| 1. Intro |
| 2. Près de Moi |
| 3. Je Serai (Ta Meilleure Amie) |
| 4. Toute Seule |
| 5. I Love You |
| 6. Ne Me Dis Rien |
| 7. Homme de Ma Vie |
| 8. Tout Por Toi |
| 9. Entre Vous Deux |
| 10. Je Manque De Toi |
| 11. Se Donner la Main |
Editorial Reviews
Product Description
2001 debut album for France's answer to Britney Spears. Eleven tracks including the singles, 'Pres De Moi' & 'Je Serai (ta Meilleure Amie)'.
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.
Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.
Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.
From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.
Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.
Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.
Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.
Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.
This CD is for everyone, from the novice to the expert, and will be appreciated by all. It is the best opera recording I have heard and has stood the test of time. This should be a required addition to the collection of anyone with an appreciation of fine music.
While Karajan aficionados plot their revenge for this seemingly gratuitous attack, it should be noted that he was not alone among conductors in this fault; in fact, when one considers than Carmen is the "C" in any beginner's guide to opera ("A" being Verdi's Aïda and "B" being Puccini's La Bohème), it is almost laughable to discover how many disregarded the proper form in which Carmen should be played. Carmen was not a grand opera, despite what Sir Thomas Beecham, Georges Prêtre, Thomas Schippers, and the like wished so ardently to believe. Bizet composed Carmen in the tradition of the opéra-comique, a parallel of the modern musical, with musical sections coupled with spoken melodramas or dialogues. The most superb recorded example of the properly performed Carmen is the Sir Georg Solti recording with Tatiana Troyanos, Plácido Domingo, José van Dam, and Dame Kiri te Kanawa. (Karajan did make a similar recording later in his career, with Agnes Baltsa, José Carreras, van Dam, and Katia Ricciarelli, but his interpretation was regrettably slow and vapid, and the melodramas were spoken (one must wonder why) by actors, rather than the singers.)
In spite of all this, the stars of this recording are superb. Leontyne Price injects a little bit of Bess into her Carmen, which results in a soulful, lyrically beautiful, and dramatically venomous gypsy vamp. Her Habanera ("L'amour est un oiseau rebelle") and Seguidilla ("Près de remparts de Séville") are bewitching. Franco Corelli, who, in 1963, embodied the entire institution of opera with his sultry, sheik-like physique and his hot-blooded, titanic tenor register, is a full-fledged madman as the obsessed Don José. Robert Merrill is a bit too American as the swaggering toreador Escamillo, but his rendition of "Votre toast je peux vous le rendre" is nonetheless suave and debonair. Mirella Freni had not yet reached her silkiest prime in 1963, but she glides through Micaëla's Act III aria ("Je dis que rien ne m'épouvante") like a songbird. (It should be noted that the diction of the four stars is poor, particularly Corelli and Freni; the two of them coupled in Alain Lombard's 1968 recording of Gounod's Roméo et Juliette with similar overall success, hampered only by their abysmal pronunciation.)
The high water mark of this recording is the final track, featuring the opera's cataclysmic finale ("Où vas-tu?"..."Laisse-moi!"). Corelli is so venomously fanatical ("Ainsi, le salut de mon âme"), Price is so inanely noxious and cruel ("Eh bien! Frappe-moi donc, ou laisse-moi passer!"), and the Wiener Philharmoniker is in such tempestuous voice, the following three lines deserve special recognition:
- Don José: "Pour la dernière fois, démon, veux-tu me suivre?"
- Carmen: "Non! Non! Cette bague, autrefois, tu me l'avais donnée. Tiens!"
- Don José: "Eh bien! damnée!"
The above excerpt is literally worth the entire recording; Corelli and Price are unmatched in bravado.
dreadful french accent)..Sorry to say that of deceased great singer but the Carmen libretto is not a text to be only sung but deeply felt which french language does not allow to a singer who does not rehearse enough.
Robert Merrill marvelous dark tone and Mirella Freni, almost a debutante at that time saved the day.
While there are many wonderful recordings, here it's the voices that make this recording so memorable. Leontyne Price is simply in sumptuous form, with the richness of a mezzo in the lower register plus her ringing top notes. Franco Corelli is a clarion and passionate Don Jose, Mirela Freni a sweet voiced Micaela, and Robert Merrill a rich and robust Escamillo. In some respects this is the "Italian" Carmen, (Corelli and Freni don't have the best French accents and Price was never known for her diction), but the quality of the voices make up for any linguistic deficiency.
As is his wont, Herbert von Karajan emphasizes his orchestra, which becomes almost another member of the cast in his hands--this can sometimes be at the expense of his singers, but Price, Corelli, Freni and Merrill But a von Karajan performance is always thrilling, whether it is this album or his Salzburg Festival DVD with Grace Bumbry, Jon Vickers, Mirela Freni and a very young Justino Diaz.
For a fan of Leontyne Price this is a MUST HAVE, and a worthy addition to any opera collection.
