei
Aria: Veder Parmi, Or Che Nel Fondo
Recitativo: Andronico, Il Mio Amore
Aria: Barbaro Traditor
Recitativo: Lascero Di Regnare
Aria: Spesso Tra Vaghe Rose
Recitativo: Eccoti, Bajazette
Arioso: Verro Crudel, Spietato
Recitativo: Signor, Fra Tante Cure
Aria: Son Tortorella
Recitativo: Signore, Bajazette
Accompagnato: E Morto, Si, Tiranno
Aria: Svena, Uccidi, Abbatti, Atterra
Recitativo: Deh, Tu Cauto la Segui
Coro: Coronata Di Gigli E Rose

Amazon.com

This stunner of an opera involves the proud sultan Bajazet (bass) and his battle with his bloodthirsty rival-tyrant Tamerlane (counter-tenor). More than 50 operas were composed on the subject. Here Vivaldi has composed all the recitatives and marvelous arias for the dignified, fine characters and used arias by other composers--Hasse, Giacomelli, Carlo Broschi--for Tamerlano and the nasties. The music is energetic and virtuosic throughout. Fabio Biondi leads Europa Galante and soloists with urgent, theatrical precision, making the story come to life. The singing could not be better: Ildebrando d'Arcangelo is a remarkably sympathetic Bajazet, singing with fluency and power; David Daniels amazes as Tamerlano; Marijana Mijanovic sings the role of Asteria (Bajazet's daughter) with love and precision; and Viveca Genaux dazzles with her perfect coloratura as Irene. This is a treasure trove of singing, and a bonus DVD allows us to see/hear the performers in rehearsal. Highly recommended. --Robert Levine

Customer Reviews:

Monumental Recording.......2007-03-14

From the same composer that
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...

Simply fantastic.......2007-02-28

This is one of the best recordings that I have bought recently. The entire opera is a treasure, and they couldn't have picked a better cast. Vivica Genaux, Elina Garanca, and David Daniels are especially strong, and Fabio Biondi's orchestra is always clean and polished. The recording quality is also top-notch. It's unlike me not to offer some kind of a criticism, but I can't think of one for this recording. Highly recommended.

Marvellous fun and great singing.......2006-09-19

I have to say that I prefer Handel's Tamerlano for musical reasons. However, Vivaldi's opera on the same subject is very enjoyable and entertaining. Like it has been said of the operas of Haydn, Vivaldi's operas are not great operas, but they do contain great music.

Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.

I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.

Worth it!.......2006-05-23

This album exceeded my expectations. In the true pasticcio form, Vivaldi copied and pasted other composers' work, and his own of previous operas. The arias are un-paralleled in harmony, balance, up-beat rhythm, and beauty. The orchestration by Fabio Biondi is first rate and world class. Vivica Genaux rocks in her interpretation of "Qual Guerriero in Campo Armato" as so much energy, control, and speed are gushed out at once and sustained without wavering. Her ornamentation in the da capo aria is amazing. Vivica's voice is powerful, ethereal, and acrobatic. She recreates what a castrato voice might have sounded like, beautiful and strong. While Vivica sings perfectly the most demanding and technically difficult aria of the opera, Ciofi delights us with the most beautiful "Nasce rosa". After listening to her, it would be near to impossible to imagine anyone else singing this aria with such charm. But what she excelled at "Nasce", she lacked at "Anche il mar". This aria is perhaps as technically and impossibly challenging as "Qual guerriero", but Ciofi's coloratura is discontinuous. Cecilia Bartoli executes this aria in her Vivaldi Album stunningly in one breath. If there was ever a team of opera gold medalists, that team is put together in this album. Ildebrando's "Dov'e la Figla?" is a handsome showcase of his voice and strong presence. While his singing is worthy of high praise, his hand movements and wedding band flashing might have already cost him 90% of his fan base, not to mention dashing his chances at becoming a teen idol or gay icon. His comportment at the high note of the aria is reminiscent of an opera Olympiad doing a vocal triple summersault in mid-air and sticking a perfect landing. "Dov'e la figlia?" is also an aria that illustrates the great genius of Vivaldi as an opera composer. He wrote very distinct music for the same lyrics and for different registers (basso and castrato) in Bajazet, and Motezuma (with Dominique Visse). At the same time, he used the identical music for two different lyrics in Motezuma, and Orlando Furioso (Sorge l'irato Nembo).The bonus DVD proves not only interesting but also very entertaining at the gesticulations and facial configurations sometimes taken for granted to sing bel canto's finest arias. Superb job!

