| 1. Appena un Po' |
| 2. Generale |
| 3. Per un Amico |
| 4. Banchetto |
| 5. Geranio |
Editorial Reviews
Product Description
Limited edition 24 karat gold reissue of the 1972 release. 24-bit remastered Italian prog rock packaged in a digipak. 2002.
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...
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.
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.
Bravo Mario!!!!!!
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Fleta made his debut in 1919 at the Civic Theater in Trieste. After several years of extremely successful activity in Italy and Spain, he was called upon to join New York's Metropolitan Opera Company where he made his debut in 1922 in the rô^le of Cavaradossi. The virtuosity of his voice-control and his superb vocal-technique brought about his recognition as The Lord High Keeper...
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
Limited edition 24 karat gold reissue of the 1972 release. 24-bit remastered Italian prog rock packaged in a digipak. 2002.
Per Un Amico,PFM,BMG International,Prog-Rock/Art Rock,Vocal,World Music
![Vivaldi: Bajazet [Includes Bonus DVD]](http://ec1.images-amazon.com/images/I/31DKEE81SNL.jpg)
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Vivaldi: Bajazet [Includes Bonus DVD]
Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD  All Works by Vivaldi
| Vivaldi, Antonio
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ASIN: B00022LE38 Release Date: 2005-05-10 |
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 LevineCustomer Reviews:
Monumental Recording.......2007-03-14
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
Marvellous fun and great singing.......2006-09-19
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
Gorgeous,but one tiny qualm !.......2006-04-20
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.
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Per un Amico
PFM Manufacturer: Bmg Int'l ProductGroup: Music Binding: Audio CD General
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ASIN: B0000072VM Release Date: 1998-07-27 |
Tracks:
- Appena un Po'
- Generale - Premiata Forneria Marconi
- Per un Amico
- Il Banchetto
- Geranio
Album Details
Premiata Forneria Marconi were at the forefront of the Italian prog-rock scene during the 1970's; this is their 1972 imprint.Customer Reviews:
A classic prog album for the Italian ELP.......2006-10-05
PFM's Masterpiece.......2005-08-11
Not as good as Storia di un Minuto.......2003-08-07
I don't think this is as good as their first album, Storia di un Minuto. It is a little bit more bombastic and pretenious. Overblown excesses by groups like Yes and Emerson, Lake and Palmer are what killed off progressive rock. This ablum suffers a tiny bit from that on songs like Generale and Il Banchetto. Some of these songs can get tedious on repeated listenings. But, it is a minor complaint and this album comes close to 5 stars.
The lyrics to this album are in Italian. There is a reworked version of this album with English lyrics called Photos of Ghosts. Pete Sinfield (who wrote much of the early King Crimson lyrics) supplied the lyrics. No one in PFM had much English speaking ability and the English lyrics are sung phonetically. The lyrics are meaningless and take away from beauty of the album. It is better to get this Italian version. Photos Of Ghosts does have one extra track, Celebration, which is an English verion of E'Festa from the first album.
PFM was a completely different band in concert. Instead of playing mellow, progressive rock, they were a hard core, jamming band. Many of thier live albums are excellent. I would reccmmend the 4 CD set, Gil Anni Live 1970 to 1981. If you can't find that, get Live in USA (also called Cook).
melodies do not really stand out.......2003-02-14
Per un Amico.......2003-02-02
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Mario del Monaco: Opera Arias
Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Flotow
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ASIN: B000003XIL Release Date: 1994-09-13 |
Tracks:
- Aida: Celeste Aida
- Otello: Esultate!
- Otello: Ora E per Sempre Addio
- Otello: Dio Mi Potevi Scagliar
- Otello: Niun Mi Tema
- La Boheme: Testa Adorata, Piu Non Tornerai
- I Pagliacci: Vesti La Giubba
- I Pagliacci: No, Pagliacci Non Son
- Manon Lescaut: Donna Non Vidi Mai
- Turandot: Nessun Dorma
- L'amico Fritz: O Amore, O Bella Luce Del Cor
- Cavalleria Rusticana: O Lola Ch'hai Di Latti La Cammisa
- Cavalleria Rusticana: Mamma, Quel Vino E Generoso
- Andrea Chenier: Un Di All'azzurro Spazio
- Andrea Chenier: Si, Fui Soldato
- Andrea Chenier: Come Un Bel Di Di Maggio
- Adriana Lecouvreur: La Dolcissima Effigie
- Adriana Lecouvreur: L'anima Ho Stanca
- L'africana: O Paradiso
- Marta: M'appari Tutt'amor
- Carmen: Il Fior Che Avevi A Me To Dato
- Werther: Ah! Non Mi Ridestar
- Lohengrin: Da Voi Lontan
Customer Reviews:
Showcase for a powerful voice.......2007-02-26
Bravo Mario!!!.......2002-06-18
Bravo Mario!!!!!!