Soprano Leontyne Price, tenor Franco Corelli, and Maestro Herbert Von Karajan always produced spectacular results when performing together. The legendary Salzburg "Il "Trovatore", a splendid Vienna 1962 "Tosca", and the historic MetOpera debut of La Price/Corelli, again in "Trovatore" (without Karajan) which produced her record-breaking 42 min. ovation, are testaments to the excitement these artists elicit from each other when together. This performance of "Carmen" is no exception. Maestro Herbert Von Karajan was an ardent champion of this opera, recording it twice and filming it once as well. His expert hand is felt (and heard) throughout this perfomance, and the renowned Vienna Philharmonic Orchestra responds with ambient beauty, clarity, & verve, especially so in the more 'public' scenes. The playing is magnificent. Von Karajan's concept of the title-role remained consistent throughout his career, and though unsuccessful in his attempt to lure Leontyne Price to the stage as Carmen, he (& we) were fortunate in her recording of the role. The great soprano responds with one of her most electrifying performances ever, aided immeasurably by her mentor Karajan. She utilizes every aspect of her glorious instrument, producing firm secure tops, a sensuous, rich, and velvety middle that can purr or snarl with conviction, & a dark, husky, surprisingly strong chest voice. Ms. Price is nuanced in her singing; dismissive & teasing in the "Habanera", as seductively inviting in the "Seguidille", coy, taunting ("ta-ra-ta-ta...") and mercurial in Act II, dark and foreboding in a superb reading of the "Card Scene". However, her greatest moments come in the final scene with Jose, where Ms. Price stuns with her electric responses to his desperation. Carmen's initial irritation exploding into volcanic rage, frustration,& ultimately death, are all voiced with a passion and intensity rarely associated with this treasurable artist. Leontyne Price is a stupendous Carmen. Franco Corelli possessed one of the most glorious tenors in operatic history, with tonal beauty, pulse, and vibrant power defining his instrument. His charismatic vocalising was often compromised, however, by poor musical habits, and an inattention to dynamic shadings and texts. His performance here contains all of the above, but his characterful vocalism and dramatic involvement triumph over the all else. Mr. Corelli sings fearlessly in a role most tenors compromise to get through it. His "Flower Song" is heartfelt and ardent, he rages convincingly with Carmen & Escamillo in Act III, and yet is successful in the more tender scenes with Micaela. Franco Corelli also reaches his peak in the final duet,imbuing Don Jose's music with the hurt, pathos, and frenzied despair of a wounded animal, while singing with a secure vocal authority unsurpassed by any rivals. His is a galvanizing performance. Soprano Mirella Freni has recorded 'Micaela' at least (3) times with notable Carmens (Price/Bumbry/Norman), and filmed it with Von Karajan/Bumbry. She is THE standard for this role, no more so than in this performance, where she lavishes her lovely, creamy, full- bodied lyric on the music of the country girl. While her girlish characterization is sometimes general, her singing always has purpose, and is simply heavenly. Baritone Robert Merrill's dramatic contributions are static as Escamillo, but he too is a veteran in this music, singing with suave assurance, virility, and beautiful tone. The comprimario roles are all vividly performed, and bring a vital energy to the scenes they appear in. They are well-matched by the gorgeous choral singing of the Vienna State Opera Chorus and Vienna Boy's Choir. This "Carmen" is conducted with all of the atmospheric color, buoyancy, and exquisite musical details that Maestro Herbert Von Karajan is justly famous for, as well as his almost equally renowned idiosyncratic tempi & dynamics.
In sum, this "Carmen" is a sumptuous, sonorous, sonic feast, and "La Splendissima" Leontyne Price is the 'entree Magnifique!!!!
That said, I must say that this is a recording with very good performances and sound quality, like all the DG Panaroma series I've listened to. It's good that the Carmen we get here is actual Opera arias rather than "Carmen Suite." Pearl Fishers inclusion is nice. Agnus Dei, voice arrangement taken from L'arlésienne is a nice surprise sung by Jose Carreras.
Another comment about the Symphonic Suite "Roma": it's a very nice piece, and although it is less known and not as dramatic and flamboyant as Carmen or Symphony No. 1, it's worth having it in your collection. You just need to find a recording.
2001 debut album for France's answer to Britney Spears. Eleven tracks including the singles, 'Pres De Moi' & 'Je Serai (ta Meilleure Amie)'.
Pres de Toi,Lorie,Sony Int'l,Euro-Pop,France,French,Int'l & World Music,Pop,World Music
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Bizet: Carmen (Highlights) / Solti, Troyanos, Domingo
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ASIN: B000006P4O Release Date: 1998-05-12 |
Tracks:
- Carmen: Act I: Prelude
- Carmen: Act I: Mais nous ne voyons pas la Carmencita! ... - L'amour est un oiseau rebelle (Habanera)
- Carmen: Act I: Parle-moi de ma mere
- Carmen: Act I: Pres des remparts de Seville (Seguidilla)
- Carmen: Act II: Les tringles des sistres tintaientI
- Carmen: Act II: Vivat, vivat le torero! ... Votre toast (Toreador song)
- Carmen: Act II: Nous avons en tete une affaire
- Carmen: Act II: La fleur que tu m'avais jetee (Flower song)
- Carmen: Act II: Non! tu ne m'aimes pas!