Gorgeous,but one tiny qualm !.......2006-04-20

While I agree with all the good things that have been written of this splendid perfomance,there is a small,but I feel important, detail about the recording which I find vexing.
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.

Average customer rating:

An interesting abomination.........
Caruso....re-emerged...or....re-submerged
amazing technology
An Unexpected Pleasure
I was floored

Italian Songs: The Digital Recordings

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Caruso 2000
The Legendary Enrico Caruso: 21 Favorite Arias
Prima Voce - Caruso
Great Caruso
The Very Best of Beniamino Gigli

ASIN: B00005MO14
Release Date: 2002-06-25

Tracks:

Vieni sul mar
'O sole mio
Tu can nun chiagne
Santa Lucia
Pecche?
L'Alba separa dalla luce l'ombra
Fenesta che lucive
Mamma mia che vo' sape
Musica proibita
Core 'ngrato
Luna d'estate
Ideale
'A vucchella
Vaghissima sembianza
Tarantella sincera
Senza nisciuno
L'addio a Napoli

Amazon.com

As a follow-up to its Caruso 2000 release, RCA here offers us a remastered, implemented selection of Neapolitan songs recorded by Enrico Caruso between 1906 and 1920. The gimmick is again that the old recordings have been digitally stripped of their oompah, blaring instruments. In their place, the Vienna Radio Symphony Orchestra has provided modern accompaniment. It's still anachronistic--the voice remains in another acoustical era from the orchestra--but this time, the balance is a little better, and conductor Gottfried Rabl is amazingly sensitive to Caruso's style and phrasing. Moreover, of course, the pops and clicks of the old pre-electrical shellacs are gone. The voice retains its timbre and quality, thank goodness, and one can still marvel at the way the sound grew over the 14 years recorded here. It's always magnificent, but it became more baritonal and muscular with age, without losing any of its thrills. The "Ideale" from 1906 remains an exquisitely tender piece of singing; elsewhere, the sheer visceral excitement of the voice dazzles. Purists may not approve. Those unfamiliar with the Caruso phenomenon should hear him under any circumstances, and this is as good a chance as any. --Robert Levine

Customer Reviews:

An interesting abomination................2007-07-22

This recording is a technical marvel...the producers have taken the acoustic recordings of the greatest tenor that ever lived, digitalized them, "cleaned them up", whatever that means, and added a modern orchestra for background. God help us.

In Caruso's day, the performer sang into a large horn of the type shown in the old RCA ads, the microphone not being invented till 1925, four years after Caruso died. The sound was recorded on a wax disk, which was then used as a master. All of our attempts to listen to ancient records are, to some degree, artificial...I haven't seen a hand crank Victrola since I was a small child, well over 50 years ago. But this?!?....

I admit that this isn't like painting over an old master...the original recordings still exist. And I've already admitted that this is well done, in a technical sense. And about the voice of The Great Caruso there can, of course, be no question. Maybe I'm a traditionalist; I prefer to watch "It's a Wonderful Life" in black & white, I think pretty girls look prettier in dresses, and I'd rather see baseball played on grass. This isn't even like Richard Harwell abridging the works of Douglas Southall Freeman; that at least allows the reader with limited time and money to learn from the master. The original versions of these recordings are readily available, and take the same time to listen to.

We can play "what if" forever...could a modern doctor have cured George Washington? Of course. What would Bobby Jones do with modern golf equipment?? Sorry, Tiger. The originals of these landmark recordings represent the way listeners of Caruso's day heard him. It was state-of-the-art AT THE TIME.

Look, we live in America; the producer of this recording has an absolute right to make it, and you have an absolute right to buy it, enjoy it, and write a five star review of it, stating that I'm a stupid fool. That's the glory of America. Buy, and like, this record if you wish, but know what you are buying.