A force of Nature!.......2001-01-31
Loathed by many for this high sound and accused for not being able to sing below forte, especially in the late stages of his carreer, no one can deny the fact that he has performed and recorded operas with some of the greatest singers of all times:Renata Tebaldi, M.Callas, J.Sutherland, M.Olivero, A.Cerquetti, G.Simionato, E.Bastianini, C.Siepi and many others. The list is long. Perhaps not the best tenor choice for all the roles he performed, Mario del Monaco was sublime when the role suited his voice. Such examples are Ottelo, Andrea Chenier, Canio (Pagliacci), Des Grieux (Manon Lescaut), Johnson (Fanciulla del West) and many of these performances are heard on this collection. He had a certain sound that made his voice very dramatic thus so good for these roles.
Concluding, those who like him will find this collection of exceptional value. Those who don't, just stay away since this Cd is full of Mario del Monaco.
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Main Titles: 40 Motion Pictures, Volume One - Music Composed, Orchestrated And Conducted By Ennio Morricone, 1965-1995
Manufacturer: Drg ProductGroup: Music Binding: Audio CD Movie Scores
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ASIN: B000000PJ9 Release Date: 1996-11-19 |
Tracks:
- Slalom: Main Title
- The Hellbenders: Main Title
- Blood And Guns: Viva La Revolucion
- L'Alibi: Una Fotografia
- The Heart Of A Mother: Ricreazione Divertia
- The Invisible Woman: Alla Serenita
- The Nun From Monza: Main Title
- Machine Gun McCain: La Ballata Di Hank McCain
- The Lady Caliph: Main Title
- The 5th Dawn: Lontano
- Private Pictures Of A Lady: Main Title
- Revolver (Blood In The Streets): Un Amico
- Maddalena: Chi Mai
- The Poetry Of A Woman: Main Title
- What Am I Doing In The Middle Of The Revolution?: Main Title
- This Kind Of Love: Main Title
- Devil In The Brain: La Ragione, Il Cuore, L'Amore
- Two Seasons Of Life: Main Title
- The Children Who Are Asking Why: Main Title
- Without Apparent Motive: Main Title
- One Could Die Of Love: Main Title
- My Name Is Nobody: Main Title
- The Secret: Main Title
Tracks:
- The Infernal Trio: Main Title
- The Cousin: Main Title
- Around The World With The Lovers Of Peynet: Forse Basta
- Who Saw Him Die?: Main Title
- The Lady Bunker: Dedicace
- The Professional: Le Vent, Le Cri
- The Outsider: Main Title
- The Resenter: Main Title
- The Venetian Woman: Baci Dopo Il Tramonto
- Farewell To Moscow: Main Title
- The Neighborhood: Romanza Quartiere
- Nuovo Cinema Paradiso: Main Title
- A Time To Kill: Main Title
- To Forget Palermo: Main Title
- Three Columns On The Front Page: Main Title
- Piazza Di Spagna: Main Title
- The Night And The Moment: A Caccia Di Lei
Amazon.com
This double-disc treat covers Morricone's work from 1965 to 1995 and contains mostly never-before-released material from 40 different motion pictures, many of which demonstrate his quirkier side. Many are from less-known films like To Forget Palermo and What Am I Doing in the Middle of the Revolution? But there are also more famous tracks like the main titles to Cinema Paradiso and My Name Is Nobody as well as the haunting "Chi Mai" from Maddalena. Though best known for his much-imitated and oppressively cute spaghetti-Western themes, Morricone here demonstrates his much more intriguing romantic and melancholic sides. His title song to Farewell to Moscow is among his saddest and menacing works and, like several other selections, can be the preferred antidote to Prozac. --Joseph Lanza
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Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B00006IU7V Release Date: 2003-03-11 |
Album Details
These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (FiordiligCustomer Reviews:
Refreshing and Surprising!.......2006-11-24
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Best ever!!.......2004-01-12
I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
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Lebendige Vergangenheit: Miguel Fleta
Manufacturer: Preiser Records ProductGroup: Music Binding: Audio CD Bellini, Vincenzo
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ASIN: B0000023LO Release Date: 1995-02-07 |
Customer Reviews:
One of the brightest phenomena in the realm of belcanto.......2006-04-05
Fleta made his debut in 1919 at the Civic Theater in Trieste. After several years of extremely successful activity in Italy and Spain, he was called upon to join New York's Metropolitan Opera Company where he made his debut in 1922 in the rô^le of Cavaradossi. The virtuosity of his voice-control and his superb vocal-technique brought about his recognition as The Lord High Keeper...