- Carmen: Act III: Melons! Coupons!
- Carmen: Act III: Je dis que rien ne m'epouvante
- Carmen: Act IV: Les voici, les voici
- Carmen: Act IV: C'est toi! - C'est moi!
Customer Reviews:
Nice music, nice voices.......2000-06-15
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Delibes: Lakme (Highlights) / Sutherland, Bonynge
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ASIN: B000024756 Release Date: 2000-09-12 |
Tracks:
- Lakme: Act I, Viens, Malika... Dome epais le jasmin
- Lakme: Act I, Quand une femme est si jolie...
- Lakme: Act I, Prendre le dessin d'un bijou
- Lakme: Act I, Les fleurs me paraissent les belles...
- Lakme: Act I, D'ou viens-tu?... C'est le dieu de la jeunesse
- Lakme: Act II, Allons, avant que midi sonne
- Lakme: Act II, Lakme, ton doux regard se voile
- Lakme: Act II, Ah!... Ou va la jeune Indoue
- Lakme: Act II, Lakme! Lakme! C'est toi... Ah! c'est l'amour endormi...
- Lakme: Act III, Sous le ciel tout etoile...
- Lakme: Act III, Lakme! LAkme! qu'as-tu?... C'est lui! C'est lui!
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Delibes's opera Lakmé is full of gorgeous melodies, even if you don't count the coloratura sensation, the famous "Bell Song." That aria virtually demands a soprano of Sutherland's agility and ease, and it gets it here (this is the highlights version of Sutherland's complete recording). Even the few singers who can match her in the upper altitudes can't do it with a voice so rich and full. Sutherland's is a Lakmé beyond comparison with twittering, thin-voiced, coloratura specialists. She did make this recording at a time when her diction was mushy and her vocal lines sometimes drooped, so she's not beyond criticism. But revel in the voice; after all, Lakmé is a cardboard character, and the opera, for all its considerable charms, isn't another Ring cycle. Sutherland's colleagues are excellent too. Vanzo was one of the finest lyric tenors of his generation, and he's by far the best Gérald on disc. Jane Berbié and Gabriel Bacquier are also unmatched, and Bonynge's conducting is idiomatic and flowing. Add engineering from Decca/London's golden age of recording, and here's a Lakmé to treasure. --Dan DavisCustomer Reviews:
Delibes: Lakme - Sutherland.......2007-05-14
Incomparable voice.......2006-11-06
the perfect vehicle for Sutherland.......2001-06-28
I have one other recording of Joan Sutherland singing the Bell Song. It is on her Art of the Prima Donna CD. That rendition is slower, more technically precise, with less flourishes. On this recording of Lakme, she speeds it up considerably, with a few more flourishes.
A third highlight is her duet with Alain Vanzo, "Lakme! Lakme! C'est toi..." What a wonderful, wonderful pairing and performance. Curiously enough, this gorgeous duet isn't even mentioned on the back of the CD jewel case as one of the high points of this highlights package!
Not every "highlight" here will take your breath away, but if nothing else, you can push the repeat button, and listen to the meltingly beautiful flower song again and again.
The Most Beautiful Music.......2000-10-24
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Just for the Record: The Golden Voice
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ASIN: B0000TAYR0 Release Date: 2003-11-11 |
Tracks:
- L'amour Est Un Oiseau Rebelle (Habanera)
- Mon Coeur S'ouvre A Ta Voix
- Eccomi Al Fine In Babilonia
- Cruda Sorte!
- Hence, Iris, Hence Away
- Dove Sei, Amato Bene?
- Che Disse! Che Ascoltai!
- Addio, Addio O Miei Sospiri
- O Pretres De Baal... O Toi, Qui M'abandonne
- Elle Est La! Pres De Lui!
- Mura Felici
- Tanti Affetti
Tracks:
- Superbo Di Me Stesso
- Il Segreto Per Esser Felici - London Symphony Chorus
- Mi Chiami, O Norma!
- Deh! Con Te, Con Te Li Prendi
- Mira, O Norma
- Si, Fino All'ore Estreme
- Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
- Non Son Tuo Figlio? - Luciano Pavarotti
- Mal Reggendo - Luciano Pavarotti
- E Un Anatema! - Renata Tebaldi
- Nacht Und Traume, D 827
- Abendlied
- Traume
- Jesus De Nazareth
- Shenandoah
- I Bought Me A Cat
- The Lord's Prayer
- Somewhere
- At The River (Lowry)
- Jeannie With The Light Brown Hair
Customer Reviews:
Marilyn Horne scintillates.......2007-05-20
Some cuts well depict her artistry across a range of genres and composers.
The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.
"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.
From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.
Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.
"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.
From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."
Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.
And so on.
Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.
One Of The Greatest Voices of All!.......2006-01-29
Not 100% satisfied with the selections, but what artistry!.......2004-11-03
There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.
In summary:
The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!
From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.
Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.
The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.
After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.
The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!
Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.
The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.
All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.