Caruso....re-emerged...or....re-submerged.......2007-02-15

I have been listening to Caruso recordings, necessarily periodically, for close on sixty years, though I didn't learn anything about music until in my mid twenties. Whilst thrilling hysterically to those top notes one couldn't help being more than a little aware, even as a child, that the trumpet-like noises, as Caruso himself once described it on hearing someone playing one of his records, emanating from the playback equipment, hardly represented a human being. Thanks to the digital restorative efforts of Thomas G Stockham we can appreciate the real art that conceals art, as C again put it, on the twelve CD edition previously published by RCA; since much of the artificial peakiness [ distortions ] has been alleviated - a tribute to the success of these may be concluded from the fact that some notes that previously sounded like he had a throatful of phlegm are simply revealed as record wear; as well as the more important sense of straining for effect being eliminated; far from it as we then appreciate how (apparently) effortlessly he puts those spectacular phrases across. As far as I can discern they have used these registrations here; so far so good. For the sake of this review attempt I listened again to this CD, for the first time since I bought it, probably well over a year ago. My humble opinion is that the orchestrations are too loud, tending to drown him out. Well done no doubt, if crass at times then, but providing little advantage over the Stockham 'recreations'. Maybe that's due to me being one of that army of Caruso lovers, or of any of a myriad of great artists' recordings for that matter, to whom the singing is paramount; the orchestra is merely lucky to be there. Is all that fuss regarding the minutiae of recent orchestral arrangements not just a bit patronising and condescending, with more accent on their problems rather than giving tribute to the singer who had no benefits of any post editing whatsoever; never mind the terribly restrictive recording environment and session period in which to do it ? I guess, like all hero worshippers, I'm possibly waxing unnecessarily defensive at this juncture. What if we could hear Caruso recorded now, as a contemporary of, say, Andrea Bocelli; would we be at his feet ? Maybe that's where this compilation really comes in, reaffirming the legend, dressed up to the nines. Does giving a monochrome phantom flash clothes, like those colourised photos, really make him more visible ?

On a personal note; it would have been an improvement had they NOT included "Vieni sul mar"; "L'Alba separa dalla luce l'ombra" and "Luna d'estate". "A Dream" would have been nice; also "I' m'arricordo e Napule" or, what I think is one of the best recordings of Caruso - Denza's "Si vous l'aviez compris" [ also Massenet's "Elegie" ], albeit they have piano/violin accompaniment, which would have presented a challenge to the engineers.

amazing technology.......2005-05-20

The Italian songs of Caruso have been a longtime favorite of mine -to hear this amazing voice - backed with a wonderful modern orchestra is just something else -I believe it is bringing 90 -100 year old recordings back to life - the voice is always clear and strong with no distortions one would expext from vintage recordings .The Vienna orchestra is wonderfully sensitive providing a lush sound behing this wonderful voice - my partner came in to see what I was playing, she said the voice was moving her to tears ," with a voice like honey" and I guess this was what the great Caruso was doing in his day to sell so many records

An Unexpected Pleasure.......2004-12-19

I have been an avid fan of Enrico Caruso for over forty years. I have heard just about every gimmicky process that has ever been attempted to make his recordings more modern sounding (read "electrical"). Each has its own virtues and inadequacies. I had not planned on purchasing this disc because, quite frankly, Caruso 2000 had been a disappointment. Caruso's voice almost always seemed to have a lid on it.

A certain fact has to be faced here. Caruso never made an electrical recording. No amount of filtering and doctoring can change that. The only way I can imagine that this barrier could ever be overcome is perhaps by computerized extrapolation of the frequencies his voice produced. A computer might some day be programmed to "figure out" from the original recordings the sound frequencies Caruso's voice produced but that the recording horn was too insensitive to record. Those frequencies could then be dubbed into the existing recording. However, it doesn't appear that technology is that advanced yet; perhaps it never will be. In my opinion, it doesn't need to be. All one really needs is a schooled ear to be deeply moved by the gifts, art, and technique Caruso exhibited on his original acoustical recordings.

Incidentally, I am both amused and appalled by individuals who doubt that he was the greatest male singer in the history of recording, perhaps of all time. Anyone who would suggest Mario Lanza's, John McCormack's, or anyone else's singing as more satisfactory isn't listening. Lanza wanted to be the next Caruso, but he was not Caruso, not even a pale imitation. Even Pavarotti willingly acknowledges that he idolizes Caruso. And McCormack was a completely different kind of singer.

The best way to enjoy Caruso, Italian Songs and even Caruso 2000 is to set them aside as seperate works of art, rather than expect them to be improvements over the original recordings. They're not. Caruso's voice is not reproduced as accurately as it is on original recordings played on the proper equipment in the proper environment, especially on Caruso 2000. But the beauty of his art and technique remains intact. It seems the recording engineers did less manipulation of the voice on this new CD; the voice is more faithful to the originals, but still not the same. It occurs to me that perhaps these recordings are best for those who cannot tolerate surface noise and Victor's almost exclsive use of wind instruments for the orchestra.