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Mozart: Così Fan Tutte
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
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ASIN: B000BL98ME Release Date: 2006-01-10 |
Tracks:
- Sinfonia/Overture - Philharmonia Orchestra & Chorus
- La Mia Dorabella Capace Non E - Rolando Panerai
- Cessate Di Scherzar - Rolando Panerai
- E La Fede Delle Femmine - Rolando Panerai
- Scioccherie Di Poeti! - Rolando Panerai
- Una Bella Serenata - Rolando Panerai
- Ah, Guarda, Sorella - Elisabeth Schwarzkopf
- Mi Par Che Stamattina - Elisabeth Schwarzkopf
- Barbaro Fato!...Vorrei Dir, E Cor Non Ho - Sesto Bruscantini
- Stelle! Per Carita, Signor Alfonso - Elisabeth Schwarzkopf
- Sento, Oddio, che Questo Piede - Various Artists
- O Cielo, Questo E Il Tamburo Funesto - Various Artists
- Bella Vita Militar! - Philharmonia Orchestra & Chorus
- Non V'e Piu Tempo - Various Artists
- Muoio D'affano!...Di Scrivermi Ogni Giorno - Various Artists
- Oh, Di, come Veloce Se Ne Va Quella Barca! - Elisabeth Schwarzkopf
- Soave Sia Il Vento - Elisabeth Schwarzkopf
- Quante Smorfie...Quante Buffonerie! - Sesto Bruscantini
- Che Vita Maledetta - Elisabeth Schwarzkopf
- Ah, Scostati!...Smanie Implacabili Che M'agitate - Nan Merriman
- Signora Dorabella, Signora Fiordiligi - Elisabeth Schwarzkopf
- In Uomini, In Soldati Sperare Fedelta? - Lisa Otto
- Despinetta!...Chi Batte? - Lisa Otto
- Alla Bella Despinetta - Various Artists
- Oh, Ciel! Mirate: Uomini In Cosa Nostra - Various Artists
- Come Scoglio Immoto Resta - Elisabeth Schwarzkopf
- Ah, Non Partite! - Various Artists
- Non Siate Ritrosi - Rolando Panerai
- E Voi Ridete? - Rolando Panerai
- E Avete Ancora Coraggio Di Fiatar? - Rolando Panerai
- un'aura Amorosa Del Nostro Tesoro - Leopold Simoneau
- E Come Credi Che L'affar Finira? - Lisa Otto
Tracks:
- Ah, Che Tutto In Un Momento - Elisabeth Schwarzkopf
- Si Mora, Si, Si Mora - Various Artists
- Eccovi Il Medico - Various Artists
- Dove Son? Che Loco E Questo? - Various Artists
- Dammi Un Bacio, O Mio Tesoro - Various Artists
- Andate La, Che Siete Due Bizzarre Ragazze! - Elisabeth Schwarzkopf
- Una Donna A Quindici Anni - Lisa Otto
- Sorella, Cosa Dici? - Elisabeth Schwarzkopf
- Prendero Quel Brunettino - Elisabeth Schwarzkopf
- Secondate, Aurette Amiche - Rolando Panerai
- Cos'e Tal Mascherata? - Various Artists
- La Mano A Me Date - Various Artists
- Oh, che Bella Giornata! - Various Artists
- Il Core Vi Dono - Rolando Panerai
- Ei Parte...Senti...Ah No! - Elisabeth Schwarzkopf
- Per Pieta, Ben Mio, Perdona - Elisabeth Schwarzkopf
- Amico, Abbiamo Vinto! - Leopold Simoneau
- Donne Mie, La Fate A Tanti A Tanti - Rolando Panerai
- In Qual Fiero Contrasto - Leopold Simoneau
- Tradito, Schernito - Leopold Simoneau
- Bravo, Questa E Costanza - Rolando Panerai
Tracks:
- Ora Vedo Che Siete Una Donna Di Garbo - Elisabeth Schwarzkopf
- E Amore Un Ladroncello - Nan Merriman
- Come Tutto Congiura - Elisabeth Schwarzkopf
- Fra Gli Amplessi In Pochi Istanti - Elisabeth Schwarzkopf
- Ah, Poveretto Me, Cosa Ho Veduto! - Rolando Panerai
- Tutti Accusan Le Donne - Rolando Panerai
- Vittoria Padroncini! - Various Artists
- Fate Presto, O Cari Amici - Lisa Otto
- Benedetti I Doppi Coniugi - Various Artists
- E Nel Tuo, Nel Mio Bicchiero - Various Artists
- Bella Vita Militar! - Various Artists
- Bella Vita Militar! - Various Artists
- Sani E Salvi Agli Amplessi Amorosi - Various Artists
- No, Signor, Non E Un Notaio - Various Artists
- Ah, Signor, Son Rea Di Morte - Various Artists
- A Voi S'inchina, Bella Damina - Various Artists
- Fortunato L'uom Che Prende - Various Artists
Customer Reviews:
Una de la mejores interpretaciones en CD del Cosi fan tutte.......2006-11-16
Overrated, but decent.......2006-03-29
My biggest complaint about this recording is the merciless abridgement. It seems like the powers that be were more interested in getting from aria to aria as quickly as possible, and so the recitatives were butchered to that end. That rankles me to no end, because opera isn't just about pretty music, it's about drama too! And the recitatives are an integral part of the drama. Ferrando's beautiful aria "Ah lo veggio" fell victim to this abridgement as well. Though that didn't stop me from considering Bohm's version as the best "first Cosi," there's just not enough merit in the rest of Karajan's recording to compensate for such a huge loss.