Vive Madame Horne !.......2004-01-09
![Bizet: Carmen [Highlights]](http://ec1.images-amazon.com/images/I/31V13FE9JCL.jpg)
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Bizet: Carmen [Highlights]
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ASIN: B000001G52 Release Date: 1990-10-25 |
Tracks:
- Carmen: Prelude
- Carmen: Act 1: Sur la place (Micaela)
- Carmen: Act 1: Avec la garde montante
- Carmen: Act 1: L'amour est un oiseau rebelle (Carmen)
- Carmen: Act 1: Parle-moi de ma mere (Don Jose, Micaela)
- Carmen: Act 1: Pres des remparts de Seville (Carmen, Don Jose)
- Carmen: Act 2: Les tringles des sistres tintaient (Carmen)
- Carmen: Act 2: Dialogue
- Carmen: Act 2: Vivat! vivat le Torero! (Carmen)
- Carmen: Act 2: Votre toast, je peux vous le rendre (Escamillo, Carmen)
- Carmen: Act 2: La fleur que tu m'avais jetee (Don Jose)
- Carmen: Act 3: En vain, pour eviter les reponses ameres - Parlez encore, parlez, mes belles (Carmen)
- Carmen: Act 3: A dos cuartos!
- Carmen: Act 3: (musique de transition)
- Carmen: Act 3: C'est toi! - C'est moi! (Carmen, Don Jose)
Customer Reviews:
The Greatest By Far.......2006-03-09
There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.
Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.
Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.
From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.
Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.
Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.
Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.
Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.
Absolutely the Best Carmen.......2004-12-14
This CD is for everyone, from the novice to the expert, and will be appreciated by all. It is the best opera recording I have heard and has stood the test of time. This should be a required addition to the collection of anyone with an appreciation of fine music.
No, please.......2000-06-10
The kindest thing I can come up with about this highlights recording is just the fact that it's a highlights edition - you don't have to listen to the whole debacle. Karajan has done a much, much better recording for RCA (Price, Corelli & Freni), where he doesn't suffocate his singers in an unengaging search for nothing but beauty. This search makes me lose my hair, and for example disturbes much of Carmen's music. Carreras here is not even close to the vocal prime he was in ten years earlier. His voice surely is soft and beautiful in the more quite parts, but he avoids using it to full power, even when called for, and his performance therefor gets rather boring. Baltsa probably would have done much better if she'd been supported instead of opposed by Karajan. Van Dam is definately the best of the cast in the role of Escamillo.
My very favorite of Carmen is the Beecham (de los Angeles, Gedda on EMI) set. You can also try a highlight of either Karajan (RCA - Price, Corelli) or Abbado (DG - Berganza, Domingo), which both give different but very good accounts of Carmen - use the Amazon.com possibility to listen to samples of these version to find out which one you prefer.
L'amour est un oiseau rebelle.......2000-06-09
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Bizet: Carmen / Price, Corelli, Merrill, Freni; Karajan
Georges Bizet , Wiener Philharmoniker , Herbert von Karajan , Leontyne Price , Franco Corelli , Vienna State Opera Choir , Mirella Freni , and Robert Merrill Manufacturer: RCA ProductGroup: Music Binding: Audio CD Romances
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ASIN: B000009W7K Release Date: 1997-02-03 |
Tracks:
- Carmen: Overture - G. Bizet
- Carmen: Sur la place, chacun passe - G. Bizet
- Carmen: Regardez donc cette petite (Micaela) - G. Bizet
- Carmen: Avec la garde montante (Don Jose) - G. Bizet
- Carmen: C'est bien la (Don Jose) - G. Bizet
- Carmen: La cloche a sonne - G. Bizet
- Carmen: La voila, la voila (Carmen) - G. Bizet
- Carmen: L'amour est un oiseau rebelle (Carmen) - G. Bizet
- Carmen: Carmen! sur tes pas - G. Bizet
- Carmen: Quels regards! Quelle effronterie (Don Jose) (Micaela) - G. Bizet
- Carmen: Parle-moi de ma mere (Don Jose) (Micaela) - G. Bizet
- Carmen: Reste la maintenant, pendant que je lirai (Don Jose) (Micaela) - G. Bizet
- Carmen: Que se passe-t-il donc la-bas? - G. Bizet
- Carmen: Mon officier, c'etait une querelle (Don Jose) - G. Bizet
- Carmen: Tralalalala, coupe-moi, brule-moi (Carmen) (Don Jose) - G. Bizet
- Carmen: Pres des ramparts de Seville (Carmen) (Don Jose) - G. Bizet
- Carmen: Voici l'ordre; partez (Carmen) - G. Bizet
Tracks:
- Carmen: Entr'acte - G. Bizet
- Carmen: Act 2 - Les tringles des sistres tintaint (Gypsy Song) (Carmen) - G. Bizet