That said, the digital accompaniment added unexpected emotion, power, and drama to every piece. I was caught completely off-guard. The music on this disc had me in tears. Music is about emotions, and this disc overpowered mine. If the degree of emotion induced by a performance is the standard for its evaluation, then this disc rates five stars without question. And if this is the way more modern ears than mine must be introduced to the artistry of this great singer, let it be! The instrumentation and arrangements fit every selection, and the synchronization with Caruso's stylizing is nearly always perfect. I highly recommend this disc to budding opera and classical voice lovers as a worthy introduction to Caruso's artistry. And for the seasoned aficionado of classical voice, it is a refreshing, yet emotionally moving collection of great singing in its own right. Neither type of listener would be disappointed.

I was floored.......2004-02-14

This was a vast improvement over the last effort. When you listen to it on a regular stereo, as background music, you could swear you are listening to something that was recorded altogether, as if the singer was there. I also like the folk approach that was put forth by it. It is not Caruso trying to be the character of the song that comes from the opera, but Caruso being Caruso, without all the operatic techniques. It sounded like he was just having fun with the recordings, and the jovial personality that he had shows through clearly. I would be interested in seeing if RCA would consider doing more.

Average customer rating:

A rare treasure

Pavarotti Songbook

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Mamma
Great Duets & Trios / Sutherland, Horne, Pavarotti
Luciano Pavarotti - Passione - Neapolitan Songs

ASIN: B0000041ZI
Release Date: 1991-09-12

Tracks:

Mamma
Non ti scordar di me
Lolita
Musica proibita
La mia canzone al vento
Malinconia d'amore
La serenata
Cantate con me
Volare
Mattinata - Leoncavallo
Aprile
Chanson de l'adieu
L'Ultima canzone
O sole mio
A vucchella
Marechiare
Torna a Surriento

Customer Reviews:

A rare treasure.......2000-01-05

The Pavarotti Songbook comes with the words and English translations for all songs. Since the songs are predominantly Italian folk songs instead of arias, this CD is a rare treasure. You will be hard pressed to find the lyrics for O sole mio, Lolita and musica proibita elsewhere. If you like to sing along, this CD is a must for your collection.

Average customer rating:

Wonderful
OUTSTANDING! THE BEST OF PAVAROTTI!
Charming and moving, not to be missed...
Cantare, cantare

Mamma
A. Walter Kramer , Innocenzi , Giovanni D'Anzi , Eldo di Lazzaro , Vincenzo De Crescenzo , Anonymous , Giovanni Battista Califano , Columbo Arona , and Andrea Griminelli
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Luciano Pavarotti - Passione - Neapolitan Songs
O Sole Mio: Favorite Neapolitan Songs
Volare
Pavarotti at Carnegie Hall
Amore: Romantic Italian Love Songs

ASIN: B0000040WC
Release Date: 1990-10-25

Tracks:

Mamma
Non ti scordar di me
Lolita
Musica proibita
Firenze sogna
Vivere
Parlarmi d'amore, Mariu
In un palco della Scala
Addio, sogna di gloria
Voglio vivere cosi
Chitarra Romana
Rondine al nido
La ghirlandeina
La mia canzone al vento
Vieni sul mar
La campana di San Giusto

Customer Reviews:

Wonderful.......2006-03-16

I am of Italian descent and even though I only understand some words the beauty of this cd is beyond description. The zest for life and fervor in each number is unbelieveable. Henry Mancini's arrangements gave me a greater appreciation of each of these very talented showmen. I think Pavarotti was at his prime on this disc.

OUTSTANDING! THE BEST OF PAVAROTTI!.......2005-11-19

Not even a song in this album fails to please me. A must-have for those interested in italian song and in good music.

Charming and moving, not to be missed..........2000-05-30

I just love this CD! He followed this with another similar CD called "Passione" which also had many lovely italian songs, but this one has it all. There are sweet songs (Parlami D'amore, Mariu), cute songs (Palco della Scala) and then bittersweet songs (Addio, Songi Di Gloria and Rondine Al Nido.) This CD comes with liner notes and I recommend taking the extra few minutes to see what he's singing. It will enhance your enjoyment (although the music alone is enjoyment enough!) Mancini's arrangements are really what helps to make the difference. I think a great arranger was what was missing from "Passione" --that and passione!