In regards to Schwarzkopf's performances as Fiordiligi, I think the Bohm version is far better. Though her voice is fresher and lighter here, I think the maturity and experience she gained by the Bohm recording fits Fiordiligi's character a lot better. This is not to say that her Karajan performance is mediocre, just not quite as marvelous.
Another thing that really bugs me about this recording is that this Don Alfonso sounds much too young, certainly too young to be so cynical. I prefer the more mainstream, mature Don Alfonso (like Cachemaille). I'm also not overly fond of their choice for Despina, who pronunces words funny. It's a really small matter, but it bugs me (kinda like how Kathleen Battle's Despina-with-American-accent bugs me).
Basically, this recording is worth getting if you already own Bohm's, Jacobs', Mackerras' and Solti's recordings. The only reason to get this recording is to hear the young Schwarzkopf, because there's nothing else there.
Which classic Cosi to buy--Karajan or Bohm?.......2006-03-20
Karajan (1954): This mono recording is in good enough sound to compete successfully with Bohm's stereo version, with the singers placed very close up. They achieve a great deal of intimacy and nuance. Karajan favors tempo extremes, taking Schwarzkopf's two big arias, as well as her opening duet with Merriman, quite slowly. Stylistically, his approach is ultra-suave, which yields benefits in Bruscantini's sly urbanity as Don Alfonso, for example, but in the long run proves more than a little precious. As Fiordiligi, Schwarzkopf is younger and fresher than in Bohm's set, but there she has gained in artistry. Simoneau and Panerai are great as the two heros, probably the best pair on records. Nan Merriman as Dorabella is musically satisfying, but she has a fast beat in her voice that wears after a while.
Bohm (1963): This later performance is in good stereo, with the voices placed further from the mike than in Karajan's recording. Where Karajan is suave, Bohm is blunt. He misses many opportunities for subtle phrasing, yet given the choice, I'd rather hear his plain-faced Cosi than Karajan's overly sophisticated one. As to tempos, bohm is rrelaxed and often just as slow as Karajan--period performances from Ostmann, Gardiner and Jacobs go much faster. In the Karajan set the men were stronger than the laides; here it's the reverse. Schwarzkopf and Ludwig make ideal sisters, unrivalled for their musicality, even if Schwarzkopf can no longer quite negotiate Fiodiligi's cruelly difficult arias. The male pair are certainly good, but I find Alfredo Kraus's voice dry and his manner stiff; Taddei is fine, howevr. Walter Berry makes for a bluff Don Alfonso without a trace of Bruscantini's sly malice.
Naturally, thee's much more to say in detail, but I think I've given a fair sketch of the two performances. I've lived with both for a long time, and it pains me to say that on balance I prefer Karl Bohm, even though he is far from being a favorite conductor. The comvinaiton of Schwarzkopf and Ludwig carries the day.
AN INEXPENSIVE EDITION OF A CLASSIC PERFORMANCE.......2006-01-30
Schwarzkopf is well contrasted by Nan Merriman's Dorabella. Merriman was an American mezzo who frequently sang at the Met, and who could reach impressive vocal and interpretive heights when surrounded by artists of the caliber encountered in this performance. I know of no tenor recorded in the role of Ferrando who sounds as honeyed and lyrically beautiful as Leopold Simoneau -------this French-Canadian tenor was surely one of the great Mozart singers of virtually any generation. Rolando Panerai's light baritone is ideal for Guglielmo (Panerai was a used by EMI in a good share of their earliest Callas operas - and always made a good impression), and his sense of comedy is apt and highly appropriate in a role which, to be most effective, can't be overdone. Sesto Bruscantini, with his extensive experience in the buffo operas of Rossini, provides a robust Don Alfonso, and Lisa Otto is a cute and incisive Despina.