- Carmen: Act 2 - Messieurs, Pastia me dit (Carmen) - G. Bizet
- Carmen: Act 2 - Vivat! vivat le Tor - G. Bizet
- Carmen: Act 2 - Votre toast, je peux vous le rendre (Toreador Song) (Escamillo) - G. Bizet
- Carmen: Act 2 - La belle, un mot (Escamillo) - G. Bizet
- Carmen: Act 2 - Eh bien, vite, quelles nouvelles? (Carmen) - G. Bizet
- Carmen: Act 2 - Nous avons en t une affaire (Quintet) (Carmen) - G. Bizet
- Carmen: Act 2 - Mais qui donc attends-tu? (Carmen) - G. Bizet
- Carmen: Act 2 - Halte lQui va l(Don Jose) (Carmen) - G. Bizet
- Carmen: Act 2 - Enfin c'est toi! (Carmen) (Don Jose) - G. Bizet
- Carmen: Act 2 - Lalalala - Attends un peu, Carmen (Don Jose) (Carmen) - G. Bizet
- Carmen: Act 2 - La fleur que tu m'avais jet(Flower Song) (Don Jose) - G. Bizet
- Carmen: Act 2 - Non! tu ne m'aimes pas (Carmen) (Don Jose) - G. Bizet
- Carmen: Act 2 - HolCarmen! HolHol(Don Jose) (Carmen) - G. Bizet
- Carmen: Act 2 - Bel officier, bel officier (Carmen) (Don Jose) - G. Bizet
Tracks:
- Carmen: Entr'acte - Georges Bizet
- Carmen: Act 3 - Ecoute, ecoute, compagnon, ecoute (Carmen) (Don Jose) - Georges Bizet
- Carmen: Act 3 - Reposons-nous une heure ici (Carmen) (Don Jose) - Georges Bizet
- Carmen: Act 3 - Melons! Coupons! (Card Scene) (Carmen) - Georges Bizet
- Carmen: Act 3 - Eh bien? - Eh bien (Carmen) - Georges Bizet
- Carmen: Act 3 - Quant au douanier, c'est notre affaire (Carmen) - Georges Bizet
- Carmen: Act 3 - C'est des contrebandiers (Micaela) - Georges Bizet
- Carmen: Act 3 - Je dis que rien ne m'epouvante (Micaela's Air) (Micaela) - Georges Bizet
- Carmen: Act 3 - Je ne me trompe pas (Micaela) (Don Jose) - Georges Bizet
- Carmen: Act 3 - Je suis Escamillo, Torero de Grenade! (Escamillo) (Don Jose) - Georges Bizet
- Carmen: Act 3 - Hola, hola Jose! (Carmen) (Escamillo) (Don Jose) - Georges Bizet
- Carmen: Act 3 - Moi, je viens te chercher! (Micaela) (Don Jose) (Carmen) - Georges Bizet
- Carmen: Act 3 - Helas, Jose! (Micaela) (Don Jose) (Escamillo) - Georges Bizet
- Carmen: Entr'acte - Georges Bizet
- Carmen: Act 4 - A deux cuartos ! - Georges Bizet
- Carmen: Act 4 - Les voici! Voici la quadrille! - Georges Bizet
- Carmen: Act 4 - Si tu m'aimes, Carmen (Escamillo) (Carmen) - Georges Bizet
- Carmen: Act 4 - C'est toi! - C'est moi! (Carmen) (Don Jose) - Georges Bizet
- Carmen: Act 4 - Ou-vas-tu? - Laisse-moi! (Don Jose) (Carmen) - Georges Bizet
Customer Reviews:
A relative success.......2007-07-11
While Karajan aficionados plot their revenge for this seemingly gratuitous attack, it should be noted that he was not alone among conductors in this fault; in fact, when one considers than Carmen is the "C" in any beginner's guide to opera ("A" being Verdi's Aïda and "B" being Puccini's La Bohème), it is almost laughable to discover how many disregarded the proper form in which Carmen should be played. Carmen was not a grand opera, despite what Sir Thomas Beecham, Georges Prêtre, Thomas Schippers, and the like wished so ardently to believe. Bizet composed Carmen in the tradition of the opéra-comique, a parallel of the modern musical, with musical sections coupled with spoken melodramas or dialogues. The most superb recorded example of the properly performed Carmen is the Sir Georg Solti recording with Tatiana Troyanos, Plácido Domingo, José van Dam, and Dame Kiri te Kanawa. (Karajan did make a similar recording later in his career, with Agnes Baltsa, José Carreras, van Dam, and Katia Ricciarelli, but his interpretation was regrettably slow and vapid, and the melodramas were spoken (one must wonder why) by actors, rather than the singers.)
In spite of all this, the stars of this recording are superb. Leontyne Price injects a little bit of Bess into her Carmen, which results in a soulful, lyrically beautiful, and dramatically venomous gypsy vamp. Her Habanera ("L'amour est un oiseau rebelle") and Seguidilla ("Près de remparts de Séville") are bewitching. Franco Corelli, who, in 1963, embodied the entire institution of opera with his sultry, sheik-like physique and his hot-blooded, titanic tenor register, is a full-fledged madman as the obsessed Don José. Robert Merrill is a bit too American as the swaggering toreador Escamillo, but his rendition of "Votre toast je peux vous le rendre" is nonetheless suave and debonair. Mirella Freni had not yet reached her silkiest prime in 1963, but she glides through Micaëla's Act III aria ("Je dis que rien ne m'épouvante") like a songbird. (It should be noted that the diction of the four stars is poor, particularly Corelli and Freni; the two of them coupled in Alain Lombard's 1968 recording of Gounod's Roméo et Juliette with similar overall success, hampered only by their abysmal pronunciation.)