Cantare, cantare.......1999-11-26

Isn't this CD wonderful? I came upon it a bit late, but it was a great idea for Luciano Pavarotti and Herni (Enrico? ) Mancini to get together and introduce us all to these standard Italian favourites. Henri Mancini somehow knows just how to polish a tune and Pavarotti's "millenium" tenor puts in that last sparkle. I've fallen in love with "Parlami d'amore, Mariu." and whistle/sing/hum it all the time. (The original by Vittorio de Sica must be interesting.) Buy this CD to enjoy Italian songs at their absolute best.

Average customer rating:

The Complete Caruso

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Ponchielli: La Gioconda
Mario del Monaco: Historical Recordings 1950 - 60
Music of Spain
Rachmaninov: His Complete Recordings
Sibelius: The 7 Symphonies; Finlandia; Kullervo; etc.

ASIN: B0001TSWQO
Release Date: 2004-11-09

Giuseppe Di Stefano Sings Neopolitan & Other Songs

Average customer rating:

GIUSEPPE DI STEFANO--VOL. 1 & 2 NEAPOLITAN SONGS
The finest available!
Pippo's Biggest Fan

Giuseppe Di Stefano Sings Neopolitan & Other Songs

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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Giuseppe Di Stefano Sings Neapolitan Songs
Italy
The Very Best of Giuseppe di Stefano
Carlo Bergonzi - Italian Songs ~ Bellini · Verdi · Danza · Tosti · Donizetti · Rossini · Mascagni · Puccini
The Very Best of Beniamino Gigli

ASIN: B000003XK1
Release Date: 1997-04-10

Tracks:

Funicula, Funiculi
Luna nova
Mamma mia, che vo' sage?
Torna!
Carmela
Guapparia
Mandulinata a Napule
I' m'arricordo 'e Napule
Pecche?
Anema 'e core
Me so' 'mbiracato 'e sole
Vurria
Lolita
Ideale
L'Ultima canzone
Aprile
Luna d'estate
La Serenata
Mattinata
Non t'amo pui
Malia
Chanson de l'adieu
'A Vucchella
Musica Proibita

Customer Reviews:

GIUSEPPE DI STEFANO--VOL. 1 & 2 NEAPOLITAN SONGS.......2005-07-29

WONDERFUL MUSIC--MAKES ME THINK OF WALKING THE STREETS OF NAPLES AND LISTENING TO MY FATHER SING TO ME. ONE CAN CLOSE THEIR YES AND THINK OF SITTING IN A RESTAURANT OR SIDEWALK CAFE AND BEING SURROUNDED BY BEAUTIFUL ITALIAN PEOPLE.
LOVELY SONGS SUNG BEAUTIFULLY

The finest available!.......2002-08-29

For connoisseurs of Neapolian songs, these discs from Testament are golden, and no one sings these songs better than di Stefano. He has the charm and style in his delivery as few others have.
After hearing him in these songs, others may sound like mere pretenders. I can't recommend this disc highly enough if you like great singing and canzoni Napoli.

Pippo's Biggest Fan.......2000-08-26

Now this is what I would call one beautiful CD.It shows that Pippo was the greatest tenor in the world during his reign.His voice is extremely beautiful and the warmth and emotionalism are incredible.I listen to his " Non T'amo Piu " endlessly.You just can't find singing like Pippo at his best even going back to Gigli.This CD is a must have for anyone even remotely interested in classical tenor voices.They don't meke them like Pippo anymore and fortunately his voice and style of singing will live forever with his many recordings.Do yourselves a big favor and buy this one.

Tracks:

Come Prima
Tarantella
O Sole Mio
Neapolitan Dance
Hofbrauhaus Song (Wir Einmal Nur in Munchen War]
O, Mon Amour (Je Nen Connais Pas la Fin)
Mazurka
Pineapple Pickers
Pagliacci: Vesti la Giubba
Otello: Finale
Aida: Act I
Ich Liebe Dich (I Love Thee)
Ave Maria
Vieni Sul Mar
Senza Nisciuno
Musica Proibita
Vaghissima Sembianza
Serenata - Mario Lanza,
Lolita
Luna d'Estate
Alba Separa Dalla Luce l'Ombra
Pour un Baiser
Mia Canzone
Ideale
Santa Lucia

Customer Reviews:

Impressive performances from Lanza's final years.......2004-12-18

This CD contains most of the soundtrack from Lanza's final movie, the 1958 For the First Time, together with the 1959 album Mario Lanza Sings Caruso Favorites.