EMI is to be commended for making this wonderful performance available at such an inexpensive price. When it comes to Mozart operas, especially with the recordings EMI made in the 1950's, older is definitely better! Now ---- they need to release their legendary recording of "Die Entfuhrung Aus Dem Serail" with Leopold Simoneau. Highly recommended.
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The Pavarotti Edition (includes bonus disc with previously unreleased 1964 debut Decca recording session)
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ASIN: B00005O841 Release Date: 2001-11-13 |
Album Description
Disc 1: Donizetti Arias from L'elisir d'amore, Maria Stuarda, Lucia di Lammermoor, La Fille du Regiment, Linda di Chamounix, La Favorita, and Don PaqualeDisc 2: Bellini/Donizetti/Verdi Includes arias from I Capuleti e i Montecchi, Norma, La Sonnambula (1976 Duet Recording), I Beatrice di Tenda, I Puritani, Don Sebastien, Il Duca d'Alba, I Lombardi, I due Foscari, Ernani, and Attila
Disc 3: Verdi 1 Includes arias from Macbeth, Luisa Miller, Rigoletto, Il Trovatore, La Traviata, and Les Vepres Siciliennes
Disc 4: Verdi 2 Includes arias from Un Ballo in Maschera, La Forza del Destino, Don Carlos, Aida, Otello, and Requiem
Disc 5: Puccini Includes arias from La Boheme, Madama Butterfly, and Turandot
Disc 6: Puccini and Verismo Includes arias from Cavalleria Rusticana, Manon Lescaut, Pagliacci, Andrea Chenier, and Tosca
Disc 7: Arias 1 Includes arias from La Griselda, Atalanta, Orfeo ed Euridice, Don Giovanni, Cosi fan Tutte, Guillaume Tell, and more. Includes Unreleased Material.
Disc 8: Arias 2 Includes arias from Martha, Mefistofele, La Giocanda, Adriana Lecouvreur, Rosenkavalier, Fedora, Werther, Faust, Carmen, and more
Disc 9: Italian Songs Includes: In questa tomba oscura, Me voglio fa'na casa, Non t'amo piu, Pace non trovo, and more
Disc 10: Neapolitan and Italian Popular Songs Includes: O sloe mio, Torna a Surriento, Core 'ngrato, Funiculi Funicula, Non ti scordar di me, Mamma and more
Bonus CD: The 1964 EP (previously unreleased) "Che Gelida Manina," "E lucevan le stelle," "Questo o quella," "La Donna e mobile," and "Parmi veder" with Orchestra of the Royal Opera House, Covent Garden, Edward Downes conducting
Customer Reviews:
Beyond all description..........2006-09-19
An Absolute Must-Have for Any Pavarotti Fan.......2004-01-09
Wonderful!!!!.......2002-11-07
Average customer rating:
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Mozart: Così fan tutte
Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Classical (c.1770-1830)
| Historical Periods
| Opera & Vocal
| Styles
| Music
| Cantatas
| Romances
German
| Languages
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
ASIN: B00008IAII Release Date: 2003-03-04 |
Average customer rating:
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Per un Amico
PFM Manufacturer: Bmg Japan ProductGroup: Music Binding: Audio CD Italy
| Continental Europe
| Europe
| International
| Styles
| Music
General
| Continental Europe
| Europe
| International
| Styles
| Music
General
| International
| Styles
| Music
General
| Rock
| Styles
| Music
Progressive Rock
| Progressive
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
International
| Imports
| Stores
| Music
Rock
| Imports
| Stores
| Music
Similar Items:
ASIN: B0000AZSS5 Release Date: 2006-01-02 |
Tracks:
- Appena un Po'
- Generale - Premiata Forneria Marconi
- Per un Amico
- Il Banchetto
- Geranio
Album Description
Japanese reissue of 1972 album, packaged in a limited edition miniature LP gatefold sleeve. Numerouno/BMG. 2003.Album Details
Japanese Limited Edition in an LP-STYLE Slipcase.Rock Music:
- Prima Di Essere Un Uomo [Import]
- Pulsación [Original recording remastered]
- Raoui [Import]
- Reality Show [Import]
- Samba E Mais Samba [Limited Edition] [Import]
- Samba Raro [Import]
- Soul
- Sound System Dub
- Spirit Room
- Suite Leopoldina
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