The high water mark of this recording is the final track, featuring the opera's cataclysmic finale ("Où vas-tu?"..."Laisse-moi!"). Corelli is so venomously fanatical ("Ainsi, le salut de mon âme"), Price is so inanely noxious and cruel ("Eh bien! Frappe-moi donc, ou laisse-moi passer!"), and the Wiener Philharmoniker is in such tempestuous voice, the following three lines deserve special recognition:
- Don José: "Pour la dernière fois, démon, veux-tu me suivre?"
- Carmen: "Non! Non! Cette bague, autrefois, tu me l'avais donnée. Tiens!"
- Don José: "Eh bien! damnée!"
The above excerpt is literally worth the entire recording; Corelli and Price are unmatched in bravado.
AN ALMOST GREAT CARMEN.......2007-04-13
dreadful french accent)..Sorry to say that of deceased great singer but the Carmen libretto is not a text to be only sung but deeply felt which french language does not allow to a singer who does not rehearse enough.
Robert Merrill marvelous dark tone and Mirella Freni, almost a debutante at that time saved the day.
Leontyne Price a Great Carmen.......2007-03-26
A Gloriously Sung Carmen.......2006-08-09
While there are many wonderful recordings, here it's the voices that make this recording so memorable. Leontyne Price is simply in sumptuous form, with the richness of a mezzo in the lower register plus her ringing top notes. Franco Corelli is a clarion and passionate Don Jose, Mirela Freni a sweet voiced Micaela, and Robert Merrill a rich and robust Escamillo. In some respects this is the "Italian" Carmen, (Corelli and Freni don't have the best French accents and Price was never known for her diction), but the quality of the voices make up for any linguistic deficiency.
As is his wont, Herbert von Karajan emphasizes his orchestra, which becomes almost another member of the cast in his hands--this can sometimes be at the expense of his singers, but Price, Corelli, Freni and Merrill But a von Karajan performance is always thrilling, whether it is this album or his Salzburg Festival DVD with Grace Bumbry, Jon Vickers, Mirela Freni and a very young Justino Diaz.
For a fan of Leontyne Price this is a MUST HAVE, and a worthy addition to any opera collection.
Maybe I'm a little partial..........2006-04-23
![Bizet: Carmen / Jessye Norman, Freni, Shicoff, Estes, Le Roux; Ozawa [Highlights]](http://ec1.images-amazon.com/images/I/218E6RJSVSL.jpg)
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Bizet: Carmen / Jessye Norman, Freni, Shicoff, Estes, Le Roux; Ozawa [Highlights]
Georges Bizet , Seiji Ozawa , Jessye Norman , Neil Shicoff , Mirella Freni , Simon Estes , François Le Roux , Gérard Garino , and French Radio Choir Manufacturer: Philips ProductGroup: Music Binding: Audio CD Romances
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ASIN: B000004123 Release Date: 1989-08-07 |
Tracks:
- Carmen: Prelude
- Carmen - Act One: 'Mais nous ne voyons pas la Carmencita' - 'L'amour est un oiseau rebelle' (Habanera)
- Carmen - Act One: Pres des remparts de Seville (Seguedille)
- Carmen - Act Two: 'Les tringles des sistres tintaient' (Chanson)
- Carmen - Act Two: 'Votre toast, je peux vous le rendre' - 'Toreador, en garde)
- Carmen - Act Two: 'Nous avons en tete une affaire' (Quintette)
- Carmen - Act Two: 'La fleur que tu m'avais jetee' (Air)
- Carmen - Act Two: 'Non! tu ne m'aimes pas' (Duo)
- Carmen - Act Three: 'Melons! Coupons!' - 'En vain, pour eviter les reponses ameres' (Trio des cartes)
- Carmen - Act Three: 'Je dis que rien ne m'epouvante' (Air)
- Carmen - Act Three: 'C'est toi! C'est moi!' (Duo final)
Customer Reviews:
Fantastic voice (Norman), warm, perfect to represent Carmen........1999-07-14
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Bizet: Carmen (Highlights)
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Romances
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ASIN: B00018ZRVI Release Date: 2004-04-06 |
Tracks:
- No.1 Prelude
- Avec La Garde Montante... Une Jeune Fille Charmante... Et La Garde Descendante
- L'amour Est Un Oiseau Rebelle (Habanera)
- Parle-moi De Ma Mere!
- Pres Des Remparts De Seville
- Les Tringles Des Sistres Tintaient
- Votre Toast, Je Peux Vous Le Rendre... Toreador, En Garde!
- Nous Avons En Tete Une Affaire
- La Fleur Que Tu M'avais Jetee
- Melons! Coupons!... En Vain Pour Eviter
- C'est Des Contrebandiers... Je Dis, Que Rien Ne M'epouvante
- Les Voici! Voici La Quadrille!