By 1958 Lanza's lirico spinto tenor had darkened significantly, acquiring a baritonal richness in its middle and lower registers, while still retaining the celebrated top notes for which he was justly famous. On his best days, he was also a more sensitive singer than he had sometimes been in his Hollywood period. This is immediately noticeable on the operatic selections included here: Vesti La Giubba; the Otello Death Scene (Niun Mi Tema); and the Grand March from Aida. On the first two numbers, Lanza phrases beautifully and avoids marring these arias with the hammy histrionics that many more celebrated names have indulged in elsewhere. Dark with haunting overtones, his voice is by now ideal for both Canio and Otello.

The Grand March scene is also impressive, with Lanza delivering some staggering B flats over the deafening Rome Opera Orchestra and chorus. All three operatic selections from For the First Time were recorded (and subsequently filmed) at the Rome Opera House, and the effect that Lanza had on the musicians present was extraordinary. "A very musical tenor of enormous possibilities, with an exceptional timbre" was the verdict of the theatre's then Artistic Director Riccardo Vitale.

The first half of For the First Time is much lighter, and includes the pleasant title song, Come Prima, along with a sweet and all-too-brief O Mon Amour. There is also the novelty of hearing Lanza singing in German in the rousing Hofbrauhaus Song, as well as a ridiculous rock and roll number called Pineapple Pickers. (Typically, BMG place this next to Vesti la Giubba on the CD, with no thought for the massive jump in musical style and content between the tracks.) O Sole Mio sounds a little laboured here, and rings out much more thrillingly in the movie. But with the exception of the videotape of the actual film (reviewed elsewhere on this site), many of these selections have never sounded better. There is still the ever-present sandiness that mars all of Lanza's stereo releases, but at least this is an improvement on the soundtrack's earlier outing on the Double Feature CD.

My only gripe is that the delightful Cosi Fan Tutte trio - E Voi Ridete - has been omitted. Instead we have three uneventful (and irritating) non-Lanza musical interludes. *Mercifully* missing, however, is the tenor's La Donna 'e Mobile. Uncharacteristically strained, it was his least impressive performance of the aria, and the only vocal lapse in the entire film.

The final twelve selections from the Caruso Favorites album also feature Lanza in mostly fine form. As with all the tenor's 1959 recordings, however, the reproduction of his voice (though curiously *not* the orchestra) is less than ideal, and the ever-present distortion - particularly on his top notes - mars some of the best moments. Gripes aside, this is an important album in the Lanza canon. Among the highlights are the Neapolitan song Senza Nisciuno; a tasteful Vaghissima Sembianza, replete with two beautiful High As; the daunting Serenata; and three exquisite Tosti songs: L'Alba Separa Dalla Luce L'Ombra, Pour Un Baiser and Ideale.

L'Alba Separa dalla Luce l'Ombra deserves special mention. Lanza is appropriately operatic on this miniature masterpiece, and although his voice sounds a little heavy at times, the impact of his performance is very moving. From "Chiudimi, O notte, nel tuo sen materno," (Envelop me, O night, in your maternal [...]) onwards, Lanza is in full control of the song, faltering only slightly on the climactic note on "eterno" (though this may, in fact, be due to the distortion). Lapses aside, L'Alba Separa is a fine example of Lanza's artistic maturity.

Among the few lesser moments, Mario runs out of steam in the second half of La Mia Canzone, and is subjected to an overly boisterous arrangement on Santa Lucia, which sounds more akin to a march than a lilting ode to the Bay of Naples! At times Lanza does sound tired, and as one perceptive reviewer has noted, we miss the characteristic smile of his earlier voice. Ironically, critics and habitual Lanza-knockers are much more likely to praise this album for the very reason that the tenor *is* so subdued.

Caruso Favorites and For the First Time - together with the brilliant Neapolitan album Mario! Lanza At His Best (also reviewed on this site) - represent the tenor's most impressive singing from the final period of his life. As Lanza authority Lindsay Perigo has noted, the tenor's voice on all three albums is often "hauntingly ethereal." In short, these are not performances that are easily forgotten.