- C'est Toi!... C'est Moi!... Tu Ne M'aimes Donc Plus?
Average customer rating:
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Bizet: Carmen
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ASIN: B000003FT2 Release Date: 1994-11-08 |
Tracks:
- Carmen: Overture
- Carmen: Dans L'air, Nous Suivons Des Yeux (Chorus Of Cigarette Girls)
- Carmen: La Voila, la Voila
- Carmen: L'amour Est Un Oiseau Rebelle (Habanera)
- Carmen: Pres Des Remparts De Seville (Seguidilla)
- Carmen: Act II Entr'acte
- Carmen: Les Tringles Des Sistres Tintaient (Gypsy Song)
- Carmen: Messieurs, Pastia Me Dit
- Carmen: Vivat! Vivat Le Torero!
- Carmen: Votre Toast (Toreador Song)
- Carmen: Nous Avons En Tete Une Affaire (Quintet)
- Carmen: Lalalala - Attends Un Peu, Carmen
- Carmen: La Fleur Que Tu M'avais Jetee (Flower Song)
- Carmen: Act III Entr'acte
- Carmen: Melons! Coupons! (Card Scene)
- Carmen: Je Dis Que Rien Ne M'epouvante (Micaela's Air)
- Carmen: Act IV Entr' Acte
- Carmen: C'est Toi - C'est Moi
- Carmen: Ou Vas-Tu? Laisse Moi!
Customer Reviews:
Feast on this Buffet of Bizet: Carmen Highlights LEONTYNE PRICE.......2006-07-18
Soprano Leontyne Price, tenor Franco Corelli, and Maestro Herbert Von Karajan always produced spectacular results when performing together. The legendary Salzburg "Il "Trovatore", a splendid Vienna 1962 "Tosca", and the historic MetOpera debut of La Price/Corelli, again in "Trovatore" (without Karajan) which produced her record-breaking 42 min. ovation, are testaments to the excitement these artists elicit from each other when together. This performance of "Carmen" is no exception. Maestro Herbert Von Karajan was an ardent champion of this opera, recording it twice and filming it once as well. His expert hand is felt (and heard) throughout this perfomance, and the renowned Vienna Philharmonic Orchestra responds with ambient beauty, clarity, & verve, especially so in the more 'public' scenes. The playing is magnificent. Von Karajan's concept of the title-role remained consistent throughout his career, and though unsuccessful in his attempt to lure Leontyne Price to the stage as Carmen, he (& we) were fortunate in her recording of the role. The great soprano responds with one of her most electrifying performances ever, aided immeasurably by her mentor Karajan. She utilizes every aspect of her glorious instrument, producing firm secure tops, a sensuous, rich, and velvety middle that can purr or snarl with conviction, & a dark, husky, surprisingly strong chest voice. Ms. Price is nuanced in her singing; dismissive & teasing in the "Habanera", as seductively inviting in the "Seguidille", coy, taunting ("ta-ra-ta-ta...") and mercurial in Act II, dark and foreboding in a superb reading of the "Card Scene". However, her greatest moments come in the final scene with Jose, where Ms. Price stuns with her electric responses to his desperation. Carmen's initial irritation exploding into volcanic rage, frustration,& ultimately death, are all voiced with a passion and intensity rarely associated with this treasurable artist. Leontyne Price is a stupendous Carmen. Franco Corelli possessed one of the most glorious tenors in operatic history, with tonal beauty, pulse, and vibrant power defining his instrument. His charismatic vocalising was often compromised, however, by poor musical habits, and an inattention to dynamic shadings and texts. His performance here contains all of the above, but his characterful vocalism and dramatic involvement triumph over the all else. Mr. Corelli sings fearlessly in a role most tenors compromise to get through it. His "Flower Song" is heartfelt and ardent, he rages convincingly with Carmen & Escamillo in Act III, and yet is successful in the more tender scenes with Micaela. Franco Corelli also reaches his peak in the final duet,imbuing Don Jose's music with the hurt, pathos, and frenzied despair of a wounded animal, while singing with a secure vocal authority unsurpassed by any rivals. His is a galvanizing performance. Soprano Mirella Freni has recorded 'Micaela' at least (3) times with notable Carmens (Price/Bumbry/Norman), and filmed it with Von Karajan/Bumbry. She is THE standard for this role, no more so than in this performance, where she lavishes her lovely, creamy, full- bodied lyric on the music of the country girl. While her girlish characterization is sometimes general, her singing always has purpose, and is simply heavenly. Baritone Robert Merrill's dramatic contributions are static as Escamillo, but he too is a veteran in this music, singing with suave assurance, virility, and beautiful tone. The comprimario roles are all vividly performed, and bring a vital energy to the scenes they appear in. They are well-matched by the gorgeous choral singing of the Vienna State Opera Chorus and Vienna Boy's Choir. This "Carmen" is conducted with all of the atmospheric color, buoyancy, and exquisite musical details that Maestro Herbert Von Karajan is justly famous for, as well as his almost equally renowned idiosyncratic tempi & dynamics.
In sum, this "Carmen" is a sumptuous, sonorous, sonic feast, and "La Splendissima" Leontyne Price is the 'entree Magnifique!!!!
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Bizet: Carmen (Highlights)
Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD Romances
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ASIN: B000006OGH Release Date: 1998-06-02 |
Tracks:
- Carmen: Avec la garde montante
- Carmen: Habanera: L'amour est un oiseau rebelle
- Carmen: Parle-moi de ma mere!
- Carmen: Seguedille: Pres des remparts de Seville
- Carmen: Chanson boheme: Les tringles des sistres tintaient
- Carmen: Votre toast, je peux vous le rendre
- Carmen: La fleur que tu m'avais jetee
- Carmen: Melons! Coupons!
- Carmen: C'est des contrebandiers... Je dis, que rien ne m'epouvante
- Carmen: Les voici!
- Carmen: C'est toi!... C'est moi!
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Panorama ~ Georges Bizet
Georges Bizet , London Symphony Orchestra , Orchestre National de France , Los Angeles Philharmonic Orchestra , Claudio Abbado , Carlo Maria Giulini , Jean Martinon , Uwe Christian Harrer , Charles Dutoit , José Carreras , Plácido Domingo , Yvonne Kenny , Alicia Nafé , Jean Laine , Robert Lloyd , Sherrill Milnes , Teresa Berganza , Gino Quilico , and Gregory Cross Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Suites
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ASIN: B00004W3IO Release Date: 2000-10-17 |
Tracks:
- Carmen: Prelude - London Symphony Orchestra
- Carmen: 'La clocke a sonne' - London Symphony Orchestra
- Carmen: 'Mais nous ne voyons pas la Carmencita' - London Symphony Orchestra
- Carmen: 'L'amour est un oiseau rebelle' - London Symphony Orchestra
- Carmen: 'Parle-moi de ma mere!' - London Symphony Orchestra
- Carmen: 'Pres des remparts de Seville' - London Symphony Orchestra
- Carmen: 'Les tringles des sistres tintaient' - London Symphony Orchestra
- Carmen: 'Votre toast'...'je peux vous le rendre' - London Symphony Orchestra
- Carmen: 'La feur que tu m'avais jetee' - London Symphony Orchestra
- Carmen: 'Je dis que rien ne m'epouvante' - London Symphony Orchestra
- Carmen: 'Je suis Escamillo, torero de Grenade' - London Symphony Orchestra
- Carmen: 'Les voici, voici le quadrille' - London Symphony Orchestra
- Carmen: 'Si tu m'aimes, Carmen' - London Symphony Orchestra
- Carmen: 'C'est toi?' 'C'est moi' - London Symphony Orchestra
Tracks:
- L'Arlesienne: Suite No. 1: Prelude. Allegro deciso (Tempo di marcia) - Andantino - Andante molto - The London Symphony Orchestra
- L'Arlesienne: Suite No. 1: Minuetto. Allegro giocoso - The London Symphony Orchestra
- L'Arlesienne: Suite No. 1: Adagietto. Adagio - The London Symphony Orchestra
- L'Arlesienne: Suite No. 1: Carillon. Allegro moderato - Andantino - Tempo I - The London Symphony Orchestra
- L'Arlesienne: Suite No. 2: Pastorale. Andante sostenuto assai - Andantino - Tempo I - The London Symphony Orchestra
- L'Arlesienne: Suite No. 2: Intermezzo. Andante moderato ma con moto - Allegretto moderato - The London Symphony Orchestra
- L'Arlesienne: Suite No. 2: Menuet. Andantino quasi allegretto - The London Symphony Orchestra
- L'Arlesienne: Suite No. 2: Farandole. Allegro deciso (Tempo di marcia) - Allegro vivo e deciso - The London Symphony Orchestra
- Agnus Dei - Jose Carreras - (Tenor)
- Symphony No. 1 In C Major: Allegro vivo - Orchestre National De France
- Symphony No. 1 In C Major: Adagio - Orchestre National De France
- Symphony No. 1 In C Major: Scherzo. Allegro vivace - Orchestre National De France
- Symphony No. 1 In C Major: Finale. Allegro vivace - Orchestre National De France
- From: The Opera 'Les Pecheurs de perles': 'Je crois entendre encore' - Placido Domingo - (Tenor)
- From: The Opera 'Les Pecheurs de perles': 'C'est toi'...'Au fond du temple saint' - Gino Quilico - (Baritone)
Customer Reviews:
Wrong track information on Amazon; though quality recording.......2005-04-30
That said, I must say that this is a recording with very good performances and sound quality, like all the DG Panaroma series I've listened to. It's good that the Carmen we get here is actual Opera arias rather than "Carmen Suite." Pearl Fishers inclusion is nice. Agnus Dei, voice arrangement taken from L'arlésienne is a nice surprise sung by Jose Carreras.
Another comment about the Symphonic Suite "Roma": it's a very nice piece, and although it is less known and not as dramatic and flamboyant as Carmen or Symphony No. 1, it's worth having it in your collection. You just need to find a recording.
I love this album........2004-12-04
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